The fact that Jodie Foster was brave enough to tackle on such a unique and risky screenplay as The Beaver should be applauded all on its own. The fact that she cast Mel Gibson in the main role was just plain smart.
The Beaver is a film about a toy executive named Walter (Gibson), who, despite his work with all things fun, is severely depressed, and has no idea of what his life has become. His son (Anton Yelchin) hates him, and is trying everything he can to shake off any and all traces of his father, and his wife (Jodie Foster) kicks him out of the house, unable to cope with the mess he has become. Walter's remedy for his depression becomes adopting a puppet beaver he finds in a dumpster as an alternate personality for himself. Odd, that it may be, Foster's direction and the truly great performances in the film elevate the silliness, to a certain extent.
The screenplay by Kyle Killen is brilliant for about 85% of the film. It treats its bizarre premise like one of those once-in-a-lifetime stories you see on the news; it sounds insane but it's treated with a straight-forward approach that gives the film earnestness, but also devastating heart. It lets the audience experience just as much confusion as the characters themselves, never knowing whether to laugh or to cry, and that ambiguity only strengthens the film, for me at least. Others might find the same aspect the films downfall. But then the story, both of Gibson's character and his sons becomes a little predictable, and the classic Hollywood uplift at the end doesn't quite fit the rest of the film, which balances comedy and drama nicely, but always with a sadly melancholy undertone. Foster's instinct as a director has the sensibility of the quirky indie-like plot but with the polish of a studio production, and it's all handled admirably well.
All the performances are great. From the adorable maturity of Anton Yelchin to Jodie Foster's performance of Walter's wife, desperate to understand his antics and treat him with the care he needs, the cast certainly make this movie what it is. None more so than Gibson, who commits so greatly to the role, that some might question how close to nature his character is to himself at this point. It certainly seems poignant and that was one of the reasons why Gibson is such a smart choice for this role. Another reason why is because he's fantastic. He let's us feel the pain and struggle for happiness that Walter is going through; the pawn in this allegory for isolation, that is otherwise written as relatively unrelatable character. He is funny at all the right moments and anguishing the next, and he pulls it off exceptionally. One might even say it's the best he's ever been. Whether that is the art or whether that is the life, you can decide. B
The Beaver is a film about a toy executive named Walter (Gibson), who, despite his work with all things fun, is severely depressed, and has no idea of what his life has become. His son (Anton Yelchin) hates him, and is trying everything he can to shake off any and all traces of his father, and his wife (Jodie Foster) kicks him out of the house, unable to cope with the mess he has become. Walter's remedy for his depression becomes adopting a puppet beaver he finds in a dumpster as an alternate personality for himself. Odd, that it may be, Foster's direction and the truly great performances in the film elevate the silliness, to a certain extent.
The screenplay by Kyle Killen is brilliant for about 85% of the film. It treats its bizarre premise like one of those once-in-a-lifetime stories you see on the news; it sounds insane but it's treated with a straight-forward approach that gives the film earnestness, but also devastating heart. It lets the audience experience just as much confusion as the characters themselves, never knowing whether to laugh or to cry, and that ambiguity only strengthens the film, for me at least. Others might find the same aspect the films downfall. But then the story, both of Gibson's character and his sons becomes a little predictable, and the classic Hollywood uplift at the end doesn't quite fit the rest of the film, which balances comedy and drama nicely, but always with a sadly melancholy undertone. Foster's instinct as a director has the sensibility of the quirky indie-like plot but with the polish of a studio production, and it's all handled admirably well.
All the performances are great. From the adorable maturity of Anton Yelchin to Jodie Foster's performance of Walter's wife, desperate to understand his antics and treat him with the care he needs, the cast certainly make this movie what it is. None more so than Gibson, who commits so greatly to the role, that some might question how close to nature his character is to himself at this point. It certainly seems poignant and that was one of the reasons why Gibson is such a smart choice for this role. Another reason why is because he's fantastic. He let's us feel the pain and struggle for happiness that Walter is going through; the pawn in this allegory for isolation, that is otherwise written as relatively unrelatable character. He is funny at all the right moments and anguishing the next, and he pulls it off exceptionally. One might even say it's the best he's ever been. Whether that is the art or whether that is the life, you can decide. B