The idea of a guy talking through a puppet is inherently funny. Like many of you, I watched a lot of Full House and especially loved when Joey Gladstone brought out “Mr. Woodchuck” and would make wood-puns. The Beaver, however, is no laughing matter. Directed by Jodie Foster, it’s a story about a man’s inner turmoil and the lengths he will go to in order to shut himself off from the world. The puppet isn’t a prop for jokes; instead, it’s a sign of desperation. Despite having what many would consider a hokey premise, The Beaver turns out to be a sweet and effective movie, though little snags keep it from as great as it could have been.
Mel Gibson stars as Walter Black, a CEO whose mental state has spiraled out of control. Once a vibrant man, his ascension to the head of the toy company his father once ran has put so much pressure on him that he has slowly but surely checked out of reality. And no matter how many drugs he takes or therapeutic retreats he goes on, nothing can break him out of his haze. This withdrawal from everyone’s lives has affected his family, including his oldest son Porter (Anton Yelchin) who doesn’t want to be like Walter so much that he goes out of his way to make sure he writes down all his mannerisms, so he can eventually break himself of them. Eventually, his loving wife Meredith (Foster) has enough and kicks him out of the house. Dejected, Walter attempts suicide but fails, and when he wakes up, the beaver puppet he found in the dumpster has a life of its own. Speaking with a British accent, this beaver has decided to take over Walter’s life and help him get his stuff back into gear, acting as a therapist and a surrogate. Although Porter still won’t forgive his Dad, the beaver does eventually start changing Walter’s life for the better, helping his toy company and his relationship with Meredith and their youngest son Henry (Riley Thomas Stewart), but the real question lies in if the genuine Walter Black will ever return.
At its core, The Beaver is a psychological character study of a man who is on the brink of self-destruction and Mel Gibson gives a heartbreaking and honest performance as Walter Black. It’s tough for someone to make talking through a puppet seem like something crazy and almost sad, rather than goofy, but he makes it work. Black is such a sad and fascinating character; his personality split between himself and The Beaver is interesting and intellectually stimulating. Could a person in real-life develop such a depression where their only way to cope would be through another conduit? It’s like schizophrenia, but with an adorable beaver puppet thrown in. Gibson has gotten into a lot of trouble over recent years, but The Beaver should remind everyone why he became such a big actor in the first place. With any luck, this will begin his comeback.
Yelchin is equally powerful as Porter, who is struggling with becoming his father in both the way he acts and the physical mannerisms he uses. One can tell that the relationship with his father hurts him far deeper than he wants to admit, and there’s a subtle pain to his performance that is captivating. He also gets the B-plot in a blossoming romance with Norah (Jennifer Lawrence), a cheerleader with a perfect GPA that also has a more rebellious and artistic side shoved down within herself. They have good chemistry and the way they talk to each other feels somewhat authentic. Although there are moments where it feels cliche and the fact they fall for each other so quickly smacks of “we don’t want to want to waste a lot of time on the side-plot” style writing.
Keeping The Beaver powerful and moving despite having a hand puppet was a tough task, and there were moments where Foster slips up, especially towards the end when Black decides he wants his life back, and the two sides of his personality duke it out. It felt like I had seen it before dozens of times. This extends to some of the dialogue that reads as cheesy and unbelievable, making you cringe or roll your eyes while you think “kids don’t talk like that.”
I still wholeheartedly recommend The Beaver — despite its flaws with the tone and its struggle to keep the story from veering off into the realm of stupidity. The movie is effective and absolutely heartbreaking, with Gibson being undeniably wonderful. I know the idea seems goofy, but trust me; you won’t be laughing. And for once, that’s a good thing.
The Beaver starts its limited run May 6, 2011 and expands May 20, 2011.