Green Book (2018)

November 16, 2018 (US) • Drama, Comedy, History • 130m

Overview

Tony Lip, a bouncer in 1962, is hired to drive pianist Don Shirley on a tour through the Deep South in the days when African Americans, forced to find alternate accommodations and services due to segregation laws below the Mason-Dixon Line, relied on a guide called The Negro Motorist Green Book.

Director

Peter Farrelly

Writers

Peter Farrelly, Brian Hayes Currie, Nick Vallelonga

Top Billed

Viggo Mortensen

Keywords

friendship southern usa based on true story road trip racism pianist driver lgbt road movie music tour 1960s roadtrip gay theme feel good

Where to watch

Free / Included

Netflix

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Top Billed Cast

Viggo Mortensen

Tony Lip

Mahershala Ali

Dr. Don Shirley

Linda Cardellini

Dolores

Sebastian Maniscalco

Johnny Venere

Dimiter D. Marinov

Oleg

Mike Hatton

George

P.J. Byrne

Record Exec

Joe Cortese

Gio Loscudo

Mary Agnes Nixon

Copa Coat Check Girl

Von Lewis

Bobby Rydell

Jon Sortland

Rydell Band Leader

Don Stark

Jules Podell

Anthony Mangano

Copa Bouncer Danny

Paul Sloan

Copa Maitre D' Carmine

Quinn Duffy

Mikey Cerrone

Seth Hurwitz

Johnny Randazzo

Hudson Galloway

Nick Vallelonga

Gavin Foley

Frankie Vallelonga

Iqbal Theba

Amit

Ricky Muse

Barkeep

David Kallaway

Redneck #1

Montrel Miller

Rodolfo Vallelonga

Grandpa Nicola Vallelonga

Louis Venere

Grandpa Anthony Venere

Frank Vallelonga

Rudy Vallelonga

Don DiPetta

Louie Venere

Jenna Laurenzo

Fran Venere

Suehyla El-Attar Young

Lynn Venere

Kenneth Israel

Bronx Floor Repairman #1

Derrick Spears

Bronx Floor Repairman #2

Johnny Williams

Fat Paulie

Randal Gonzalez

Gorman

Sharon Landry

Carnegie Hall Manager

Nick Vallelonga

Augie

David An

Bobby

Mike Cerrone

Joe and Joe's Customer

Peter Gabb

Charlie the Pawn Guy

Gertrud Sigle

Marie

Geraldine Singer

Pittsburgh MC

Ron Flagge

Pittsburgh Chauffeur

Martin Bats Bradford

Pittsburgh Busboy

Ted Huckabee

Indiana Stage Manager

Gralen Bryant Banks

Horseshoe Man #1

Sam Malone

Horseshoe Man #2

Floyd Miles

Floyd

James W. Evermore

Redneck #2

Harrison Stone

Redneck #3

Iqbal Theba

Tom Virtue

Morgan Anderson

David Kallaway

Christina Simpkins

Margaret Anderson

Kermit Burns III

Pimento Cheese Waiter

Lindsay Brice

Frances Selden

Shane Partlow

Tailor

Daniel Greene

Macon Cop #1

Brian Distance

Macon Cop #2

Craig DiFrancia

Dominic

Dennis W. Hall

Mags

Leslie Castay

Well-Dressed Woman

David Simpson

Louisiana Host

Jim Klock

Patrolman #1

Billy Breed

Patrolman #2

Dane Rhodes

Police Chief

Brian Stepanek

Graham Kindell

Jon Michael Davis

Birmingham Hotel Maitre D'

Montrel Miller

Birmingham Hotel Waiter

Ninja N. Devoe

Orange Bird Bartender

Brian Hayes Currie

Maryland State Trooper

Crew

Judah Getz

ADR Mixer

Gerson Paz

Second Second Assistant Director

Troy Felder

Electrician

Sarah Monat

Foley Artist

Michael Payne

Sound Editor

Becky Sullivan

Supervising ADR Editor

Richard Landry

Electrician

David S. Clark

Assistant Editor

Shane Hayes

Dialogue Editor

Alicia Stevenson

Foley Artist

Brock Jolet

Visual Effects Designer

Bruce Tanis

Sound Effects Editor

Laura Harris Atkinson

Dialogue Editor

Kelly Oxford

Sound Editor

Dawn Fintor

Foley Artist

Victor DiMichina

Visual Effects Supervisor

Aleigh Lewis

Assistant Editor

David Jobe

Foley Mixer

Martin Lopez

Sound Editor

Ray McIntyre Jr.

