Saving Mr. Wu

In 1961 London, struggling author Pamela 'P. L.' Travers finds herself in a challenging situation. Her agent, Diarmuid Russell, convinces her to travel to Los Angeles, setting the stage for a significant meeting.

Walt Disney has been pursuing the film rights to Travers' beloved *Mary Poppins* stories for twenty years. His motivation comes from a desire to create a film that his daughters would enjoy, making the stakes much higher for Travers.

The narrative flashes back to Travers' formative years in Allora, Queensland in 1906. Her childhood experiences, especially her close bond with her father, play a crucial role in shaping her writing and the character of Mary Poppins.

Travers suffers from the tragic loss of her father, Travers Robert Goff, to alcoholism. This personal history profoundly impacts her views and character portrayals in her stories, especially concerning father figures.

Upon arriving in Los Angeles, Travers experiences a culture shock, feeling disillusioned by the city's overt optimism. She encounters Ralph, her overly friendly chauffeur, who represents the very ethos that irks her.

At Walt Disney Studios in Burbank, Travers meets with the creative team, including screenwriter Don DaGradi and the Sherman brothers. However, her challenging nature and insistence on pragmatism over sentimentality create friction during their discussions.

Travers expresses deep concern about how the character of Mr. Banks is being portrayed. Her personal connection to Mr. Banks, drawn from her father's flaws, clashes with the Disney team's interpretation of him as a villain.

As Travers continues working, she becomes increasingly plagued by painful memories from her childhood. These memories create a barrier to her connection with the world around her and impact her involvement in the film's production.

In an effort to ease tensions, Disney invites Travers to Disneyland. While there, her interactions with Ralph and the adjustments made to George Banks' character begin to soften her rigid views, allowing for a gradual emotional thaw.

Travers' progress is derailed when she discovers plans to incorporate animation into *Mary Poppins*. Outraged, she confronts Disney and storms back to London, declaring she will not allow her beloved character to be altered.

Walt Disney, learning of Travers' true identity as Helen Goff, decides to follow her back to London. His determination reflects his commitment to understanding her creative vision and mending their fractured relationship.

Disney arrives unexpectedly at Travers' home, sharing stories of his own flawed childhood. His heartfelt reflections resonate with Travers, enabling her to confront aspects of her disillusionment regarding her work and life.

Moved by Disney's honesty and the healing potential of storytelling, Travers finally agrees to grant him the film rights to *Mary Poppins*. This pivotal decision marks a turning point for both her personal journey and the film's development.

In 1964, as the world premiere of *Mary Poppins* approaches at Grauman's Chinese Theatre, Travers initially feels unwelcome. However, driven by her agent's encouragement, she crashes Disney's office and secures an invitation to the screening.

At the premiere, Travers starts with skepticism but gradually finds herself emotionally moved by the film. The portrayal of George Banks' redemptive arc resonates deeply, prompting her to reflect on her own life and the complexities she has faced.