George Banks | Disney Wiki | Fandom powered by Wikia [Source] George Banks, more commonly known as "Mr. Banks", is the former main antagonist in the 1964 film Mary Poppins . He is similar in character to George Darling from Peter Pan , and was inspired by P.L. Travers' own father, himself a strict, no-nonsense banker and was inspired by Elias Disney as well. Contents [ show ] Background George is a junior officer in one of London 's banks. According to dialogue, he has worked there for many years. It is also mentioned that his father (thus Jane and Michael's paternal grandfather) had worked there too. George believes that his family should be run like a bank, making the family efficient, but also making him a distant husband and father. He's not really considered to be an evil person, but he is a stern, practical man, and initially believes that his children (and all children of the time in general for that matter) should be prepared for adult life in their youth, rather than allowed to have fun, as he believe having fun is "ridiculous".

He also callously dismisses the "Votes for Women" movement that his wife is involved in, as her cause makes him furious. However, after the events of the film, he changes and becomes a much more caring and devoted family man. According to the Special Edition Soundtrack Bonus Disc, it was originally intended that the script hint in several places that Mary Poppins was George's nanny when he was a child. However, this seems to have been largely left out of the film. Role in film George is initially seen at the beginning of the film walking home from work. He runs into Katie Nanna on his way in, but doesn't know she has quit. After his introductory song, which reveals his opinions on how a family of his day must be led, he realizes that his daughter, Jane , and son, Michael , are missing and thus takes matters into his own hands. As he is calling the police, Constable Jones brings the children home; they had become separated from Katie Nanna while having trouble with their kite.

He tells Ellen to take the children to the nursery (term used in those days to refer to the children's quarters), and declares that he intends to discuss the matter with Katie Nanna, only to find out that she had quit due to the children's seeming unruliness, enraging him. Noting that his wife Winifred 's choices for a nanny have failed for a quarter of a year, he decides that he will select the next person himself. He drafts an advertisement, calling for a strict nanny who "can give commands" and "mold the breed". Jane and Michael come with their own advertisement, calling for a kind nanny who will play with them, sing songs, be very beautiful, and give them rewards for being good. George politely dismisses his kids and when they are not looking; he tears it up and throws it in the fireplace before lighting it for the night. The next day, he prepares to interview the nanny applicants. However, the only applicant is Mary Poppins, who mysteriously has the advertisement that Jane and Michael had written.

While Mary discusses her hiring with George, he himself is so confused about the recovery of the advertisement that he mumbles to acknowledge her as he looks in the rubble in the fireplace; as a running gag every time somebody asks him something or comes next to him he hits his head on the fireplace roof. When he mumbles during his look at it; he unintentionally mumbles out a "Yes" when Mary asks if she can have the job; thus unwittingly hiring her. The next morning, George is puzzled by the unusual cheerfulness of the rest of the household, and is rather annoyed by it, as he expects everyone to be more practical and less noisy. He is accused of being out of sorts by Winifred, which infuriates him, and he storms out the door to work. That night, he becomes worried by his children's outrageous tales of their adventures with Mary. He asks to speak to Mary, and dialogue from Ellen and Mrs. Brill suggest that he is preparing to fire her. However, Mary turns the discussion around in her and the kids' favor, and is able to make him believe that he has suggested that he take the children to the bank where he works.

George is pleased with the idea, as he believes that it will help the children to be more practical. The next morning, George walks with his children to the bank. On the way, the children see the Bird Woman , whom Mary had told them about the night before. They ask permission from their father to feed the birds, but he angrily refuses, believing it to be a waste of money and time, and he suggests what he believes to be a better way. At the bank, he introduces the children to his bosses, Mr. Dawes Sr. and Jr. . Alongside the other officers, George attempt to convince Michael to deposit his tuppence into the bank by telling them about the world of finance and what he can do with all the money he can accumulate in a bank account of his own. Michael of course refuses and says he wants to donate to the Bird Woman, but Mr. Dawes, Sr., finds an opportunity, and takes the tuppence from him anyways. Michael's attempts to retrieve it cause a run on the bank. In the chaos, the children run away with the tuppence as George tries to help the Dawes stop the chaos and stop his kids.

That night, George angrily returns home, to find Mary, Bert , and a swarm of chimney sweeps partying in his home. Bert sends the sweeps away and hires himself as the family sweep in a similar manner to Mary's hiring. He strictly finally asks Mary what is going on in her career with the family, but she refuses to tell him. Bert talks to him while he is gathering his brooms. He recounts his belief that Mary had tricked him into the bank outing in order to embarrass him. Bert sympathizes, but hints that George has become so consumed by work, that he has failed to be a loving father to his children, and a loving husband to Winifred. After Bert leaves, the children come (dressed in their nightclothes) and Michael gives his father the tuppence, innocently believing that that will fix everything. George, slowly changing his heart, gently accepts the offering and politely asks his kids to go to bed. George is called back to the bank. There, the bank's senior officers hold him responsible for causing the bank run, which has been the bank's greatest money loss "since we financed that tea shipment to the American Colonies that got ruined by those rebels" (The Boston Tea Party).

As punishment, he is fired, by being cashiered, in which his bowler hat is torn and his umbrella is pulled inside out. Momentarily somber, he then feels happy and wears the smashed bowler hat with pride and uses the destroyed umbrella like a walking stick. When asked if he had anything to say, he remembers and for the first time correctly pronounces Mary's special word, " Supercalifragilisticexpialidocious ". Laughing, because the word serves to make him feel better, he leaves in a better mood, even stopping to tell a joke to Mr. Dawes Sr.. Notably, the joke was one that Michael had told him earlier, but one that George had shrugged off at the time. Soon after he leaves, Mr. Dawes Sr. rapidly laughs his guts out and his lifeless body flies in the air (he dies laughing). The next morning, it is revealed that he had spent the night in the basement, fixing Jane and Michael's broken kite. He then takes his entire family kite-flying, having apparently resolved to be a better father and husband. While kite-flying, he is met by Mr. Dawes Jr., who informs him that Mr.