Visual Effects Producer

Joshua Anderson

Rigging Gaffer

Nick Nicolay

Rigging Grip

Becky Sullivan

ADR Supervisor

Scott Goldie

Assistant Production Coordinator

Rashada Fortier

Production Secretary

Russ Doyle

Greensman

Alan Breton

Second Unit First Assistant Director

Leonard Reynolds III

Location Manager

Martin Lopez

Foley Editor

Richard T. Hoover

Dolly Grip

John A. Mmahat Jr.

Assistant Location Manager

Valerie Ryan

Assistant Location Manager

Sherry Briscoe

Studio Teacher

Eric DePoorter

Rigging Grip

Darren Sunny Warkentin

Supervising Dialogue Editor

Kelly Oxford

Dialogue Editor

Sam Horton

Production Coordinator

Andrew Shepherd

Second Unit First Assistant Director

Denise Woods

Dialogue Coach

Patricia Gorman

Key Costumer

Robert Kessel

Executive In Charge Of Production

Severin Lagarde

Set Dresser

Kolby Kember

Visual Effects Supervisor

Claire Gryce

Set Dresser

David Ridlen

VFX Artist

Chris Van Dyck

Visual Effects Supervisor

Josh Dagg

Visual Effects Supervisor

Peter Farrelly

Director

Patrick J. Don Vito

Editor

Sean Porter

Director of Photography

Peter Farrelly

Writer

Brian Hayes Currie

Writer

Nick Vallelonga

Writer

Peter Farrelly

Producer

Jim Burke

Producer

Charles B. Wessler

Producer

Brian Hayes Currie

Producer

Nick Vallelonga

Producer

Octavia Spencer

Executive Producer

Jonathan King

Executive Producer

Kris Bowers

Original Music Composer

Kwame Parker

Executive Producer

Tim Galvin

Production Design

Rick Montgomery

Casting

Selina van den Brink

Set Decoration

John Sloss

Executive Producer

Betsy Heimann

Costume Design

Scott Plauche

Art Direction

Steven Farneth

Executive Producer

Ben Aycrigg

Stunts

Tom Wolfe

Music Supervisor

Alissa M. Kantrow

Unit Production Manager

Jonathan Arthur

Stunt Coordinator

John H. Brister

Unit Production Manager

Jeff Brockton

Stunt Double

Tomar Boyd

Stunts

Tierre Turner

Stunt Coordinator

Manish Raval

Music Supervisor

J.B. Rogers

First Assistant Director

Paul B. Uddo

Second Assistant Director

Chris Carnel

Stunts

Andre Thionville

Stunts

Dawson Towery

Stunts

Eddie Yansick

Stunts

Ken Barefield

Stunts

Spencer Davison

Assistant Art Director

Andrew DeCristofaro

Supervising Sound Editor

Tony Donno

Stunts

Todd T Taylor

Stunts

Joseph Singletary

Stunts

Mark Paterson

Sound Re-Recording Mixer

Tony Lamberti

Sound Re-Recording Mixer

Nicole Reed LeFevre

Set Designer

Stephen Walker

Stunts

Kenny Bartram

Stunts

Jorin Ostroska

Property Master

Jessica Taylor

Set Decoration Buyer

Jimi Ryan

Key Grip

David Warburton

Assistant Property Master

Zachary Sieffert

First Assistant "A" Camera

Michael Dares

Leadman

Grayson Austin

Steadicam Operator

Nathan Borck

Digital Imaging Technician

Paulo DeFreitas Jr.

