FAT SUIT FAILS TO HARPOON FRASER

 

MOVIE
The Whale
Director Darren Aronofsky
Review Ray Chan

The Whale adapts a play by Samuel D. Hunter, about an excessively obese man coming to grips with his life after leaving his wife and daughter for a homosexual relationship, with the story taking place exclusively inside his home.
    In essence, the camera is stuck in front of actor Brendan Fraser, who is encased in bogus blubber that makes him appear to weigh near 300 kilograms, and we're even treated to scenes of him in various stages of undress. But while such a scenario works well on the stage, it feels almost claustrophobic in a movie setting. 
    Audiences will feel themselves sympathising with the character Charlie’s physical and psychological plight, while maintaining a morbid fascination for the mountain of a man who struggles to carry out simple activities such as getting up from the couch while still feasting on candy bars and chicken, well aware of the dangers posed to his health.
    A college writing professor, Charlie teaches his students online from behind the safety of a black square, too ashamed to reveal his true voluminous visage. His favourite novel is Moby Dick, the Herman Melville book also referred to as The Whale, an obvious metaphor for his external appearance.
    He describes the elusive mammal as he stands up, shirtless, and lumbers across the living room and toward the bedroom with a walker. "He thinks his life will be better if he can just kill this whale, but in reality, it won't help him at all. This book made me think about my own life," he says, slapping viewers head-on with symbolism as subtle as a piledriver.
    The movie unfolds over the course of a week, during which Charlie receives a series of visits  – from his friend and informal caretaker Liz, who also happens to be the sister of his former male lover Alan, who committed suicide from shame of the gay tryst; from Thomas, a young missionary who wants to rescue his soul; from his estranged teenage daughter Ellie, who is angry at her father’s desertion; and embittered ex-wife Mary.
    The most interesting exchange of dialogue takes place with Thomas, who insists that Charlie’s sins can be forgiven. Telling him that "I'm not interested in being saved", Charlie berates him for his unwanted proselytising, pointing out that there was nothing wrong with the true love that he and Alan shared.
    Ultimately, the film challenges us in important ways: when we see Charlie, do we look at the man or the body?
    There’s little doubt the movie ultimately works because of Fraser.
    While critics may argue that any character actor worth his salt could just as easily pull off the role, Fraser’s facial expressions, puppy eyes and welcoming and resonant voice give Charlie gravitas and strength as well as a certain effervescence, unencumbered by the weighty prosthetics and make-up.

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