Darren Aronofsky is a director who, in my eyes, has never missed. Even the least celebrated of his work shows an intensity of vision or pure filmmaking bravura that cannot be denied. Five years after MOTHER! – the most controversial film of his career (which I loved) – he’s back in Venice competition with THE WHALE, an intimate, gripping chamber piece brimming with insight and compassion. It’s a far cry from the splashy sensory overload of REQUIEM FOR A DREAM or THE FOUNTAIN, but the craftsmanship and performances on display are no less impressive. The perfect track record stands.
Set inside an apartment in rural Idaho over the course of five days, the film revolves around Charlie (Brendan Fraser), a morbidly obese man whose heart is about to give out. We meet Charlie in a medical emergency where he’s saved by a young missionary named Thomas (Ty Simpkins) who happens to be knocking on his door. They’re soon joined by Charlie’s one good friend Liz (Hong Chau), who finds that his blood pressure has reached fatal heights. Instead of the spiritual guidance Thomas offers or a hospital visit requested by Liz, Charlie wishes only to reconnect with his teenage daughter Ellie (Sadie Sink), whom he hasn’t seen since he left her and her mother Mary (Samantha Morton) to be with a male lover years ago. Over the next days, we’ll learn more about each of these five characters as they confront and interrogate one another – about love, faith, and what matters at the end of a life.
The screenplay by Samuel D. Hunter, adapted from his own play, is a tremendous piece of writing. It describes in detail what it’s like to be so large you have trouble standing up, can’t pick up anything without the help of tools and need all kinds of apparatus just to get through the day in your own home. It asks you to consider the psychology of someone who’s pitied or found repellent by everyone they come in contact with. And it makes you wonder what could have driven someone to treat their body in a way that’s no longer indulgent but actively abusive. With each new revelation you get closer to the protagonist and can better see the world through his greatly compromised but no less human perspective.
The ensemble cast is outstanding. To my eyes, the prosthetics on Fraser don’t always look convincing, but his performance never rings false. It’s not just adopting the physicality of a plus-plus-sized person either, it’s the emotional transparency he brings that truly shines. Whether in scenes of accusation, rebuke or admission, his face gives you open access to Charlie’s innermost turmoil. And the few scenes of levity he also delivers with brilliant deadpan, adding further substance to the characterization. Chau and Sink are both superb in their sizable supporting roles. The former is soulful and earnest while the latter provides much of the film’s comedic relief. Morton only shows up for one big scene but leaves a huge impression through the sheer force of her presence. While Aronofsky’s direction keeps finding ways to open up the limited set, there are still times when a scene would appear somewhat “stage-y”. Every time that happens it’s the cast that turns the stiffness around with the rich humanity of their performances.
Thanks also to the grungily seductive cinematography by Matthew Libatique and the brooding, ominous music by Rob Simonsen, THE WHALE captivates from start to finish. For a film that has one set and stars an actor who’s barely mobile, that’s a remarkable achievement however you slice it.
At a festival that has already given us films about egomaniacal female conductors, romantic cannibals, white-supremacist-turned-gardeners, and a 600-pound spectacle of a man, can a story about “normal”, reasonably attractive people even compete? Turns out it can. As always, the job of supplying the most sophisticated love story between mortals went to the French. In this case to Rebecca Zlotowski and her moving, deeply perceptive competition entry OTHER PEOPLE’S CHILDREN.
The story centers around Rachel (Virginie Efira), a Parisian teacher who seems to have found the man of her dreams with Ali (Roschdy Zem), a kind, generous designer also in middle age. If there’s one catch it’s that Ali has a 5-year-old daughter Leila with his ex-partner Alice. But all parties involved are willing to do their best to make the new situation work, so this could end happily for everybody, right?
Indeed, the first hour of this film goes by almost like a romcom, with Rachel enjoying every minute with her new beau and embracing Leila as her own. The only hint of conflict comes when Leila innocently asks her father why is Rachel at their place all the time, and demands to see her mother before a weekend trip with Rachel is up. Well-made but rather conventional, I thought. A little petty even, to build dramatic tension on a child’s natural response. Imagine my surprise when, in its final act, the film brings all the carefully scattered clues together to reveal a heartbreakingly wise take on that ever-elusive thing called love. As much as it is about finding and hanging on to one’s other half, love’s also about wanting the best for them and their loved ones. When the time comes, it’s about letting go.