Storyboard Artist

Grayson Austin

"A" Camera Operator

Charlie Nauman

First Assistant "B" Camera

Robert Foster

"B" Camera Operator

Jamey Osborne

Utility Sound

Tarra D. Day

Makeup Department Head

Nicole LaBranche

Graphic Designer

Dan McKee

Second Assistant "A" Camera

Leonard Suwalski

Boom Operator

Scott R. Todd

Gaffer

Richard Schexnayder

Production Sound Mixer

Dan Wyssmann

Best Boy Grip

Larron Rome Julian

Second Assistant "B" Camera

Darryl Lucas

Makeup Artist

Geordie Sheffer

Hair Department Head

Emily Tatum

Key Makeup Artist

Jeanmarie Murphy-Burke

Unit Publicist

Dan Moore

Costume Supervisor

Daniel Coe

Construction Coordinator

Patti Perret

Still Photographer

Nicole Garcea

Script Supervisor

Brent Caballero

Extras Casting

Guy Clayton

Special Effects Coordinator

Yolanda Mercadel

Key Hair Stylist

Donna Spahn

Hairstylist

Poland Perkins

Transportation Coordinator

Josh Klausner

Second Unit Director

Michael Merriman

Second Unit Director of Photography

Taylor L. Perry

Camera Loader

Cody Pollock

Electrician

Jordan Whaley

Electrician

Aimee Huber

Art Department Coordinator

Russell Beard

Best Boy Electric

Aaron Becker

Main Title Designer

Artyom Manukyan

Musician

Alison Moses

Music Coordinator

Nicholas J. Cazares

Orchestrator

Nicholas J. Cazares

Other

Reviews

Gimly

⭐ 6/10

January 20, 2019

Sadly, didn't end racism, but still very cute.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

Manuel São Bento

⭐ 10/10

January 24, 2019

If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

Living in Portugal has a ton of pros, but regarding movies, it lacks serious advantages. The price of admission is expensive, there is only one film theater in my city (every time I want to watch a movie on IMAX or Dolby Atmos, it's a financial effort and time-consuming) and the worst of all, a whole bunch of films aren't released in their original date, especially November/December Oscar-bait movies. Only now I had the opportunity to see Green Book, and I am so mad I wasn't able to write its review in 2018 because this is undoubtedly the best comedy-drama of last year and one of the best overall!

With the help of a terrific cast, Peter Farrelly and his writing crew (which counts with Vallelonga's son, Nick) deliver what I think is the best screenplay of 2018. I can't remember the last time I cried of so much laughter in a film. I can't remember the last time I did the latter and still got emotional with the dramatic arc. This comedy-drama sent me through a roller coaster of emotions I wasn't expecting, at all. I went in anticipating outstanding performances (check) and solely that. Since 2019 has already begun, I'm watching the Oscar-bait movies with no real hopes of being utterly amazed.

However, Green Book completely took me by surprise. I genuinely don't know why everyone was so shocked when it won Best Screenplay at the Golden Globe Awards. It possesses such a well-written story, filled with brilliant narratives about the most sensitive subjects. It takes the two main characters and elevates their individual arcs into subplots where you begin and end with two completely different personas. It's an extremely relevant film that shows how our world evolved and fought back racism and discrimination, without ever becoming too dark or even dull. It's not more of the same, it's not another movie produced exclusively to send a social message and catch some Oscar nominations. It's a truly captivating story of how two men can change their perspective of another race or even the entire world, by actually spending time with another culture and ignoring preconceived notions.

Nevertheless, this well-structured, beautifully-directed and cleverly-written film would be just "good" if not for the two incredible actors, who take this movie to a whole other level. Viggo Mortensen and Mahershala Ali have such compelling chemistry that I wouldn't mind watching them interact for two hours on a car trip. Every single car sequence either produces hilarious moments, filled with tearful laughter, or it drastically changes into a more dramatic and emotional tone, subtly touching delicate topics. I knew Mortensen had a humorous side to him, but I never saw this coming! His timing, his expressions, his Italian accent, his body movements, everything about his performance is perfect. He absolutely nailed his part, by giving me the best time I had at a film theater in a long time, and his Oscar nomination is more than fair. He made a 130-min feature movie feel like a short flick.

Ali doesn't come far behind. Obviously, since Viggo has a funnier role to portray, the audience members might feel that he's just there to help his co-star shine, but he does much more than that. Since he brings the drama element to the story, he has a more restrained performance during the first half of the film. However, once Shirley starts getting along with Tony Lip, Ali gradually offers more and more splendid acting moments. He's definitely a supporting actor, but God is he a phenomenal one! Linda Cardellini (Dolores Vallelonga), even though she's only on-screen for a few minutes spread throughout the runtime, also delivers a great performance.

Tony Lip and Dr. Don Shirley have quite distinct personalities, besides being from different races. Each character's arc is brilliantly illustrated by Peter Farrelly, who gradually shows how Tony and Don are changing their view of the world and of each other's culture. Either through the witty car sequences or through unfortunate and horrible experiences, these two characters carry the audience on a journey of growth. Change in behavior, mindset and preconceived ideas, by sharing their own culture with another. Even though they were born in different countries and lived through distinguished lifestyles, with contrasting quality of life, they eventually start realizing that what they think of the world and everything else might not be entirely right.

Technically, Farrelly controls the movie's pacing exceptionally well, by making a two-hour-ish film feel like half of it. Remarkably-balanced tone and some great cinematography is showed in a couple of scenes. Consistently-filmed and well-edited, even though the latter has small hiccups here and there. Nevertheless, this isn't a film with extraordinary technical attributes, nor it needs them. Farrelly only needed to do "ok" with the producing and filming of a standout screenplay to achieve a fantastic result, and that's exactly what he did.

