The Whale
The Whale
Starring Brendan Fraser, Sadie Sink, Hong Chau, Ty Simpkins
Directed by Darren Aronofsky
Starring Brendan Fraser, Sadie Sink, Hong Chau, Ty Simpkins
Directed by Darren Aronofsky
When it was revealed that Brendan Fraser was coming out of self-imposed retirement after a horrifying event that occurred to him years ago, the Internet was ablaze with praise for the former "The Mummy" star to return to the big screen. When it was revealed that his role was going to be a 600-pound man, the Internet again praised him for his courage and dedication, as the actor himself underwent serious weight gain after the event. When "The Whale" was released, the Internet yet again praised his performance as one of the best performances they've ever seen. Yet when the critics got to it, they lambasted the film in a wholly unfair manner, waxing philosophical and pandering to their own sense of self-guilt about how they treat other people, claiming the film is an exploitation of fat people and Darren Aronofsky just wanted to parade Fraser on screen in a fat suit to garner sympathy and even elicit laughs, playing to the "at least it's not me" motif. To those critics I have some very harsh words indeed, but I cannot utter them here because I don't swear on my blog, but after witnessing this extraordinary, exemplary, one-of-a-kind film, I was not just moved to tears, but spellbound, blown away by the performance of not just Fraser, but the entire cast. It's a film that's deeply personal, deeply thoughtful, and deeply performed with a deep heart behind it, and while it takes place in the confines of one small apartment, its themes and dialogue are so expansive it could fill a whole universe.
Charlie (Brendan Fraser) is a 600-pound man confined to living in his dreary apartment, working as an English language professor through Zoom calls to his students, but keeping his camera off so they don't see his appearance. He was once married to Mary (Samantha Morton) and fathered a daughter Ellie (Sadie Sink), but he felt like he was living a lie, and eventually left his wife to be with the man he loves, Alan. After Alan passed away, Charlie succumbed to overeating which landed him in his predicament, but he never harbored ill feelings toward his current predicament, but continually set out to improve other peoples' lives. Be it his nurse Liz (Hong Chau) who is also his only and best friend who has her own inner demons she's dealing with, or traveling missionary Thomas (Ty Simpkins) who wants to save Charlie's soul but also has his own issues he's dealing with, or especially mending fences with his estranged daughter Ellie, who appears to want nothing to do with him and only hangs out because he offers her money. Through the events of a week, he sets out to make their lives better and to show true compassion despite his own inner turmoil.
When it comes to putting play productions to the big screen, it's a daunting task, because you're not given the liberty of expansive worlds to play in or magnificent effects to tell a story - instead you're given the restraints of one setting, with no CGI effects, and only the power of the performers and the art of the story to deliver its hard-hitting message. Films like "Fences," "Ma Rainey's Black Bottom," and "Doubt" managed to overcome the visual obstacles and deliver powerful, memorable, messages told through the cast, and "The Whale" easily joins that elite membership. Even though the film takes place in the confines of a stuffy, dreary apartment, its messages, themes, and overarching character studies resonate deeper than epic dramatic tales and leaves you utterly and completely spellbound and shattered (in a good way) by the end of it.
Darren Aronofsky utilizes the fact that "The Whale" was based off a play written by Samuel D. Hunter in the fact that not only does he keep the film confined to the apartment, but uses the box 1.33 aspect ratio that forces you to become a part of the film. There's nowhere to go, no brevity in what you're witnessing, and it's almost claustrophobic in how tight and cramped the screen is - which only adds to the emotional heft that the story portrays. Much like Charlie can't escape his physical prison, you can't escape the story being told, and it hits you in a very visceral way that burrows in your very soul and leaves a lasting impact.
Much has been said about Brendan Fraser's performance, but nothing compares to beholding his performance on screen. From the first moment you see him you're drawn to his character and his plight, because you know that he didn't set out to be a 600-pound man, but you know it's due to some traumatic event in his life that led him to that moment. Generally no one wants to be an obese person, and through mental disorders and traumatic life events people turn to food for comfort, and that's the case in Charlie's life. He's been through the ringer more than once, and it's too simple to say it's because he lost his partner - it's way deeper than that, and going into it would delve into spoiler territory, which I won't do. This is a film that demands to be seen, and to know as little about it as possible to garner the desired effect. I pride myself on knowing what's coming next as most films offer clues to it, but more than once I was left flabbergasted by the turns that the film takes, leaving my jaw on the floor as a tear rolled down my eye on more than one occasion. This is due in no small part to Fraser's performance, as he obviously channeled his own past trauma to the tale in a way that goes deeper than his vocal performance.