Dawes Sr. died laughing the night before. He expresses his condolences, but Mr. Dawes, Jr., notes that his father had died happier than ever in his life as a result of hearing George's joke. In gratitude, Mr. Dawes Jr. (who has now taken over the bank) promotes him to a partner to fill the vacancy that was left by him taking over the bank. At the film's close, George is seen happily flying kites with his family. Other appearances Mary Poppins (musical) Like the film, the musical depicts George as a stern, practical man, who is somewhat out of touch with his family. But rather than being fired for indirectly causing a bank run, George is shown having to choose accounts for the bank to invest in. He chooses a middle class man's factory over a rich man's Ponzi scheme, which appears to harm the bank. As a result, he is suspended and he takes his anger out on his family. The second act reveals that George had a very harsh nanny (named Mrs. Andrews) growing up, whom he describes as a holy terror after Winifred hires her in an attempt to please him.

Later on, George hides in the park, depressed about his lack of achievements. Winfred discovers him, and learns how he suffered at the hands of Mrs. Andrews. After returning home, he receives a telegram requesting his presence at the bank. He worries that he is to be fired, and decides to sell the family heirloom. However it is accidentally broken by Mrs. Brill , who had been cleaning it. As he is cleaning up the pieces, he finds some gingerbread stars from his childhood. He briefly reflects, and then goes to meet the bank chairman. At the bank, he is amazed to learn that the bank considers him a hero, as his previous investment has made a fortune for the bank. He gives Mary Poppins's word as the word of success. He apologizes to Winifred, who had come to the bank to defend him, for his treatment of her. George then returns home, happily waltzing with his wife, as his children look on. Gallery Add a photo to this gallery Trivia Mr. Banks (Character) Mr. Banks (Character) from Mary Poppins (1964) The content of this page was created by users. It has not been screened or verified by IMDb staff.

There may be more photos available for this character. To select more photos to be displayed in this character's gallery, click the Edit Photos link. Overview Husband of Winifred and father of Jane and Michael Banks... See more » Alternate Names: ... aka "Studio One" - USA (original title) ... aka "Studio One Summer Theatre" - USA (summer title) ... aka "Summer Theatre" - USA (summer title) ... aka "Westinghouse Studio One" - USA (alternative title) ... aka "Westinghouse Summer Theatre" - USA (summer title) From Mary Poppins (1964) [On the failure of their previous nanny] Mrs. Banks : I'm sorry, dear, but when I chose Katie Nana, I thought she would be firm with the children. She looked so solemn and cross. George Banks : My dear, never confuse efficiency with a liver complaint.

Mary Poppins: A Woman of Many Personalities | Academic About mary, poppins, review, character, analysis, reading, book, movie, film, musical, stage and play Report Abuse Home > Nonfiction > Academic > Mary Poppins: A Woman of Many Personalities Mary Poppins: A Woman of Many Personalities By shelbytakespix , ghjkl;, FL Image Credit: Elaina V., Canton, OH The author's comments: This is a character analysis and a comparison of Mary Poppins' relationships with the Banks children, Bert, and Mr. Banks and how these relationships change within the book, film, and stage adaptations. “If you want to find Cherry-Tree Lane all you have to do is ask the Policeman at the cross-roads. He will push his helmet slightly to one side, scratch his head thoughtfully, and then he will point his huge white-gloved finger and say: ‘First to your right, second to your left, sharp right again, and you’re there. Good-morning.’” (Travers 2). These are the directions any regular nanny would follow.

However, in the case of a certain Mary Poppins, air is the most suitable path to 17 Cherry-Tree Lane. She knocks on the door only to be greeted by a gruff Mr. Banks. Four children run hectically behind him. A charismatic screever, Bert, draws life-like illustrations on the pavement if the weather is fine or sells matches if the weather is bad. How Mary Poppins interacts with each of these characters varies depending on the adaptation of the story. Her actions and interactions also help to set the mood and tone of the adaptation. In P.L Travers’s novel Mary Poppins, the titular character is portrayed as a grim, ugly old woman. However, in the film and stage adaptations of the story, Mary Poppins is portrayed in a different light. Like her personality and appearance, Mary Poppins’ relationship with the children, Bert, and Mr. Banks varies in the three works which results in significant differences between the adaptations. Mary Poppins’ most notable relationship is that which she has with the children. In the original book, Mary Poppins is portrayed as an ugly, older woman who denies she is magical but does not try to hide it at all.

She is known by other magical creatures as “The Great Exception” because she maintained the magical abilities all children have. For example, she is capable of communicating with animals. When the children mention her magical powers, Mary Poppins denies them sternly and punishes the children when they acknowledge them. In the book, there are four children: Jane, Michael, John and Barbara. Mary Poppins only takes Jane and Michael on her adventures because the twins, John and Barbara, are too young. She later brings the twins with her, Jane, and Michael on their adventures in the second book, Mary Poppins Comes Back, which was published a year after Mary Poppins in 1935. However, in the film and stage adaptations, there are only two Banks children: Jane and Michael. Unlike her stern personality in the book, Mary Poppins is stern but still maintains a gentle and admirable disposition. Jane and Michael, prior to Mary Poppins’ arrival, sing a tune outlining the perfect nanny. They sing: Have a cheery disposition. Rosy cheeks. No warts. Play games, all sorts. You must be kind you must be pretty, very sweet and fairly pretty. Take us on outings, give us treats. Sing songs bring sweets.

Never be cross or cruel. Never feed us Custer oil or gruel. Bleh! Love us as a song and daughter and never smell of Farley water… Hurry nanny. Many thanks. Sincerely, Jane and Michael Banks. (Sherman) Mary Poppins is firm when the children misbehave and try to take advantage of her. However, when they are not feeling their best or just need a little magic in their life, Mary Poppins’ lively personality comes to life in musical numbers such as “A Spoonful of Sugar”, when the children refuse to take their icky medicine, and in “Supercalifragilisticexpialidocious”, when the children jump into a dreamland through one of Bert’s street illustrations. Mary Poppins’ personality becomes a mix of both that of her book and film character in Mary Poppins: The Musical. In the stage adaptation of the book, Mary Poppins is a self absorbed, loving nanny who wants nothing but the best for the two Banks children, Jane and Michael. She thinks herself as “practically perfect in every way” (Sherman) as she states in the catchy song “Practically Perfect”.

