Right, let’s address the giant, sugar-titted elephant in the room. For what might be considered very good reasons, Mel Gibson is now practically taboo, a state of affairs that may well turn audiences off watching The Beaver. Which would be a crying shame. In it, Gibson plays Walter Black, a depressive alcoholic who uses a puppet to create a psychological barrier between himself and the world. Thing is, Gibson’s highly publicised, related personal difficulties actually strengthen his impact in this must-see role. Because as Walter’s furry friend tells him to “forget about home improvement – blow up the whole building and start again,” Gibson looks like he’s actually listening. And his performance in The Beaver, doesn’t just push the envelope – it burns down the entire bloody post office.
The beaver doesn’t become a natural extension of Walter, but is its own separate entity. A cockney voice and infectious energy imbues the puppet with a blend of charisma and volatility. However, Gibson’s face retains the slightly deadened look of a man lost to himself, and if you manage to tear your attention away from the domineering beaver you’ll see the tormented complexity he’s simultaneously bringing to Walter. The most affecting scene comes when Walter is forced to surrender the beaver momentarily and becomes consumed by panic at the idea of simply being himself. It’s a heartbreaking, considered and wonderful cimematic moment.
The film as a whole, however, fails to fully realise the dark vision at its heart. Unlike the similarly themed Lars And The Real Girl, The Beaver ducks away from dark humour and tragedy, and the potential questions about psychological illness remain unanswered. Instead, director Jodie Foster defers to maudlin family melodrama, where predictable subplots and sentimental scores take precedence. The result is an adequate, unconventional drama and no more.
The quirky concept and Gibson’s powerhouse performance give The Beaver unexpected resonance. Whether it will save the elephent’s career remains to be seen. As the beaver says, “You’re talking about a bloody puppet. We’re talking about a miracle.”