'Big Fish' review by Jake Boyle
Tim Burton is an irritating kind of film-maker because he's obviously talented and has made some excellent films, which causes his (not infrequent) failures to be all the more upsetting. The man's got an iconic sense of style but often seems afraid to step outside his comfort zone, marring a record containing Batman and The Nightmare Before Christmas with recycled nonsense like Dark Shadows and Alice In Wonderland. I've had numerous experiences with Burton where I've watched a perfectly decent film, but still felt let down because I was expecting something revelatory.
Luckily, Big Fish was not one such film. I think a major reason for this is because the film's narrative suits Burton's storytelling style whilst simultaneously reigning him in. The exaggerated anecdotes told through flashbacks allow Tim to get quirky and over-the-top, showcasing his imagination and penchant for striking visuals, but all the scenes set in reality curb any self-indulgence and make sure that there's a genuine emotional thread through the movie. There's further straying from familiar territory with the total absence of Johnny Depp and Helena Bonham Carter only appearing in a small role. Burton's coaxed good performances out of these actors before but by utilizing a cast he's less accustomed to working with, the director yields fresher results - Ewan McGregor exudes charm and wit as the young father and Albert Finney wholly fills the role as the older version. Steve Buscemi gives a nicely droll performance but the role doesn't make the most of the man's talents; even more so for Jessica Lange and Marion Cotillard.
There's certainly no wasting of the story's drama, though. The family dynamic is played out almost beautifully, a blend of love and frustration made evident through Billy Crudup's pained expressions, dialogue that feels like the characters are stifling and repressing what they want to really say, and when the tension fades away in the film's final scenes it's both uplifting and poignant. The comedic moments aren't quite as strong, but the weirdness of the set-ups (carnival freakshows, Stepford-eque hidden towns and impromptu bank robberies) mean that even in the moments when the movie fails to be funny, it is at the very least incredibly interesting. The wholly valid criticism that parts of the film just seem ridiculous can be countered by acknowledging that the exaggeration is not only wholly intentional but a crucial plot point, but while certain elements (10-foot giants and Korean war heroics with Siamese twins) are obviously and playfully far-fetched, the character's dogged and obsessive pursuit of romance comes off as somewhat unsettling whether real or imagined, and whether or not something is intentional becomes something of a moot point when the moment in question is dull or nauseously wacky.
Big Fish is imaginative and idiosyncratic with enough framework that its narrative retains a drive and sense of purpose. The themes are affecting and heartfelt, and the old fashioned Americana-style sets and costumes are invigorating and cheerily colourful. It's certainly no masterpiece - the characters lack a certain depth and the performances don't inspire major cause for celebration - but there's fun to be had in spades, with wit woven throughout and a gloriously tender climax that gives closure to both its characters and the audience. In a reversal of many Tim Burton experiences, I went in with low expectations and came out having thoroughly enjoyed myself. Leaving what he knows best by the wayside has forced him to try something new, and consequently, something better.
Luckily, Big Fish was not one such film. I think a major reason for this is because the film's narrative suits Burton's storytelling style whilst simultaneously reigning him in. The exaggerated anecdotes told through flashbacks allow Tim to get quirky and over-the-top, showcasing his imagination and penchant for striking visuals, but all the scenes set in reality curb any self-indulgence and make sure that there's a genuine emotional thread through the movie. There's further straying from familiar territory with the total absence of Johnny Depp and Helena Bonham Carter only appearing in a small role. Burton's coaxed good performances out of these actors before but by utilizing a cast he's less accustomed to working with, the director yields fresher results - Ewan McGregor exudes charm and wit as the young father and Albert Finney wholly fills the role as the older version. Steve Buscemi gives a nicely droll performance but the role doesn't make the most of the man's talents; even more so for Jessica Lange and Marion Cotillard.
There's certainly no wasting of the story's drama, though. The family dynamic is played out almost beautifully, a blend of love and frustration made evident through Billy Crudup's pained expressions, dialogue that feels like the characters are stifling and repressing what they want to really say, and when the tension fades away in the film's final scenes it's both uplifting and poignant. The comedic moments aren't quite as strong, but the weirdness of the set-ups (carnival freakshows, Stepford-eque hidden towns and impromptu bank robberies) mean that even in the moments when the movie fails to be funny, it is at the very least incredibly interesting. The wholly valid criticism that parts of the film just seem ridiculous can be countered by acknowledging that the exaggeration is not only wholly intentional but a crucial plot point, but while certain elements (10-foot giants and Korean war heroics with Siamese twins) are obviously and playfully far-fetched, the character's dogged and obsessive pursuit of romance comes off as somewhat unsettling whether real or imagined, and whether or not something is intentional becomes something of a moot point when the moment in question is dull or nauseously wacky.
Big Fish is imaginative and idiosyncratic with enough framework that its narrative retains a drive and sense of purpose. The themes are affecting and heartfelt, and the old fashioned Americana-style sets and costumes are invigorating and cheerily colourful. It's certainly no masterpiece - the characters lack a certain depth and the performances don't inspire major cause for celebration - but there's fun to be had in spades, with wit woven throughout and a gloriously tender climax that gives closure to both its characters and the audience. In a reversal of many Tim Burton experiences, I went in with low expectations and came out having thoroughly enjoyed myself. Leaving what he knows best by the wayside has forced him to try something new, and consequently, something better.
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