The children in this adaptation have worse behavior than they do in the film. Unlike in the book and film, Mary uses her magical powers to punish the children. She does so in “Temper, Temper (Playing the Game)” when she brings Jane and Michael’s toys to life that they have been mistreating to teach, through fear, them to treat their toys with care. These are few of the many examples of how Mary Poppins’ relationship with the children is different in the book, film, and stage adaptation. Another relationship that is evident in the book, film, and stage adaptation is that between Mary Poppins and Bert. In the original book, Bert is Mary Poppins’ best friend and one of the few people she is nice to, the others being Mrs. Corry and Nellie-Rubina. Bert is a charismatic screever and Matchman. When the weather is nice, he draws life-like illustrations on the pavement and when the weather is bad he sells matches off of street corners. It becomes evident that Bert has feelings for Mary Poppins when they go out together on her second Tuesday off. However, after that they never go out together again.

In the film adaptation, Bert’s affection towards Mary Poppins is first made clear in the second song, “Jolly Holiday”, in which he sings: Ain’t it a glorious day? Right as a morning in May… I feel like I could fly. Have you ever seen the grass so green or a bluer sky? Oh it’s a jolly holiday with Mary. Mary makes your heart so light. When the day is grey and ordinary, Mary makes the sun shine bright. Oh happiness is blooming all around her. The daffodils are smiling at the dove. When Mary holds your hand, you feel so grand. Your heart starts beating like a big brass band. Oh it’s a Jolly Holiday with Mary. No wonder that it’s Mary that we like. (Sherman) At the end of the song, Mary Poppins sings back to him telling him that “though you’re just a diamond in the rough Bert, underneath your blood is blue”. These are the first few hints the audience gets that there is something more than just a friendly relationship between Mary Poppins and Bert. The song introduces that Mary Poppins and Bert have already known each other for a while.

Later, in “Supercalifragilisticexpialidocious”, Mary Poppins and Bert are playful and flirtatious. They are also somewhat affectionate in “Chim Chim Cher-ee”. Unfortunately, Mary Poppins and Bert are never more than friends in the film. In the stage adaptation, Mary Poppins is quite aware of Bert’s feelings for her. They still sing “Jolly Holiday” together as one of the first songs during Act I. Throughout the musical, it is evident that Mary Poppins is aware of Bert’s feelings for her. She ignores his affection throughout the entire musical. Many audiences like the idea of Mary Poppins and Bert together as a couple but evidently Mary Poppins does not. Mary Poppins also has a very subtle relationship with Mr. Banks, more notably in the book and musical than in the movie. Mr. Banks’ personality remains consistent throughout the three adaptations. He is a disciplined man who works at the Dawes Tomes Mousley Grubbs Fidelity Fiduciary Bank in London and would probably be known as a Type A personality in modern times. He lives at 17 Cherry-Tree Lane with his wife and children.

He dismisses the “Votes for Women” movement that his wife is an avid participant of and treats his wife, children, and servants as assets rather than people. He makes these opinions known in his song “The Life I Lead”. His ideas were portrayed in the musical in “Being Mr. Banks”. The relationship between Mary Poppins and Mr. Banks changes as Mary Poppins’ personality changes. In the book, as well as the musical, Mr. Banks had a vicious nanny, known as Mrs. Andrews, tortures him through his childhood and turns him into the man he grows up to be. When Mary Poppins’ personality is revealed in the book and stage adaptation, it seems that Mr. Banks was looking for a nanny who resembled his childhood nightmare so that his children would, hopefully, grow out of their troublesome behavior and into a more disciplined one, much like that of his. Mrs. Andrews is present in the musical but is only mentioned briefly in the book. She is never mentioned nor is she present in the film adaptation. Mary Poppins’ personality changed subtly, but enough to affect the plot, in the three adaptations of her fun and magical story: book, film, and stage.

She is gruff and cruel in the book. She is kind and gentle, yet stern, in the movie. She snarky and narcissistic with hints of gentleness in the musical. These different personalities affect the different ways in which she interacts with the Banks children, Bert, and Mr. Banks in the book, film, and stage adaptation. So that leaves the question: who is the real Mary Poppins? Is she the gruff woman thought up by P.L. Travers? Is she sweet and kind woman written up by Walt Disney? Or is she the self-absorbed sweetheart adapted to the story by Julian Fellowes. That is a decision left to the audience.? Mary Poppins (Film) - TV Tropes Mary Poppins You need to login to do this. Get Known if you don't have an account Share "Wind's in the east, mist comin' in, like somethin' is brewin', and 'bout to begin..." "Supercalifragilisticexpialidocious!" Describe Mary Poppins ? She's "practically perfect in every way," of course.

If that's too much of a mouthful for you, she's also a magical nanny, who literally flies into the life of the Banks family of London, England, circa 1910 . When most people hear the name, they think of Walt Disney 's 1964 movie, adapted from the book series of the same name by P.L. Travers. The film stars Julie Andrews as Mary Poppins and Dick Van Dyke as Bert. It has been adapted to a musical theater adaptation ; this version replaces some of the less stageable aspects of the original film with elements of the original books. The film was nominated for 13 Oscars, of which it won five.note Best Actress: Julie Andrews, Best Song: "Chim-Chim-Cheree", Best Score, Best Visual Effects, and Best Film Editing Today, it is considered a childhood staple on both sides of the Pond. The movie Saving Mr. Banks focuses around the long Development Hell the film underwent as Walt Disney ( Tom Hanks ) tried getting the rights from PL Travers ( Emma Thompson ). It was released in December 2013 for Oscar Bait purposes, eventually earning a nomination for Best Score (and losing to Gravity ).

In September 2015, Disney announced a sequel directed by Rob Marshall ( Chicago ), set 20 years after the first movie and inspired by the sequels to the first Mary Poppins book. Emily Blunt landed the titular role in February 2016. Just a spoonful of tropes'll help the article go down, the article go down-own, the article go down: Adaptational Heroism : Mary Poppins in the original books was much sterner and stricter. The adaptations make her more of a Sugar and Ice Personality - to the degree that the original author thought she was too nice. Adapted Out : In the books, Mr. and Mrs. Banks had five children (Jane, Michael, John, Barbara, and Annabelle) and three servants (Mrs. Brill, Ellen, and Robertson Ay). In both the film and stage show, only Jane and Michael appear and the servants are different between the two (Ellen in the movie and Robertson Ay in the musical accompany Mrs. Brill). Adorkable : Bert has his moments of endearing awkwardness, mostly around Mary Poppins.

