Post by StevePulaski on Aug 9, 2011 22:48:06 GMT -5
Mel Gibson and The Beaver in The Beaver.
Rating: ★★½
Director Jodie Foster swears by it The Beaver flopped because it was a drama with comedic elements "and very often Americans are not comfortable with [that]." I think that is only a small part, if any part, of the reason why The Beaver under-performed at the box office. I think for one reason is people held a grudge against Mel Gibson during this time, and despised him enough not to see anything with his name on it. I, for one, said I wouldn't watch anything made by him, but then I came to my senses and learned to separate the character from the person.
Mel Gibson was obviously accused of allegedly hitting his girlfriend, and a number of tapes were released showing off his explicit rage. They were so bad, that The Beaver was victim to a place on the shelf for a while before being pushed back. That couldn't have helped its revenue.
Also, I think the true reason why this was neglected was the premise of the film. Honestly, it's hard to take a film seriously when the character communicates through a hand-puppet, let alone giving it a British-like accent. But I believe, when you're depressed, you find solace in the strangest of things. So the premise didn't bother me in particulair.
Walter Black (Gibson) is a severely depressed man who has alienated his family to the point of his wife (Foster) kicking him out, and his toy company on the verge of going straight in the ground. After a failed suicide attempt, Walter begins to communicate with/through a beaver hand-puppet, named simply "The Beaver." The Beaver has a British-like accent that differs from Walter himself to tell the difference between man and puppet.
Walter's family's response to the puppet is odd. The youngest, Stewart (Thomas), victim to bullying at school, enjoys the beaver, and feels that he can connect with his father this way as they begin to spend more time together. His wife's response is at first skeptical, but then comfort, as he sees Stewart enjoys the puppet. But Walter's eldest son, Porter (Yelchin) occupies a deep hatred for his father, and is in utter disbelief when his mom allows him back in the house with a puppet after kicking him out a day prior. He is disgusted, and outraged at his father's behavior.
The subplot is Porter writes essays for others for a charge at school. Porter's crush (Lawrence) wants him to write her high school graduation speech, and Porter accepts the challenge that also comes with a $500 fee. Porter desperately wants to get to know this girl, but she remains a closed book for most of the film.
No matter how serious this film wants to be, The Beaver can't help but have some unintentional comedy to its plot. Let's face it. It's humorous to say the least some of the scenes with this beaver puppet. There is several threesome scenes with Walter, his wife, and the beaver that are awkward and unnecessary. Even the film at times can't take itself seriously.
Mel Gibson steals the show. He definitely depicts depression realistically, despite having a beaver on his left hand most of the film. If anything, Gibson should be praised for playing this role with such power and believability. I doubt there is a standard for depressed middle-aged men that occupy a puppet for most of the film.
I can't believe Jodie Foster plastered her name all over this film. Foster has been in some serious blockbuster films, and to see her take a chancy move on a film that, I hate to say it, destined to fail because of its actor and plot is shocking. It's hard to believe that she would want to pursue this idea. I definitely respect her, but question her move. Her directing was fair, but it was shot with an arthouse feel. I think that is what The Beaver is supposed to be; an arthouse film. Maybe, in a few years, it will earn the reputation of The Room of being unintentionally funny. At least it gets a unique accolade.
Starring: Mel Gibson, Jodie Foster, Anton Yelchin, Jennifer Lawrence, Riley Thomas, Zachary Booth, and Cherry Jones. Directed by: Jodie Foster.