Saving Mr. Banks

In 1961 London, author Pamela 'P.L.' Travers is facing financial difficulties. Reluctantly, she agrees to travel to Los Angeles at the insistence of her agent, Diarmuid Russell, to meet Walt Disney regarding her beloved Mary Poppins stories.

Travers finally meets Walt Disney, who has been pursuing the film rights to her stories for two decades. His motivation is driven by his daughters' desire to see the character of Mary Poppins come to life on screen.

Through poignant flashbacks set in 1906, Travers' childhood in Allora, Queensland, is revealed. These memories highlight her bond with her father, Travers Robert Goff, who struggles with alcoholism, showcasing how deeply they influence her writing.

Upon her arrival in Los Angeles, Travers is struck by the city's superficial charm and the overly friendly nature of its residents. Her limo driver, Ralph, exemplifies this friendliness, adding to her discomfort in the unfamiliar environment.

Travers begins her work at Walt Disney Studios in Burbank with a creative team, including screenwriter Don DaGradi and music composers Richard and Robert Sherman. However, she quickly finds herself irritated by their laid-back approach to adapting her stories.

Throughout the collaboration, Travers insists that Mary Poppins must avoid sentimentality, baffling Disney and his team. Her heightening frustration leads her to leave a development session in tears due to the team's interpretation of George Banks.

Travers struggles with the portrayal of George Banks, believing the character misrepresents her father, who faced ridicule due to alcoholism. The creative team's interpretation of the character as a ruthless banker causes Travers intense emotional distress.

Despite her frustrations, Travers begins to form a friendship with Ralph, her driver, and starts to soften towards the team as they make adjustments to George Banks’ character. This connection leads her to re-engage with her imagination.

Travers discovers that the film will include animated segments, which she vehemently opposes. This revelation leads her to confront Disney, declaring that she will not relinquish the film rights, and she returns to London in anger.

After learning more about Travers' true identity and past, Disney travels to London to seek her collaboration again. His visit includes sharing his own childhood struggles and the therapeutic potential of storytelling, which helps soften her resolve.

Through a heartfelt conversation, Travers is persuaded to grant Disney the rights to Mary Poppins. This moment marks a significant turning point in their relationship, allowing Travers to confront her past and embrace her creation.

Fast forward to 1964, as preparations for the premiere of Mary Poppins are underway at Grauman's Chinese Theatre. Disney chooses not to invite Travers, fearing her reaction to the film's adaptation of her work.

Encouraged by her agent, Travers travels to Los Angeles and crashes Disney's office to secure an invitation to the premiere. As she watches the film, she initially reacts poorly to the animated sequences but is gradually touched by George Banks’ redemption.

As the film concludes, Travers is deeply moved by the portrayal of George Banks, reflecting on her own past. This moment of connection signifies a significant emotional development for Travers in relation to her stories.

The film ends with a recorded session featuring Travers, the Sherman Brothers, and DaGradi, encapsulating the essence of Travers' journey throughout the creative process. This serves as a poignant reminder of her influence on the film.