Almighty Janitor : Bert, despite being a variety job man that includes chimney sweeper, chalk painter, etc. Seems to be one of the most well connected people in the movie. The upper class seem to respect him, he is an associate of Mary, and is implied to have some magic at his disposal. Truth in Television somewhat, since most people will discuss the strangest things in the earshot of the kinds of jobs he's doing without thinking at the time. Ash Face : Mary Poppins and the children get covered in soot when they're sucked up the chimney. Bert, naturally as a chimney sweep, is already covered in soot as is. Bag of Holding : Mary takes full sized hat rack, a neck-long mirror, a potted plant, and a hand mirror out of her carpet bag (one after the other). Batman Gambit : Mary (probably) pulls this on Mr. Banks. First, she puts the idea in his head that he should take his children on an outing to the bank. Then she tells the children all about the bird woman, whose hang out is conveniently on the way to the bank, and how cool it would be to give her their money.

What ensues could only have been Mary's plan. Beastly Bloodsports : Mary and her friends in the chalk drawing outing wander into a fox hunt and Bert decides to give the fox a hand to help him escape. Beauty Is Never Tarnished : Subverted when Mary goes up the chimney and - along with the others - winds up with an Ash Face . She actually runs with it, using some black makeup to darken her face some more. Berserk Button : Do not—repeat, do not—take Michael's tuppence. Bittersweet Ending : Mr. Banks starts to bond with his children, and the Banks are now a happier family. But with winds changing, Mary Poppins has to leave , which she does so without so much a goodbye. However, Bert wishes her a fond farewell and she spares him a smile. The musical takes it further Bert and Mary Poppins convene at the end of Act 2 where Bert gives her a bouquet right out of a painting. Both sensing this might be their last meeting together, both say goodbye and Mary gives Bert a peck on the cheek. Just before she leaves, she sings about how it feels to have to move on to the next family.

She leaves her locket, now with the chain broken, and departs. Mary Poppins: Though in your heart, you'd like to stay To help things on their way You've always known Characters | Mary Poppins | Disney Movies Saving Mr. Banks Tom Hanks and Emma Thompson bring to life the untold true story about the origins of one of the most treasured Disney classics of all time. John Lee Hancock (The Blind Side) directs this acclaimed film that reveals the surprising backstory behind the making of Mary Poppins. Determined to fulfill a promise to his daughters, Walt Disney (Hanks) tries for 20 years to obtain the rights to author P.L. Travers’ (Thompson) beloved book. Armed with his iconic creative vision, Walt pulls out all the stops, but the uncompromising Travers won’t budge. Only when he reaches into his own complicated childhood does Walt discover the truth about the ghosts that haunt Travers, and together, they set Mary Poppins free! Bert | Disney Wiki | Fandom powered by Wikia “Wind's in the East...mist coming in. Like something is brewing, about to begin.

Can't put my finger...on what lies in store, but I fear what's to happen all happened before.” ―Bert's famous prediction that Mary Poppins will arrive again Bert (Herbert Alfred on Sundays, and called, The Match Man in the books) is the deuteragonist in Disney's 1964 film Mary Poppins . Contents [ show ] Background Bert is a jack-of-all-trades with a Cockney accent. He never stays with one trade too long, and adapts to current conditions. He is a long time friend of Mary Poppins , though their relationship is noted to be strictly platonic (but there are hints to suggest a more romantic interest between them). He is shown to be very much at ease with her magic, and implies that she has helped numerous families using her powers. He is incredibly energetic and easygoing, never losing his temper or raising his voice with anyone at all and always looking on the bright side. However, he shows a deeply empathetic side to his personality when Jane and Michael run from the bank - he expresses his sympathy for their father, in that he is shaped and pressured immensely by the financial world that has imprisoned him. Nevertheless, he compassionately looks after the children until George Banks returns.

Physical appearance Bert is a slender man with dark hair, blue eyes, and has fair skin. He usually wears worn-out clothing. While working as a chimney sweep, his face is covered in soot. While in the street picture of the English country side, he wears a red, orange, and yellow suit with a blue bow tie. He also sports a straw hat. Role in the film Bert appears at the beginning of the film, trying to earn money as a one-man-band. After impressing the crowd with various songs, as well as impromptu poetry, he notes a change in the weather, which he notes as a sign of events to come. He then notices the viewer. After being asked, he shows the viewer the route to 17 Cherry Tree Lane, home of the Banks family. Along the way, he introduces the viewer to some of the residents, and is warned by Admiral Boom and Mr. Binnacle , that the Banks residence is dealing with "heavy weather". Upon arrival, he is surprised to hear loud arguing coming from the house. Later, Bert is shown trying to earn money as a street artist. He has drawn pictures depicting his adventures with Mary Poppins.

Soon, Mary appears along with the Banks children, Jane and Michael , for whom she has been employed as a nanny. They tell him that they are on their way to the park. He scoffs at the mundane outing, and is able to successfully goad Mary into transporting the group into one of his pictures, a depiction of the English countryside. While Jane and Michael go to a nearby fair, Bert and Mary enjoy a stroll through the countryside and eat lunch at a small cafe. They talk of their long relationship, which is shown to be platonic. Afterwards, they join the children for a ride on Mary's private carousel. At Mary's word, the horses jump off the carousel, and the group enjoys a horseback ride. Along the way, Bert notices a fox running from hunters, and saves it by putting it onto his horse. They end up in a horse race, where they see Mary easily win it. After being asked for a word to describe herself, she tells them of her special word, Supercalifragilisticexpialidocious , and Bert contributes by noting that he used to say the word to save his nose from being tweaked by his father for being rude for not speaking.

Soon, it begins to rain, which washes off the drawing, and the group is forced to cut the outing short. Though Mary laments the loss of the pictures, Bert notes that are more of them coming soon and that he intends to take advantage of the rain and change businesses by selling hot chestnuts. Bert appears the next day, at the home of Mary's Uncle Albert , who is "suffering" from a strange sickness. Apparently he has laughed too much, and is floating in the air, unable to come down. Bert warns the children not to laugh, as the condition is contagious. However, he succumbs to it himself, and joins Uncle Albert in the air. After the children float as well, Mary allows them to enjoy tea together, by making the table float to join them. Eventually, they float to the ground, due to the sadness at realizing they must go home. Mary asks Bert to stay and keep an eye on Uncle Albert. He attempts to cheer him up with a joke, but fails and both of them end up sobbing. After a disastrous outing with their father , Jane and Michael run away and become lost.

