"Rob was very clear about how he wanted that portrayed and his feelings about it," Gracey adds. "It was a difficult and emotional scene to film, but it was important to show that side of their relationship."
The film also doesn’t shy away from Williams’s struggles with addiction and mental health issues. Gracey explains, "We wanted to show the whole picture of who Robbie is, not just the public persona. It was important to him to be honest about his battles and how they have shaped him."
Despite the unusual choice of portraying Williams as a CGI chimp, Better Man has been receiving positive reviews for its bold and creative approach to telling the story of the pop star’s life. The film dives deep into the highs and lows of Williams’s career and personal life, offering a unique perspective on the man behind the music.
Overall, Better Man is a wild, emotional rollercoaster of a biopic that is sure to entertain and enlighten fans of Robbie Williams, as well as those who may not be familiar with his music. It’s a must-watch for anyone interested in the complex world of celebrity and the price of fame." Overall, the article provides a deep dive into the personal experiences and reflections of Robbie Williams, a former member of the pop band Take That. The review touches upon sensitive topics such as mental health, the pressure of fame, and the struggles faced by young adults in the music industry during the 90s and 00s.
The article also highlights the complexities of relationships within the band, particularly focusing on Williams’ strained dynamics with manager Nigel Martin-Smith and fellow band member Gary Barlow. Williams’ introspection on his past behavior and the impact it had on others adds a layer of depth to the narrative.
The review sheds light on the emotional journey depicted in the movie or web series "Better Man," showcasing the highs and lows of Williams’ career and personal life. The inclusion of quotes and interactions between Williams and the filmmakers adds authenticity to the story being told.
Overall, the article provides a thought-provoking analysis of Williams’ experiences and the challenges faced in the music industry, making it a compelling read for fans and those interested in behind-the-scenes stories of pop culture icons. We see the awkward dance rehearsals, the dodgy photoshoots, and the general panic when Martin-Smith tells the band that “in five years we’re all going to hate each other”. It also shows them performing, often in leather and Lycra, at appreciative gay clubs, a time Williams remembers fondly. “Where I’m from we do two things really well; kindness and violence,” he says. “When you went out of an evening it was highly likely that violence was in your near future. And you always had to be hyper aware of who you’d pissed off. When I went into the gay world there was none of that. There was total acceptance and humour and gay abandon. And safety. That’s what I take with me to this day; it was an incredibly safe place for me to grow up.”
Rumours around Williams’s sexuality are also playfully mentioned in the film, but it’s a complicated topic. In 2004, a tabloid newspaper ran an interview with Williams’s alleged “secret gay lover”, suggesting that Williams was deceiving the public by claiming to have sex with women to cover his “sordid homosexual encounters with strangers”. He sued the paper a year later for libel and won substantial damages and an apology.
“Here’s the thing: are you straight or are you gay?” he asks. I tell him I’m gay. “OK, I’ll ask you this: There is a front cover of a newspaper that is read by millions and a lady has said you have performed cunnilingus on her by a canal. Do you, as a gay person, sue the newspaper?” I tell him I wouldn’t sue, but I’d be annoyed because it’s not true. “I was annoyed,” he says. “I was more sad. Not about gay accusations because look, I’ve done everything but suck a cock. Honestly, you’ve never met somebody that wants to be gay as much as me.” He then further dispels any lingering rumours by reaching for a football analogy. “I’m a Port Vale fan and it’s like somebody going ‘well you’re a Liverpool fan’,” he says turning to Gracey. “And me saying ‘no I’m not, I’m a Port Vale fan’. When somebody says you’re a Liverpool fan a hundred times it’s like ‘I’m not a fucking Liverpool fan, why do people think I’m a Liverpool fan?!’.”
Later, looking genuinely concerned, he brings the topic up again. “You want to be an ally while at the same time protecting your own authenticity and your own life,” he says. “Besides, if I want to suck a cock, I’ll suck a cock. Who’s going to fucking stop me? My wife? The beard!”
Williams has spent two books (2004’s Feel and 2017’s Reveal), last year’s four-part Netflix documentary series and a good amount on therapy reflecting on the interplay between his life and fame. Since marrying Field in 2010 and starting a family, the way he approaches it has shifted. “‘Daddy goes to work’, that’s what I say now,” he says. “It wasn’t a job before. It was something that was supposed to be magical and when I got to the top of the mountain all that was there was existential crisis. But since [Theodora] arrived, I’ve grown up, and one of the big [changes] is, it’s a job.”
He’s stopped “trying to be Liam Gallagher” and is comfortable being “more Val Doonican”. A performing monkey, sure, but a great one. He also doesn’t care if calling it a job makes it seem a bit unromantic, or not very rock’n’roll. “People say ‘how dare you call it a job, all you do is X, Y and Z’, but just because your job is shit doesn’t mean my job has to be shit.”
He smiles a big, gloriously obnoxious Robbie Williams grin. “This is my job – and I fucking love it.” FAQ Section
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