Zlotowski’s script constructs a beautiful emotional arc for Rachel based on her relationship with Leila. There’s genuine affection from the start, but also a little bit of jealousy, hurt and perhaps even resentment on the part of the eager stepmom who’s running out of time to have children of her own. But when she finally bids goodbye to the little girl, you know love’s all that’s left. Efira kills that last half-hour, playing a woman going through numerous painful realizations. Some of the emotions she needs to convey are so subtle there are probably no words for them, but with the faintest smile or an imperceptible pause, she makes you feel every last one of them. Let’s just say Madam Blanchett’s road to that Coppa Volpi will not be without contest.
As this film persuasively suggests, the saddest things in life are often nobody’s fault. The best we could hope for as we stumble from one disappointment to the next is to make some memories along the way that can get us through the rough patches. While we don’t know whether Efira’s character has found happiness as she strolls down a busy street in the film’s charmed open ending, the easiness of her step tells you she’s ready for whatever may come.
89 metacritic Banshees 16 reviews, 82 Living, 84 One fine morning, 72 The Wonder. Could be a fine awards season for the Irish.
Shane MacGowan would drink a toast to that! (Or anything, for that matter.)
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I look at this, and all I can think of is a What’s Eating Gilbert Grape vibe.
I think we have the following clear frontrunners already (far and away from competition)
Actor: Fraser
Actress: Blanchet and Yeoh (toss up on who might win… Cate for a 3rd or Yeoh for her overdue). Robbie might make things even closer.
S. Actor: Ke Huy Quan (seriously, how he’s not in the tracking?)
S. Actress: no frontrunner yet.
I think 1-3 of them might win the Oscar.. but I doubt all of them may lose.
(by the way, worry for “Don’t worry darling” as reviews just aren’t good)
Yeoh has no chance, except with critics, because it’s nothing but a Marvel film in disguise.
If the film is, as you say, a Marvel film in disguise I’d rather affirm that it has no chance with critics and the industry awards would be the exception.
Won’t make a prediction but she has the narrative and the box-office with her.
Didn’t like the film, but wouldn’t mind if she won.
There are haters of Everything Everywhere out there and Chase is one of its most vociferous opponents. Chase has clearly targeted Everything Everywhere for hate this award season. It doesn’t matter that his comments are contradictory or make no sense whatsoever.
Oh, thank you ever so much for designating my assignment with such clear efficacy! What would I ever do without you?
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I feel sorry that you think anything with a bit of action and humor in it, is a mainstream MCU film nowadays… it’s a really complex meditation on depression, grief, and self-destruction, among other themes running throughout the frames… and with a big, pumping heart fuelling it, and a twist on Hollywood’s mainstream (and MCU’s) climaxes through big, epic fights, resolving the film in kindness rather than violence.
“…t’s a really complex meditation on depression, grief, and self-destruction”
Why yes, it’s practically Bergmanesque!
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once more… it is sad you just refuse to see beyond surface and sneer at the efforts of artists.
I regularly applaud great artists like Wes Anderson, Paul Thomas Anderson, Robert Eggers, Terrence Malick, and The Coen Brothers just to name just a few. Somehow, I don’t think MOMA will be doing a career retrospective on Daniels years from now.
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given how unique Swiss Army Man and Everything Everywhere All At Once (and the rich subtext and complex delivery of messages, ideas and themes) are, I’d say we should wait and see how things develope.
Not to suggest anything but I just observed that you seem to almost be enthusiastically expecting some filmmakers – who attempt to do something different – like Shyamalan, Peele and the Daniels, to fail and fall in oblivion… I wonder if they have something in common?
well, your inability to actually “get” a film has plenty of YouTube analysis as sollution, to help you get sorted on that weakness.
Elvis has wowed audiences for the most part and made $150 million with everybody who has seen it singling out Butler as extraordinary. That’s a big deal and huge narrative. Fraser is far from the frontrunner.
I may see Elvis today (heard it debuted on HBO Max in Spain, will see if that’s true, and then check it out). Fraser is – has been – the clear frontrunner since the project was announced, honestly. The glowing raves he’s scoring even from critics that didn’t like the film, just underline how much he seems to have the wins in the bag already… he may sweep Awards season all the way to Oscar. It specially helps, that he’s considered – always been – a really nice guy, who has earned a lot of sympathies because of the tragedy in his life, and that he’s always been an underrated actor (who probably should have been nominated as supporting at least once, for the awesome “Gods & Monsters”) that could actually do any genre (and had always an undeniable charisma).
