Review: Big Fish (2003)

Big Fish (2003)

4.0

DRAMA/ADVENTURE
U.S. Release Date: 12/25/03
Running Length: 125 Minutes
MPAA Classification: PG-13 (A Fight Scene, Some Images of Nudity, A Suggestive Reference)
Aspect Ratio: 1:85:1
Cast: Ewan McGregor, Albert Finney, Billy Crudup, Helena Bonham Carter, Marion Cotillard, Steve Buscemi
Director: Tim Burton
Screenplay: John August (adapted)
Cinematography: Philippe Rousselot
Music: Danny Elfman
U.S. Distributor: Columbia Pictures

Review By: Carter Moulton

12/12/08

Big Fish is like a vivid memory that continues to evolve each time it’s rediscovered. Tim Burton’s masterpiece explores the truths, inconsistencies, and fabrications of our memory. With each viewing, Big Fish redefines itself as a reflection of human life, including the stories we recall, the images we remember, even if they never actually happened, and the moments we wish we had experienced. Burton successfully tackles a subject that seems almost impossible to grasp within one motion picture: human thought.

The focal point of Big Fish is the relationship between the ailing Edward Bloom (played by Oscar-nominee Albert Finney) and his son Will Bloom (Billy Crudup). Will hasn’t talked to his father in several years. He feels unloved by his dad, who he feels has always concocted tall-tales instead of opening up about who he really is. Edward is now bedridden, so Will and his wife, Josephine (Marion Cotillard) visit to take care of him.

Upon their arrival, Will makes it obvious that he wants to find out more about the real Edward Bloom. Afraid that he is running out of time to find out who his father really is, Will confronts him about their unsatisfying relationship; but Edward always slips into storytelling, and the adventures of the young Edward Bloom (Ewan McGregor) begin to transpire.

In the stories, Edward visits a peculiar town (called Spectre), where he meets a poet (played hilariously by Steve Buscemi). The town is home to some of the films most memorable scenes. Always hovering between fact and fantasy, Edwards stories include falling in love with the girl of his dreams, finding himself behind enemy lines in World War II, and his run-ins with a witch (Helena Bonham Carter) and a giant (Matthew McGrory). As he listens to the stories, Will is troubled by his father’s failure to admit his works of fiction.

In order for the film to be effective, the visuals needed to be inviting to our senses, much like our memories are. The town of spectre, fields of daffodils, and the vibrant circus are all examples of imagery that leap off of the screen and into our minds. Big Fish explores elements of us that are rarely opened. Being a “big fish in a little pond” is a metaphor that is used throughout the film (not only with words, but through Burton’s direction) and the skepticism of human nature is also investigated. The fact that Edward Bloom might be telling any bit of truth is left for us to decide, and Burton banks on the fact that we will be unconvinced from the very start. This subconscious cynicism sets us up to be blown away by the brilliant ending.

All of the performances are top-notch. Ewan McGregor and Albert Finney both emody a constant Edward Bloom. It’s refreshing to see a film where the actors become molded into the story, rather than overpowering it. Burton and his team successfully encapsulate illustrations of a fantasy novel with the use of cinematography. It’s a shame that this movie was ignored by the Academy Awards, because this is Tim Burton’s best to date. Big Fish conveys the message that your story will live on, even when you’ve gone. This film is much like one of these stories—even when it’s done, the images, emotions, and tales told will continue to live on in your mind.