Review of
"Big Fish" December 19, 2003
This is a film that may currently be under rated but
the passing of time will prove it to be very
thoughtful.
The fans of Tim Burton may be
disappointed with "Big Fish" and
yet they may not be. They may
be disappointed because this movie does not follow in the
same vein as his "Edward Scissorshands"
or "Beetlejuice" and
they may not be disappointed for
the same afore mentioned reason. We've seen a lot
of 'gal' films, now, "Big Fish"
certainly makes a bold step in expanding the definition of
'guy' films. Not dependent on car crashes, space ships nor
fantasy warriors and dragons, "Big
Fish" is the film for any guy who
has looked at his father as a hero, or for any guy who
has been a hero to his son.
This approach by Tim Burton is not a
total surprise. "Sleepy Hollow", "Mars
Attacks" and "Planet of The
Apes" although may not have been well received
by the critics, did show an increasing maturity in his
filmmaking style. The script of "Big Fish"
just happened to have been the right vehicle at the right
time for Burton to do. There is some of his
signature imprint in the movie but it is minimal
and only apparent if you are very familiar with his
previous work. Do not make the mistake of viewing
"Big Fish" as a 'quirky' character movie
for it is not, it works on a far deeper level than that.
The basis for the film script
was the Daniel Wallace novel "Big Fish,
A Novel Of Mythic Proportions". William
Bloom while growing up constantly heard the tall tales of
his father Edward Bloom. Edward is now dying and his
son William wants reconcile their relationship.
Edward's life is told as a series of remembrances rather
than in a straight linear fashion.
Although the structure of the novel does
not lend itself to a movie, what is transformed to the big
screen is the unique aspect of the mystical South,
something that has not been favorable portrayed
either in the cinema or on television for several
decades. This is the perfect setting for the telling of
Edward Bloom's life and probably could not happen any other
way. Of course not everything in the novel could make
it to the big screen. The circus in the movie is use to
emphasize what is in the novel of Edward Bloom's trials and
obstacles. Somewhat different but author Daniel Wallace
seems pleased with the outcome.
Refreshing also is the overall portrayal of the characters.
They appear dimensional and true to themselves,
believable in their own right (and our cousins from the
British Isles seem to do this well for some reason)
rather than as a vehicle for social commentary or as a
crude comedic conveyance. Even if you think a
character is kind of quirky at the beginning of the
movie you may find yourself in the
wrong by the end.
The film is one that is built upon subtlety, a layer of
subtlety upon layer of subtlety, an allegorical tapestry that builds to the end. The
various elements work together in some surprising
ways. Situations and characters are introduced
and become intertwine and yet never cross the line
where you lose the believability.
|
With great subtlety
many elements of "Big Fish" serve as
allegorical signposts within the story.
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The movie opens (with credits) with a
scene under water showing catfish swimming in the
river. There's a narration from Edward talking about the
'on day you were born' , the scene cross fades to
young 3 year old Will (played by 5 year old
Jonathan A.
Jackson) in bed listening with wonder to his
father (Ewan McGregor) tell a bed time story. We
get a sense of how magical the stories are in their
relationship, of how enraptured William is with his father.
This is seen again when 7 year old Will (played by 6 year
old
Grayson
Stone) ask to hear the story about the witch.
Yet the stories fail, as he becomes older Will becomes
embarrassed by them, even resentful and this sets the stage
for the relationship between Edward (Albert
Finney) and William (Billy Crudup) through out the rest of
the film.
The tone of the movie is set in the first few minutes also.
For the scenes set in present day with Albert Finney and
Billy Crudup, the mood is more straight forward or reality
based in it's look. For the tall tales of young Edward,
the look and mood changes, it becomes more stylized in it's
look and pace, and somewhat more stylized in the
acting which is aptly handled in these scenes by Ewan
McGregor. This stylized approach may be viewed 'kind of
quirky' by those who seeking mere escapist fare when
actually it is an editorial tool use to subtly focus
and intensify the needs of the story. When young Edward
is starting out in life, the style and manner is a bit more
overt in it's presentation of the story. As Edward
progresses in life, the style changes and reduces in
extremes. It places different an emphasis in order to
convey different aspects of Edward's life. When Edward is
trying to woo his love, Sandra Templeton, the broader,
overt style of the characters is reduced and what is
intensified is the lighting and texture, through the
cinematography of Philippe Rousselot, of the scene,
a
glowing to reflect Edward's love for Sandra. As
Edward's life continues to present day this stylization is
reduced to finally at the piano teacher scene we see the
real Edward Bloom, and the McGregor portrayal here is a
bridge to the Finney portrayal.
As with most films the story has conflict and this time it is
conflict within Edward's son William. Will is angry
and resentful with his dad and projects this
into the situation, yet as with any child he's seeking
an acceptance and love by the parent (there's no age
limit, adults in their 70's seek this from their 90 year old
parents). William's attempt to reconcile with his father
Edward hasn't worked out to his satisfaction. At a
point in the story, William discovers an unknown aspect of
his dad, something that a tall tale may not cover up,
something that could justify his resentment of all these
years. When investigating he discovers that a tall tale
might be a little bit too real after all. And when
William is expecting the worst he discovers a real side of
Edward Bloom, a real aspect known only up to that point by
the piano teacher. William returns to the Bloom house
in a state of failed eschatology, as it were, to re-examine
his life long view of his father.
Yes, Edward Bloom does pass away. William does
reconcile their relationship, not on his long sought
after terms, but instead on his father's terms.
William is able to again return to that state when he could
view his father with the same love, wonder and magic as
when he was 3 years old listening to story of the day
he was born.
-Reviewed by Paul Godbey, Copyright 2003, all rights
reserved. Images copyright 2003 by Columbia Pictures.
"Big Fish" Columbia
Pictures 2003
2 hours, 5 minutes long
Drama
From the novel by Daniel Wallace
Screenplay by John August
Directed by Tim Burton
Filmed in Montgomery and Wetumpka, Alabama, additional
scenes filmed in Paris, France
Rated PG-13 for some bad language, a fight scene
and
some nudity.
