Review of "Big Fish" December 19, 2003

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 Scissorhands" 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.

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.

"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.