They run into Bert, but do not recognize him initially, as he is covered in soot from cleaning chimneys. He helps them to understand that their father does not hate them as they fear, and takes them home. At the Banks residence, he is abruptly hired by Mrs. Banks to babysit the children, as it is Mary's day off. He cleans the chimney and allows them to watch. Mary soon returns home after enjoying her day off, and warns the children of the danger. Just as she speaks, they are drawn up the chimney onto the roof. Bert and Mary follow, and she leads them on an exploration of the rooftops. They run into Bert's chimney sweep friends, and a joyous party breaks out, which eventually ends up at the Banks' home. After Mr. Banks returns, Bert shoos off the sweeps. As he is cleaning up he talks with Mr. Banks, who confides that he feels that the bank outing was a setup by Mary, and notes that his dreams have seemingly been shattered. Bert sympathizes, but implies that Mr. Banks has focused so much on work, that he has ignored the emotional needs of his children. Bert apologizes for troubling him and leaves.

Bert is seen at the end of the film selling kites to various bypassers learning the news that Mr. Banks has changed, the children are now close to him, and that he has gotten back his briefly lost job at the bank. He sees Mary as she is leaving, and asks her not to stay away too long. Bert is a somewhat common character at the Disney theme parks, mostly appearing at Disneyland . He appears as an animatronic figure with Mary Poppins in The Great Movie Ride in a scene based on Chim Chim Cher-ee . Trivia Dick Van Dyke , who portrayed Bert, also portrayed Mr. Dawes Sr. as a dual role. Gallery Mary Poppins Mary Poppins November 7 - December 22, 2013 Marian Theatre Mary Poppins is appropriate for all ages - a great show to see as a family. Children as young as 3 years old may attend the 1:30 performances on November 10, November 30, December 7, and December 19. Children attending all other performances must be at least 5 years old. Mary Poppins A musical based on the stories of P.L. Travers and the Walt Disney film.

Original Music & Lyrics by Richard M. Sherman & Robert B. Sherman Book by Julian Fellows New Songs and Additional Music & Lyrics by George Stiles & Anthony Drewe Generously sponsored by Ng & Ng Dental & Eye Care Dr. Dennis & Franziska Shepard Joan G. Sargen The whole family will delight in this high-flying musical, fresh from Broadway. It's the beloved story of practically perfect nanny Mary Poppins, who floats over London's chimneys into Cherry Tree Lane, stirring up the winds of change for the upstanding but unhappy Banks family. Anything can happen as Mary and the Chim-Chiminey-sweep Bert, step in time through a jolly holiday with the Banks children, Jane and Michael, in which Mary's magic transforms ordinary virtues into extraordinary values. She helps the children, their parents, and all of us, learn to take our medicine with a spoonful of sugar, find the silver lining in every situation, and realize that sometimes we should just use the winds of change to go fly a kite.

Director Choreographer Sierra Wells Ensemble Benjamin McNamara, Lucas Blair, Casey Canino, Katie Wackowski, Alysa Perry, Sierra Wells, Amanda Farbstein, Steven Jasso, Zach Johnson, Edgar Lopez, William Hoshida Pit Singers: Kenny Bordieri, Gian Console, Erik Groth, Kurt Haaker, Allyson Hankins, Claire Harlan, Danielle Levin, Shannon Peters, Melissa Ramirez, Cameron Rose, Noelle Sisneros, Dominic Williams *Member, Actors' Equity Association November 7 - December 22, 2013 Sun 7pm 1:30 & 7pm *Children as young as 3 years old may attend the 1:30 performances on November 10, November 30, December 7, and December 19. Children attending all other performances must be at least 5 years old. Elizabeth Stuart* as Winifred Banks, Marisa Dinsmoor as Jane Banks & Sacha Carlson as Michael Banks Karin Hendricks as Mary Poppins Andrew Philpot* as George Banks & Peter S.

Hadres* as Bank Chairman "Step In Time" Kitty Balay* as Miss Andrew & Karin Hendricks as Mary Poppins "Jolly Holiday" Marisa Dinsmoor as Jane Banks, Karin Hendricks as Mary Poppins, Sacha Carlson as Michael Banks Julia Galloway as Jane Banks, Devin Orr as Michael Banks, George Walker as Bert, Peter S. Hadres* as Park Keeper Karin Hendricks as Mary Poppins "Supercalifragilisticexpialidocious" Kitty Balay* as Mrs. Corry Photos: Luis Escobar, Reflections Photography Studio Thumbnails are linked to high resolution images intended for the media About the Play Mary Poppins is the title character of a series of children’s books written by P.L. Travers. The first book, Mary Poppins, was published in 1934, and the last, Mary Poppins and the House Next Door, in 1988. The books focus on the magical English Nanny, Mary Poppins, who is blown by the wind into the lives of the Banks family. She arrives and gets right to work mending the family and bringing order to the chaotic home.

Mary and the children have numerous adventures in which they encounter everything from singing chimney sweeps, to a loving bird woman, dancing statues, and a carpet bag that fits the strangest things. In 1964, Walt Disney Productions produced a film version of Mary Poppins. Walt Disney had fallen in love with the stories and had started pursuing Ms. Travers for the rights to produce the film in the early 1940s but was rejected because Travers did not believe that a film version would do justice to her creations and she was opposed to an animated film. Eventually, Disney’s persistence succeeded in gaining Travers’ permission in 1961 to produce the film, with the caveat that she had final script approval rights. The creation of the film and composition of the songs took roughly two years of work. The Mary Poppins film was critically acclaimed and loved by many. It is the most Oscar-nominated and Oscar winning film in Disney history, receiving 13 nominations and winning 5 Academy Awards.

It was also awarded 2 Grammies for Best Album for Children and Best Original Score written for a Motion Picture or Television Show, as well as the Writers Guild of America Award for Best Written American Musical to Don DaGradi and Bill Walsh. The Sherman brothers won the Academy Award for Best Original Song with "Chim Chim Cher-ee" and Best Original Score, while Julie Andrews won the Oscar for Best Actress for her portrayal of the title character, along with the Golden Globe for Best Motion Picture Actress and the New York Film Critics Circle Award for Best Actress. P.L Travers did not agree with the praise. She felt the film was too saccharine and did not like the addition of the animation in the film. After years of being pursued for the rights to turn her beloved Mary Poppins into a stage musical and turning many down, including Andrew Lloyd Webber, Travers agreed to sell the stage rights to English theatre producer Sir Cameron Mackintosh in 1993.