What I fear is that his narrative in Lead and Ke Huy Quan’s in Supporting are really similar – plus their performances are equally raved, both being the emotional core of their films – and they may end cancelling each other out. So far, I am confident that they won’t and both can actually win Lead and Supporting respectively… but of course, still months to see what happens.
Whoa. Blanchett is a favorite. Way too early. Several films have not been seen, that have A list stars. Possible rising stars Ackie or Deadwyler.
If they can give McDormand 3 Oscars, they certainly can give Cate the Great a trio of statues, considering she can act congruent circles around McDormand.
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They call it Blanchett’s magnum opus and that makes her a favorite, no doubt.
That standing ovation for a teary Fraser. The good will is there, and unlike Rourke and Murray, Fraser is somebody who has faced big challenges but is a known to be a good guy. He already has the narrative, the acclaim, and he has the good will. This is the closest we have to a safe bet for the win.
There doesn’t seem to be much competition from the films seen. Are there big films with potential big lead actors coming up this fall? If there isn’t, then it looks like the spaced has opened up perfectly for Fraser.
But what about the Prizes of Venice Film Festival? Looks like that so far:
– Golden Lion / Silver Lion – Grand Jury Prize: Tár vs. All the Beauty and the Bloodshed
– Silver Lion – Best Director: ??? (maybe Hogg?)
– Best Actress: Blanchett vs. Efira
– Best Actor: Darín vs. Fraser
– Best Screenplay: ???
– Jury Prize: ???
– Marcello Mastroianni Award for most promising Actor: Taylor Russell vs. Sam Nivola (maybe vs. Leonardo Maltese, Zen McGrath? – there ar not so many promising actors, the jury could also pick Kagame & Malanga from Saint Omer, their body of work is limited)
If No Bears is remarkable I’d say it’s going to win something big, Panahi’s been imprisoned after a demonstration in support of director Rasoulof and quite often festival juries tend to make a political statement with their choices.
The Banshees of Inisherin seems to be a hit – starting off with 89 with 4 reviews.
Are some people going to complain that Brendan Fraser took work away from real morbidly obese people ?
And I read he did the part with no prosthetics, which is truly mind-blowing.
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which would be even scarier. If a person is willing to gain about 400 pounds to do a movie role, don’t you think things have gotten a bit out of hand.
What will the next desperate actor do?
“Billy Zip, in a role of a lifetime, underwent a heart transplant on film in a cinematic first. ‘I wanted to capture the essence of the medical procedure’ said Zip. Zip wrote, directed and starred in this independent feature, A Change of Heart.
Christian Bale*
Well, tell that to George Zip…
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There are very few 600lbs actors that I’m aware of…
Christian Bale took work away from sloppy chunky actors with bad hair with American Hustle.
From the reviews, Fraser and the Make Up are locked up already for nominations and frontrunners for the win. Picture, Director, Adapted Screenplay, maybe Production Design seem to be possibilities, but Supporting Actress has too much internal competition (3 contenders fighting each other, and every review seems to differ who’s the stand out) to be a clear contender.
Worst case scenario: nominations, no wins for Fraser and Make Up
Best case scenario: Picture, Director, Actor, Adapted, Production Design, Score?, Make Up nominations and wins for Actor and Make Up. 7-2
(i can’t see this one winning Picture or Director)
Sadie Sink will be nominated for SA, Count on it. She’s the new Emma Stone.
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Agreed, it’s a play for Fraser first and foremost. I’m not seeing anything praising the production design and I’ve read mixed feelings on the score. Here’s how A24 should play it:
Pic – EEAAO
Director – EEAAO
Actress – EEAAO
Actor – Whale
Sup Actor – EEAAO
Sup Actress – Whale
Original Screenplay – EEAAO
Adapted Screenplay – Whale/Marcel the Shell
Adapted will be marked by the overall critical reception of The Whale. If they feel that they have a shot to earn a Director and Picture nomination, they will sideline Marcel to just Animated (which they may win as well). It’s odd but A24 has a great shot to actually almost sweep the top 8 this year (only Supporting Actress I see as difficult as they have 5 possible nominees for 2 films: Hsu, Curtis, Morton, Sink and Chau)
Directing branch don’t like Plays adaptations i think screenplay and Fraser and makeup a chamber piece can’t win BP
Surprised to see The Whale is divisive, but glad that all enjoy the performances. Bring it on.
I think the divisiveness is due to the fact that critics were expecting a typical challenging film from Aronofsky and instead got a straight forward drama. At least based on the few reviews I’ve seen.
Totally agreed
Aronofsky is a divisive auteur but yeah