Having spent a lot of time reading and watching American
content creators, I have heard many a story about the man named Fred Rogers.
And as an outsider looking in, his place in nostalgic history always seemed
like an anomaly to me. When childhood entertainers like Rolf Harris and Bill
Cosby were being exposed as utter human garbage, Mr. Rogers kept coming up as
one of the few nostalgic icons that was still good. And not just good, but a
kind of good that warmed its way into the hearts of an entire generation.
While Mister Rogers' Neighborhood is a well-worn television
staple in the U.S., I over here in Australia never really experienced any of
the man’s work. I mean, how good could this guy possibly be? A lifelong
Republican, a religious minister who cared about making connections with
children… maybe it’s just my cynical side peeking through, but how could this
be the background of a man this
beloved? Well, through the lens of They’ll Love Me When I’m Dead director
Morgan Neville, I got my answer. Holy hell, did I get my answer.
He basically treated the medium in the same way I approach
most family films in these reviews: Is this worth watching? Is this teaching
something worth learning? As a first encounter with the Neighborhood, watching
him turn such tough-to-stomach real-world issues into something digestible for
kids is astounding, and it shows that his philosophy regarding children’s
entertainment is tried and tested.
It portrays him as the epitome of Lawful Good, to the point
where the phrase "patience of a saint" should really be replaced with "patience
of a Rogers", given that is presented as one of the keys to his success: His
ability to sit, listen and treat his young audience with respect. Add to that
the issues he advocated for on his show, from disability to race to how it is
fine to not feel fine, and the landmark speech he gave that saved the Public
Broadcasting Service from Nixon’s budget-gouging, and he feels like more myth
than man.
And yet, even with a person as revered as Mister Rogers, the
film doesn’t try to make him into a saint. Instead, his will and intent are
presented as a result of his own darkness, from how he coped with being
bedridden as a child to how his use of puppets allowed him to say things he
couldn’t otherwise. It presents him as a truly amazing human being, but a human
being nonetheless.
The film even ventures into that cynicism I mentioned
earlier; the idea that someone this good cannot possibly be legit. It delves
into the perplexing idea that, because of his "everyone is special" message, he
created a generation of entitled brats. It even addresses some of the urban
myths that try to depict him as more of a traditional badass, involving tattoos
and being in the Navy. Because apparently, being the hero of many a child and
child-at-heart through sheer force of kindness isn’t badass enough.
That ends up being the crux of this whole production: By
depicting the legend that is Fred Rogers as human, but good, even including a
potentially sticky situation regarding his closeted co-star, it enforces the idea that
this level of good isn’t unattainable. We can
be this good, and with how much Fred has been heralded over the last several
decades, it seems like a lot of people want to and see this as something to
aspire to. Even in the face of people who seemingly can’t believe that someone
like this is real without some kind of catch. It’s an appeal to humanity that
is astoundingly effective, and in keeping with Fred’s own methodology, it’s a
lesson worth learning for children of all ages.
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