In the height of his success, Mackintosh was described by the New York Times as being “the most successful, influential and powerful theatrical producer in the world.” He is responsible for the success of Les Miserables, The Phantom of the Opera, Oliver!, Miss Saigon, Cats, and of course, Mary Poppins. It is noted that in Ms. Travers final will and testament that the conditions of the agreement with Mr. Mackintosh were that only English-born writers, no Americans, and specifically anyone involved in the 1964 film production, were not allowed to be directly involved in the creative process of the stage musical. In 2001 Mackintosh and the head of Disney Theatrical, Thomas Schumacher, began the development of a stage musical which would incorporate the songs from the Disney film. The musical premiered in London’s West End on December 15, 2004, where it ran for three years. It opened in New York City in November, 2006 and continued its Broadway run until March of 2013. Some notable changes were made in the adaptation of the stage musical from the film.

The stage musical places more emphasis on the mischievousness of the children and the dysfunction of the parents. The children’s naughty conduct is the necessity for the addition of the song "Playing the Game," where Mary has the toys in the nursery come to life and scold the children for their ill-behavior. The musical pays homage to P.L. Travers books by adding a visit to Mrs. Corry’s shop and having dancing statues in "Jolly Holiday," versus the dancing penguins that are seen in the film version. There are also a number of musical sequences that have been modified for the stage production, including the placement of certain songs and who sings them. In the film, "Let’s Go Fly a Kite" was sung as the finale by the Banks family. In the stage musical it has been moved to the beginning of Act 2 and sung by Bert and the Banks children. About the Authors Pamela Lyndon Travers, otherwise known as P.L. Travers, was the pen-name for Helen Lyndon Goff, was a British novelist, actress, and journalist.

She was born on August 9, 1899 in Australia to an unsuccessful bank manager, Travers Robert Goff, and Margaret Agnes Morehead. Travers began to publish her poems while still a teenager and wrote for The Bulletin and The Triad while also gaining a reputation as an actress. She toured Australia and New Zealand with a Shakespearean touring company before leaving for England in 1924. There she dedicated herself to writing. The 1934 publication of Mary Poppins was Travers' first literary success. Five sequels followed, as well as a collection of other novels, poetry collections and works of non-fiction. The Disney musical film adaptation of Mary Poppins was primarily based on the first novel, in what was then a sequence of four books and also incorporated story elements from the sequel Mary Poppins Comes Back. As mentioned above, though Travers was an adviser to the production, she ultimately disapproved of what she regarded as the dilution of the harsher aspects of Mary Poppins' character, felt ambivalent about the music, and disliked the use of animation, to such an extent that she ruled out any further adaptations of the later Mary Poppins novels. Travers remained active until the end of her life.

She planned a Goodbye, Mary Poppins book in which she would terminate her character, but publishers and letters from upset children dissuaded her. She was given the Order of the British Empire in 1977. Although she was friendly to the parade of interviewers who came to her home in London's Chelsea district, she was usually reticent about the details of her own life, many of which emerged only with the publication of Lawson's biography in 1999. Although Travers never married, she adopted a boy when she was in her late 30s. Travers died in London on April 23, 1996, at the age of 96. Native New Yorkers Richard M. Sherman (born June 12, 1928) and his brother, Robert B. Sherman (born December 19, 1925) both followed in the footsteps of their father, Al Sherman, as songwriters and collaborated on complete scores, mainly for Walt Disney movies during the 1960s and 70s.

As staff writers for Disney, they contributed on several films including The Parent Trap, In Search of the Castaways, Summer Magic, and The Sword in The Stone. While at Disney, the Sherman Brothers wrote more motion-picture musical scores than any other songwriters in the history of film. They also wrote what is perhaps their best-known song, "It's a Small World (After all)" for the 1964 New York World's Fair. Since then, some have claimed that this has become the most translated and performed song on Earth. Still, their first major success also came in 1964, with their Oscar-winning score for Mary Poppins. When the brothers accepted their award they commented, "There are no words. All we can say is, Supercalifragilisticexpialidocious." Julian Fellowes, British actor, novelist, film director and screenwriter, was responsible for writing the book for the musical film of Mary Poppins. Born on August 17, 1949 in Cairo, Egypt, Fellowes grew up in South Kensington, England with his parents and three older brothers. He graduated from Magdalene College in Cambridge with a MA in English Literature.

In 1981 he moved to Los Angeles and worked in television as an actor where his most notable role was as the butler for the series Fantasy Island. As a writer he has worked on a number of television and film projects, including creating the enormously successful and critically acclaimed period drama, Downton Abbey. He won the Academy Award for Best Screenplay Written Directly for the Screen in 2002 with Gosford Park. Other screenwriting credits include: Vanity Fair, The Tourist, From Time to Time, and The Young Victorian. The dynamic musical theatre songwriting partnership of George Stiles (music) and Andrew Drewe (lyrics) have been writing together since they met at Exeter University over twenty years ago. In 2004 they composed the new songs, additional music and lyrics, and vocal and dance arrangements for the stage version of Mary Poppins. Their other projects include: Just So, Honk!, and an adaptation of Peter Pan. They have also started work on a 21st century musical fable, set in modern London, centered on an internet love-story that blends a strong vein of satire with a story of celebrity politics, called Soho Cinders.

About the Production For Director and Choreographer, Michael Jenkinson, “Anything can happen if you let it,” is not only a notion of magic, but one of self-belief. We are mostly restricted by our self-imposed limitations. If we want something, the path to seeing it to reality often lies through self-trust and openness to all possibilities. Mary Poppins is full of fantasy, magic, visual and technical spectacle, flying, and huge dance numbers. More specifically - some of our favorite songs, dancing trees, talking animals, kites, glowing stars, and the characters with whom we love to adventure. Still, at the core of this big new musical is the story of a fragmented family that is longing to be whole again. Under their proper exterior, the Banks family is found disconnected and desperate, seeking from one another the love for which they long. That is the heart of this story. Mary comes to Number 17 Cherry Tree Lane to educate the children on the ways of the world, to engage everyone’s imagination, to heal the wounds of neglect, and to bring the warmth and lightness of love back to their home.