You'd think a man like Charlie would wallow in self-pity and despair, but instead he spends his week finding hope and comforting those around him. He's been through literal hell and he wants to see the good in everyone else, because what else is life for if not noticing the good in everything? While his physicality was obviously stinted due to the prosthetics (which, in all honesty, needs its own level of praise), his eyes alone delivers volumes, as his eyes always show compassion to the people around him and the situations they find themselves in. It's not to say that the entire film is a downer - quite the opposite really - it's a tale of the hardships of life and yet through it all showing forgiveness, compassion, grace, and positivity.
As much praise has been heaped at Fraser's lap (and seriously if he doesn't win the Oscar I'll literally cry), the same praise can be heaped at the feet of every single cast member in this tour-de-force film. Hong Chau has had a tremendous year coming off "The Menu," and here she plays Liz with such voracity and gusto that you're left enraptured. Liz is Charlie's caretaker and best friend, but her story goes much deeper than that - she's the voice of reason, begging Charlie to go to the hospital, but he doesn't go because he's worried about the cost (something not unheard of, as the American medical system is completely broken, not to mention the disdain that doctors show obese patients in general), and she sets out to make his life as comfortable as possible. The two have a strong rapport with one another and it's enjoyable to see their interactions and light-hearted jabs (when she gets him an extra-large wheelchair, she makes the "beep" sound as he backs into it, and while it could've been seen as cruel by other characters, here it's a sign of love), and Chau literally nails her performance and will have you laughing tears one moment, then crying tears the next.
"Stranger Things" standout Sadie Sink also shines as Charlie's estranged daughter Ellie, who also has multiple layers to her performance, and also should be praised for how she delicately traversed her character's arc. Though she comes off as the typical cynical teenager who hates her father and constantly berates him, calling him all sorts of names, she is only doing so because she's masking a deeper hurt about Charlie leaving her at a young age, and it's something that Charlie notices. He takes the abuse and instead focuses on the good things that she does, even as she mentally beats him down. Sink owns the role completely, and totally tears your heart out in the process.
Ty Simpkins (best known for his roles at a younger age in "Jurassic World" and "Iron Man 3") proves that he has the acting chops to make it to the big leagues as Thomas, a traveling missionary who finds Charlie at the exact right time, and sets out to save his soul from eternal damnation. While this is the base story, there's so much more to Thomas's character than meets the eye, and Simpkins - like everyone else - nails it, showing both the compassionate side of Christianity as well as the hypocrisy, both in equal measure, and both proving why he performed it so well. Even the always-amazing Samantha Morton gives a powerful short performance as Charlie's ex-wife, and Sathya Sridharan who plays a pizza delivery guy named Dan has his own moment where you're left speechless.
Yet the film is Fraser's to command, and he does so with a depth that's deeper than the words translated from page to screen. He gives a revolutionary, once-in-a-lifetime performance that will stick with you years after seeing it, and his powerful message resonates loud and clear. It's not a comfortable film to watch (especially near the end), but it's one that needs to be seen, to be appreciated, to be valued as the cinematic work of art that "The Whale" is - no matter what the cynical critics say. To me, at least, it's a masterpiece that delves into deep issues like grief, religion, and what can truly save a person - if anything.
The Score: A+
Charlie (Brendan Fraser) is a 600-pound man confined to living in his dreary apartment, working as an English language professor through Zoom calls to his students, but keeping his camera off so they don't see his appearance. He was once married to Mary (Samantha Morton) and fathered a daughter Ellie (Sadie Sink), but he felt like he was living a lie, and eventually left his wife to be with the man he loves, Alan. After Alan passed away, Charlie succumbed to overeating which landed him in his predicament, but he never harbored ill feelings toward his current predicament, but continually set out to improve other peoples' lives. Be it his nurse Liz (Hong Chau) who is also his only and best friend who has her own inner demons she's dealing with, or traveling missionary Thomas (Ty Simpkins) who wants to save Charlie's soul but also has his own issues he's dealing with, or especially mending fences with his estranged daughter Ellie, who appears to want nothing to do with him and only hangs out because he offers her money. Through the events of a week, he sets out to make their lives better and to show true compassion despite his own inner turmoil.
When it comes to putting play productions to the big screen, it's a daunting task, because you're not given the liberty of expansive worlds to play in or magnificent effects to tell a story - instead you're given the restraints of one setting, with no CGI effects, and only the power of the performers and the art of the story to deliver its hard-hitting message. Films like "Fences," "Ma Rainey's Black Bottom," and "Doubt" managed to overcome the visual obstacles and deliver powerful, memorable, messages told through the cast, and "The Whale" easily joins that elite membership. Even though the film takes place in the confines of a stuffy, dreary apartment, its messages, themes, and overarching character studies resonate deeper than epic dramatic tales and leaves you utterly and completely spellbound and shattered (in a good way) by the end of it.
