THE BEAVER: a review by fog
November 19th 2011 18:46
The Beaver interviewed on NBC
I first thought this was going to be some lame comedy vehicle for Mel Gibson, but I was wrong. Certainly, it is a bizarre premise to base a film upon, particularly when it isn’t meant to be funny; a husband and father, whose family toy business is facing ruin, as is his marriage and relationships with his children, finds someone who can understand his dilemma and who agrees to take over his therapy, in fact be involved in every aspect of his life, making his decisions, even speaking for him, while trying to mend his relationships and his career.
Trouble is, that therapist is a hand puppet, a beaver hand puppet, and it takes control of his life much to the dismay and frustration of his wife, and astonishment of his workers and colleagues.
However, the beaver starts to get some good ideas, after finding some common ground with his youngest son; this then translates into a business idea that takes off.
With Gibson playing Walter Black, the father having the breakdown who is saved from suicide by the beaver, his long suffering wife Meredith, played by Jodie Foster, who also directed this picture, his oldest son Porter, played by Anton Yelchin and youngest son Henry, played by Thomas Stewart, this ensemble captures the dynamic s of a family that is well beyond tolerance, with the eldest son openly hating his father and the youngest, Henry, feeling abandoned, while Walter just keeps sinking lower into his depressive morass, until , while sorting out stuff after being asked to move out of the family home, he finds the beaver puppet.
Walter doesn’t throw the toy out, then, after a huge binge on the booze he tries to hang himself, unsuccessfully obviously, then, when he wakes up from the alcoholic stupor he finds the puppet is on his hand and it is giving him sage psychological advice, and suggests that he needs the beaver to help him negotiate his life.
The Beaver's therapy session
And so starts the bizarre relationship, where Walter himself stops speaking, mainly, and the beaver speaks for him, but, it is Walter speaking as the beaver...but it isn’t Walter speaking...Is this a trifle confusing? Basically, the clever part of this device is, they don’t make the puppet speak for itself, so the story stays within the bounds of reality, albeit Walter’s own reality has taken a big side step into left field.
Whatever one feels about the direction of this strange tale, it possibly being too conventional for such an unconventional idea, Gibson delivers a strong and measured performance that somehow has you accepting the ludicrous situation, while delving into the troubled world he only superficially reveals. It is an amazing performance.
But has Walter just gone bonkers? Most people think so, until, at work, Walter’s furry side kick manages to inject the necessary drive back into the company, and they begin designing a new toy, inspired from playing with his son Henry, which saves the company from ruin.
It has its downs, and more downs, and then some ups, but this film is far from the Hollywood feel good formula we are used to, which brings a refreshing and novel approach to the dark subjects of depression, loss of partner, loss of family and loss of self-esteem. The idea of disassociation is entertained in the puppet becoming a seperate entity used by the sufferer to cope with a life crisis, somewhat like a child's imaginery friend.
It is a curious way to investigate an otherwise unpopular subject matter.
I think with another director, this film may have reached greater heights; however, it is still well worth a look.
AVAILABLE FOR RENT OR PURCHASE FROM DECEMBER 7 2011
Image Credits and Permissions
All images copyright presumed that of Production Company and/or Distributor or Publisher, ALL RIGHTS RESERVED. Images used here for illustration of product for review purposes only. Low res copies not meant for redistribution.
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