When asked what Mary Poppins is about in one sentence, Michael Jenkinson shared this, “Mary Poppins is about a family that has been put back together by the love and care of an unconventional Nanny.” He expressed that many people wish for that greater sense of connectivity and togetherness in their family, like that which the Banks’ find. It may be a magical fantasy land for some, but the portrayal of that kind of practical magic family intimacy can be terrifically important to us, especially during the holiday season. Michael Jenkinson observed that this story also encourages us to become more aware of the way in which we communicate with children, acknowledging the receptiveness of the young to the words and actions of adults. While not necessarily exemplifying poor behavior to the contemporary observer, George and Winifred Banks do not really serve as strong role models for their children because in many ways, they still need a nanny themselves. Jenkinson hopes this production will not only take the audience, young and old, to a place of comfort and nostalgia, but further allow the wind to come in and blow us someplace new.

As the creative team started the challenging work on this incredible story, it was important to them to bring a fresh and unique approach to the PCPA audience. It was important to hold onto the indelible, iconic images of Mary Poppins with her coat, umbrella, and magic carpet bag, while also bringing the exhilaration of surprise and sense of new adventure. The designers have made very specific choices about locations, costumes, color, light, and choreography that are unique to our theatrical space. Given that the stage musical is still fairly new in the world of theatre, this being among the first regional theatre productions after its national tours and Broadway run, it presents an opportunity for the director and designers to build something from the ground up. Michael Jenkinson notes that the process has been almost like working on a brand new musical, “There are so many things that are new to me in this piece that are equally exciting and challenging. I have never directed a piece with this level of fantasy, magic or technical complexity before. And I have never directed a play where my two leads are children.

What a huge and thrilling undertaking we have and I so look forward to sharing this adventure with all of you.” The New York Times stated that, “When Mary Poppins is about, her young charges can never tell where the real world merges into make-believe. Neither can the reader-and this is one of the hallmarks of good fantasy." This is also one of the hallmarks of a good theatrical production. Mary Poppins brings hope, color, and love back into focus for the Banks family, and all of us who participate in this magical voyage. Mary Poppins clips Mary Poppins (1964) - IMDb IMDb 29 December 2016 2:33 AM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error From $2.99 (SD) on Amazon Video IN THEATERS ON DISC ALL A magical nanny helps bring the two children she's in charge of closer to their father through songs and magical adventures.

Director: Bill Walsh (screenplay), Don DaGradi (screenplay) (as Don Da Gradi) | 1 more credit » Stars: a list of 23 titles created 10 Dec 2011 a list of 23 titles created 29 Nov 2013 a list of 30 titles created 02 Dec 2013 a list of 21 titles created 4 months ago a list of 25 titles created 4 months ago Search for " Mary Poppins " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 5 Oscars. Another 15 wins & 14 nominations. See more awards » Videos A woman leaves an Austrian convent to become a governess to the children of a Naval officer widower. Director: Robert Wise Charlie receives a golden ticket to a factory, his sweet tooth wants going into the lushing candy, it turns out there's an adventure in everything.

Director: Mel Stuart A down-on-his-luck inventor turns a broken-down Grand Prix car into a fancy vehicle for his children, and then they go off on a magical fantasy adventure to save their grandfather in a far-off land. Director: Ken Hughes Directors: Clyde Geronimi, Wilfred Jackson, and 1 more credit » Stars: Kathryn Beaumont, Ed Wynn, Richard Haydn Directors: William Cottrell, David Hand, and 4 more credits » Stars: Adriana Caselotti, Harry Stockwell, Lucille La Verne Directors: Clyde Geronimi, Wilfred Jackson, and 1 more credit » Stars: Ilene Woods, James MacDonald, Eleanor Audley Directors: Victor Fleming, George Cukor, and 3 more credits » Stars: Judy Garland, Frank Morgan, Ray Bolger Directors: Clyde Geronimi, Wilfred Jackson, and 1 more credit » Stars: Barbara Luddy, Larry Roberts, Peggy Lee Directors: Samuel Armstrong, Norman Ferguson, and 5 more credits » Stars: Sterling Holloway, Edward Brophy, James Baskett A misogynistic and snobbish phonetics professor agrees to a wager that he can take a flower girl and make her presentable in high society.

Director: George Cukor When a street urchin vies for the love of a beautiful princess, he uses a genie's magic power to make himself off as a prince in order to marry her. Directors: Ron Clements, John Musker Stars: Scott Weinger, Robin Williams, Linda Larkin Directors: Clyde Geronimi, Wilfred Jackson, and 2 more credits » Stars: Bobby Driscoll, Kathryn Beaumont, Hans Conried Edit Storyline When Jane and Michael, the children of the wealthy and uptight Banks family, are faced with the prospect of a new nanny, they are pleasantly surprised by the arrival of the magical Mary Poppins. Embarking on a series of fantastical adventures with Mary and her Cockney performer friend, Bert, the siblings try to pass on some of their nanny's sunny attitude to their preoccupied parents. Written by Jwelch5742 See It Again and Again with that Supercalifragilistic Music! [re-release Australia 1976] See more » Genres: 11 September 1964 (Brazil) See more » Also Known As: Did You Know?

Trivia With five wins out of 13 nominations in total, this film marked Walt Disney 's single most successful night at the Academy Awards. Never before or since, as of 2016, has a single Disney film won as many Oscars in one evening. See more » Goofs When Mary Poppins is tidying the nursery, the pictures straighten, but in the next shot, they are still crooked. See more » Quotes [first lines] Bert : All right, ladies an' gents! Comical poem! Suitable for the occasion, extemporized and thought up before your very eyes! All right, 'ere we go! [sings] Bert : Room 'ere for everyone. Gather around. [speaks] Bert : The constable - responstable! Now 'ow does that sound? [no response] [dashes over to Miss Lark, sings] Bert : 'Ello, Miss Lark, I've got one for you. [...] See more » Crazy Credits In the end credit cast list, the actor playing Mr. Dawes, Sr.

is initially shown as NAVCKID KEYD, then the letters unscramble themselves to show that this is a second role played by Dick Van Dyke . See more » Connections Let's Go Fly a Kite (uncredited) I urge people to try it again. 14 December 1999 | by Spleen (Canberra, Australia) – See all my reviews `Tart', `not nearly so sentimental as The Sound of Music', `Disney's finest achievement' ... I'd read critics' comments like these with puzzlement. Had they seen the same film I had? Of course they had: it's just that someone had got it wrong; and as it turned out, it was me. I still think that anyone who calls `Mary Poppins' Disney's finest is being silly - Disney's finest hour was clearly the one that saw `Pinocchio', `Fantasia', `Dumbo' and `Bambi' - but what we have here is a fine, clever film, NOT overly sweet. What won me over was the ending. David Tomlinson changes from a mechanical banker to a human being with surprising fluency.