Finally, regarding the controversy surrounding this movie ... See how easy it is to watch a film without being affected by outside matters which don't have a single thing to do with the movie itself? I don't care if someone who worked in the film tweeted something wrong today, let alone years ago. I don't care if someone misinterprets Viggo Mortensen's speech about racism. I don't care if the family of Don Shirley doesn't like how the movie approaches his way of being or his way of life. I don't care if the story isn't 100% true, as long as it succeeds in transmitting the vital message it wants to deliver, while actually being a good film. So, please, stop trying to listen to everything everyone says about a movie or the people working on it, especially nowadays, where chaos is easy to create.

Green Book surprised the hell out of me and left me speechless in the end. One of the best comedy-dramas I've seen in a long time, one of the best films of 2017 and, by far, the best original screenplay of the last year. Peter Farrelly and his fellow co-writers delivered a seamlessly-written story, filled with wonderful character arcs and with a quite important message to the audiences around the world. Viggo Mortensen and Mahershala Ali deliver award-worthy performances, especially the former who shows his incredible comedic timing and dramatic range. Still, the most compelling and emotional scenes come from Ali, and he does not deserve to be forgotten. I thought 2018 was going to be the first year without me giving an A+, but guess what ...

Rating: A+

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The Peruvian Post

⭐ 9/10

February 17, 2020

"Frequently, when someone tries to portray the overwhelming decade of the 1960s, they usually misuse the concept of discrimination towards African Americans, which is accurate to describe this social issue. Nevertheless, the way Peter Farrelly and staff go into detail about this social wretchedness embodying the psychological impact it has in the main character makes the film an outstanding one".

The year is 1962, and the film begins inside Copacabana restaurant where we get introduced the imposing personality of Tony Lip, an Italian descendant whose family came from a lower middle class coping with some financial difficulties. The way Viggo Mortensen performs the character is a proper model of then American racism; therefore he attempted to keep them out until the occasion arrived and Don Shirley appeared in his path, offering him a two-month lifetime opportunity. We all need to bear in mind the precise dates because, in real life, it was nearly a year they spent together. Despite his gifted pianist skills and his upper-class status, he was still a victim of the convulsed cultural impact. Both of them, during the film, learn from each other and fight against the unsettling behaviour of determined people.

Although it may seem simple, their interaction is one of the primary reasons why it succeeds. Believe it or not, it arouses curiosity, reaches the climax when they finally let them know as they are, and sometimes it results as a plot twister due to the radical temperament change of each actor. It has been ages since I watched such a pleasant film; afterwards, I felt refreshed as though it renewed me.

The contextualisation was imperative to build up each one's personality; moreover, it was visually dazzling owing to the costumes, the space and the background advertisement of the decade. Comedy is present as well so that you won't be missing from genuine laughs. Everything appears to be perfectly balanced, even the role of secondary personages such as Tony's wife and the cheeky cards experience. I'm chuffed to bits!

On the whole, the film "Green Book" is an exceptional example of the conception of a masterpiece without spending loads of money in production and without creating plenty of trifling scenarios.

[85/100]

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Wuchak

⭐ 9/10

March 29, 2020

***A white streetwise bouncer and an articulate black pianist tour the Deep South in 1962***

A tough, working class Italian New Yawker (Viggo Mortensen) is forced to take a gig driving a refined African-American concert pianist (Mahershala Ali) through the Midwest and Deep South in 1962. Linda Cardellini plays the wife of the Italian.

“Green Book” (2018) was inspired by the real-life story and written by the son of Tony Lip (Mo… read the rest.

UrsusNotHorribilus

August 29, 2021

This movie has a weak understanding of not only the truth in the relationship between the two characters based on actual people, but simplifies the subject of race relations. It was a terrible choice for best picture.

AstroNoud

⭐ 8/10

January 15, 2022

After a superb opening scene we get a heartwarming feel-good film that plays it a little too safe, but the chemistry between the two leads and some humor make ‘Green Book’ funny and highly enjoyable.

8/10

GenerationofSwine

⭐ 1/10

January 12, 2023

I guess that this made it to the Academy Awards for saying something that has been said a thousand times before. But because it was made in 2018 and everyone below 30 and everyone in Hollywood pretends that cinema didn't exist until 2016 it had high praise.

The acting is not bad, but for a movie set in the South, it could have used to actually show some of the beauty of the region they were driving through. Independent films have done a better… read the rest.