The Beaver (2011)

Directed by: Jodie Foster | 91 minutes | drama, comedy | Actors: Mel Gibson, Jodie Foster, Anton Yelchin, Jennifer Lawrence, Michelle Ang, Zachary Booth, Riley Thomas Stewart, Michael Rivera, Jeff Corbett, Kris Arnold, Lorna Pruce, John Bernhardt, Ernest E. Brown, Yosef Herzog

For the lethargic depressive, the opening shots in ‘The Beaver’ should be a feast of recognition. Carried by the water of his own swimming pool – he is director-owner of toy factory Jerry Co. – Walter Black (Mel Gibson) passes by your eye. His facial expression that of a wet autumn leaf, his look that of a fish on dry land. Later we find him gloomily on the bed in his bedroom. Then he drinks himself in solitude into delirium in a cheap motel, tired of life. It will be your father. It makes sense that eldest son Porter Black (Anton Yelchin) meticulously keeps track of Dad’s signature mannerisms. This is to prevent him from following in his footsteps. What is particularly interesting about ‘The Beaver’ is that this film seems to ask the question to what extent you can actually escape your genetic heritage. Remarkable, for a film made in the land of ‘Yes, we can’ and ‘Just do it’.

Despite black cloud Walter, the Blacks, as a well-to-do family, function reasonably well in the beginning. This is mainly due to mother and wife Meredith (Jodie Foster herself) who fills her boring role with patience, understanding, love and devotion. Son Henry (Riley Thomas Stewart) is bullied at school, but sadly doesn’t seem to realize it himself. Porter is a nerd who is quite willing to provide his classmates in high school with a piece of paper, as long as they get paid. The latter, of course, does not apply when the prettiest girl in the school suddenly approaches him and asks if he can write her graduation speech. These are facts of which Walter, sunk deep within himself, has no knowledge of. In the nick of time, he is lured out of his nightmare. Brought to life by a beaver-shaped hand puppet with an Australian lumberjack accent with Walter’s left hand. “I’m here to save your goddamn life!” the hand puppet barks at Walter. Strangely enough, ‘The Beaver’ does that by completely taking over Walter’s life: The Beaver becomes the eyes, ears and especially mouth of Walter Black. Is Walter crazy? Answer from De Bever: “Crazy is pretending to be happy.” There’s something in that, but isn’t that exactly what Walter is doing now, with that beaver of his? Yet De Bever is ‘a form of therapy’, a way for Walter to face life. And for young Henry, Walter’s transformation is a revelation, The Beaver, in a way, gives him access to his father. Meredith and Porter have significantly more trouble with it. Especially if De Bever doesn’t leave. Not during dinner, not at work, not in bed (When Walter wakes up, De Bever immediately appears). And not even if the joke is long gone. Besides, Walter has no other option to stay alive – as De Bever makes clear to Meredith with some sadism. It’s a suicide reference that wouldn’t look out of place for a BP. The hand puppet proves more persistent than William ‘Braveheart’ Wallace. A literally painful clash between the Black family and the hand puppet that sticks to Walter’s arm is inevitable. De Bever had already announced it: “Do you want change? Then you have to blow up the whole building!”

Mel Gibson succeeds wonderfully well in bringing his mental splits to a (relatively) good end. ‘The Beaver’ itself turns a starting point that is as original as it is risky – sick mind versus hand puppet – in the end a somewhat predictable and monotonous drama, just as solid as Meredith. The latter is probably no coincidence: Jodie Foster also directed the film. The few light moments seem mostly perfunctory, as if you are looking at a forced smile from Walter Black. Other events seem rather unbelievable, especially when it comes to psychology. When the Black family moves at some point, the children go with them without a murmur. As if they don’t leave a room full of memories, but room 316 of an anonymous hotel chain. Towards his new girlfriend, Porter shows the tact of a blunt ax when he wants to confront her with something: he chalks it life-size on a wall. Well, according to ‘The Beaver’ it works that way, but there are undoubtedly girls who would react less understandingly than is the case here.