It's not any one scene: it's the entire extended sequence, from the run on the bank to the end credits. And it's not just Tomlinson's acting, either, but the long, lingering shots of him standing and walking in darkness, and a use of music that's far more sophisticated than I'd first supposed it to be, the general intelligence of the script. The last lines given to Mary Poppins I'd missed the point of the first time round. She's a riddle throughout the film which the film's conclusion partially, but only partially, unravels. Considered as a musical `Mary Poppins' lacks something. WHAT it lacks is revealed when we hear the Jane and Michael tramping around the house singing `Supercalifragilisticexpialidocious' (a great song, by the way) - and they GET THE TUNE WRONG. They get it wrong in exactly the irritating way that children WOULD get it wrong. This may be an inspired touch of realism, but it surely violates the ethos of musicals, as do the deeply pedestrian songs `Stay Awake', `Sister Suffragette' and `A Spoonful of Sugar'.

This was the side of `Mary Poppins' I'd remembered. I'd forgotten the haunting quality of `Feed the Birds' and `Let's Go Fly a Kite', and the punch of the score as a whole. So anyway, I'm now a convert. I can't find anything to seriously object to except Dick Van Dyke's ludicrous accent, which makes him sound almost, but not quite, like Bugs Bunny. 45 of 64 people found this review helpful. Was this review helpful to you? Yes 8 Things You Didn't Know About 'Mary Poppins' | The Huffington Post 8 Things You Didn't Know About 'Mary Poppins' 12/26/2013 12:27 pm ET | Updated Feb 25, 2014 180 Valerie Lawson Author P.L. Travers, the Australian author of Mary Poppins, was as mysterious and elusive as her creation -- the nanny who flew into the Banks' family household with her parrot-headed umbrella, a carpetbag and no nonsense method of magically making order out of chaos. Not long before Travers died, I wrote to ask her if we could meet in London.

She replied: "I don't like personal publicity but I'm willing to talk about my work any way you like." We never did have that conversation. By the time I arrived in London, she had died. But luckily, she left many clues, biographical articles, notebooks and letters, and if you look very carefully into the pages of the Mary Poppins books, a picture of Travers' life will emerge. Her story can also be read in the fictional characters of Mary Poppins. The daughter of the Banks household, Jane Banks, is based on Travers' own childhood while Jane's father, Mr. Banks, shares many of the characteristics of Travers' father, a bank manager. The tough love of the Great Aunt Travers' great aunt Ellie, whose real name was Morehead, inspired the character of Mary Poppins.

Ellie, a spinster who lived with her two little dogs in Sydney, was a martinet, carried a carpetbag and when children came to stay, she gave them lessons in etiquette, suffered no nonsense and instructed them to "Spit spot into bed!" Mary Poppins carried a carpetbag just like Aunt Ellie's but the nanny's bag became a magical carry-all that contained an apron, a packet of hairpins, a bottle of scent, a small folding armchair, a packet of throat lozenges, a large bottle of dark red medicine, seven flannel nightgowns, one pair of boots, a set of dominoes, two bathing caps, one postcard album, one folding camp bedstead, blankets and an eiderdown. The peg doll Poppins The original Mary Poppins didn't look at all like the pretty Julie Andrews in the Walt Disney film. The illustrations in the Poppins' books show the nanny with a turned up nose, shiny, painted black hair, small, bright blue eyes, rosy red cheeks and absolutely no curves at all. Her appearance was based on a wooden peg doll that Travers loved as a youth living in Australia.

The illustrator was Mary Shepard, the daughter of Ernest Shepard, illustrator of Winnie the Pooh. Travers took Mary Shepard on walks through Hyde Park in London, pointing out children as suitable models for the Banks children, Jane and Michael. The nanny is stranger than you know. Mary Poppins can speak to more than just the birds. She has conversations with a dog, a snake, sea creatures, the sun and the planets. In one of her adventures, she dances with the planets and is kissed by the sun. In the morning, she has a small burn on her cheek from the sun's kiss. Poppins wasn't just one book but many The first was published in 1934, a decade after Travers moved to England where she spent most of her life. The last, Mary Poppins and the House Next Door, was published in 1988 when Travers was 88. In the 1960s Travers sold the film rights to Walt Disney for £100,000 and was paid 5 per cent of the gross profits of the film that Disney made in 1964. The movie merchandising included Walt Disney's Mary Poppins books.

They out sold the real Poppins books 5:1. Jane Banks and P L Travers not only fed the birds, they became birds In Mary Poppins Comes Back, the second book in the series, Jane Banks refers to herself as a hen who has just laid "seven lovely white eggs and I am sitting with my wings over them brooding. Cluck-cluck!" As a child growing up in Queensland, Australia, Travers told her parents she could not come into the house for dinner as she was busy in the garden laying eggs. As an adult, she collected china hen ornaments. Why are Mary Poppins feet often shown in a turned out ballet position? Travers was a dancer when she was in her teens and although she wasn't trained as a ballet dancer she knew all the positions of the feet and she danced as Titania in a production of A Midsummer Night's Dream. Poppins has flown all over the world Mary Poppins has been translated into 17 languages. In 1968, Travers self published a Latin translation, titled Maria Poppina ab A ad Z. Why is the new movie starring Emma Thompson as Travers and Tom Hanks as Disney called Saving Mr. Banks?

In the Mary Poppins books, Mr. Banks is the patriarch of the family who is so obsessed with his working life that he doesn't have much time for his children. Travers believed that Mary Poppins came to the Banks family to save Mr. Banks from his unfulfilled life and to make him realize that family was his real priority. Travers' father was a bank manager who died when he was in his 40s of alcohol-related diseases. Travers, in turn, wished she could have saved her father from his own demons. Valerie Lawson is the author of Mary Poppins, She Wrote, the Life of P L Travers , published by Simon & Schuster. Close SUBSCRIBE TO & FOLLOW CULTURE SHIFT Every Friday, HuffPost's Culture Shift newsletter helps you figure out which books you should read, art you should check out, movies you should watch and music should listen to. Learn more Newsletter

Question: The Banks children are characters in which film?
Answer: Mary Poppins