Darren Aronofsky utilizes the fact that "The Whale" was based off a play written by Samuel D. Hunter in the fact that not only does he keep the film confined to the apartment, but uses the box 1.33 aspect ratio that forces you to become a part of the film. There's nowhere to go, no brevity in what you're witnessing, and it's almost claustrophobic in how tight and cramped the screen is - which only adds to the emotional heft that the story portrays. Much like Charlie can't escape his physical prison, you can't escape the story being told, and it hits you in a very visceral way that burrows in your very soul and leaves a lasting impact.
Much has been said about Brendan Fraser's performance, but nothing compares to beholding his performance on screen. From the first moment you see him you're drawn to his character and his plight, because you know that he didn't set out to be a 600-pound man, but you know it's due to some traumatic event in his life that led him to that moment. Generally no one wants to be an obese person, and through mental disorders and traumatic life events people turn to food for comfort, and that's the case in Charlie's life. He's been through the ringer more than once, and it's too simple to say it's because he lost his partner - it's way deeper than that, and going into it would delve into spoiler territory, which I won't do. This is a film that demands to be seen, and to know as little about it as possible to garner the desired effect. I pride myself on knowing what's coming next as most films offer clues to it, but more than once I was left flabbergasted by the turns that the film takes, leaving my jaw on the floor as a tear rolled down my eye on more than one occasion. This is due in no small part to Fraser's performance, as he obviously channeled his own past trauma to the tale in a way that goes deeper than his vocal performance.
You'd think a man like Charlie would wallow in self-pity and despair, but instead he spends his week finding hope and comforting those around him. He's been through literal hell and he wants to see the good in everyone else, because what else is life for if not noticing the good in everything? While his physicality was obviously stinted due to the prosthetics (which, in all honesty, needs its own level of praise), his eyes alone delivers volumes, as his eyes always show compassion to the people around him and the situations they find themselves in. It's not to say that the entire film is a downer - quite the opposite really - it's a tale of the hardships of life and yet through it all showing forgiveness, compassion, grace, and positivity.
As much praise has been heaped at Fraser's lap (and seriously if he doesn't win the Oscar I'll literally cry), the same praise can be heaped at the feet of every single cast member in this tour-de-force film. Hong Chau has had a tremendous year coming off "The Menu," and here she plays Liz with such voracity and gusto that you're left enraptured. Liz is Charlie's caretaker and best friend, but her story goes much deeper than that - she's the voice of reason, begging Charlie to go to the hospital, but he doesn't go because he's worried about the cost (something not unheard of, as the American medical system is completely broken, not to mention the disdain that doctors show obese patients in general), and she sets out to make his life as comfortable as possible. The two have a strong rapport with one another and it's enjoyable to see their interactions and light-hearted jabs (when she gets him an extra-large wheelchair, she makes the "beep" sound as he backs into it, and while it could've been seen as cruel by other characters, here it's a sign of love), and Chau literally nails her performance and will have you laughing tears one moment, then crying tears the next.
"Stranger Things" standout Sadie Sink also shines as Charlie's estranged daughter Ellie, who also has multiple layers to her performance, and also should be praised for how she delicately traversed her character's arc. Though she comes off as the typical cynical teenager who hates her father and constantly berates him, calling him all sorts of names, she is only doing so because she's masking a deeper hurt about Charlie leaving her at a young age, and it's something that Charlie notices. He takes the abuse and instead focuses on the good things that she does, even as she mentally beats him down. Sink owns the role completely, and totally tears your heart out in the process.
Ty Simpkins (best known for his roles at a younger age in "Jurassic World" and "Iron Man 3") proves that he has the acting chops to make it to the big leagues as Thomas, a traveling missionary who finds Charlie at the exact right time, and sets out to save his soul from eternal damnation. While this is the base story, there's so much more to Thomas's character than meets the eye, and Simpkins - like everyone else - nails it, showing both the compassionate side of Christianity as well as the hypocrisy, both in equal measure, and both proving why he performed it so well. Even the always-amazing Samantha Morton gives a powerful short performance as Charlie's ex-wife, and Sathya Sridharan who plays a pizza delivery guy named Dan has his own moment where you're left speechless.
Yet the film is Fraser's to command, and he does so with a depth that's deeper than the words translated from page to screen. He gives a revolutionary, once-in-a-lifetime performance that will stick with you years after seeing it, and his powerful message resonates loud and clear. It's not a comfortable film to watch (especially near the end), but it's one that needs to be seen, to be appreciated, to be valued as the cinematic work of art that "The Whale" is - no matter what the cynical critics say. To me, at least, it's a masterpiece that delves into deep issues like grief, religion, and what can truly save a person - if anything.
The Score: A+
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