August 13, 2011

We went to the premiere of the Jodie Foster-directed The Beaver and was nicely surprised by the almost arthouse touches that this film had.

Still, though i found the denoument a tad too feminine, the brutality of an alter ego and how it can uplift and involuntarily take over at once was pretty well illustrated. I mean, this wasn’t the confusing The Brave One, by any means.

Prescription puppets, anyone?

See the gmanews.tv article HERE. And excerpts below.

Exploring healing through puppetry


Some days it seems like everybody needs a prescription puppet.

Oh, but that’s just one of the caveats in the story of Walter Black and his family. Directed by Jodie Foster, The Beaver is a briefing for a descent into the madness known as depressive psychosis.

Walter Black is a wreck. By that I mean the lead character, played by a very unhealthy and elderly-looking Mel Gibson, is utterly depressed. Plagued by countless demons, Walter was once a successful toy executive and family man, but no matter what he’s tried – prescription drugs, New Age techniques, psychotherapy — he just can’t seem to get motivated to do anything but sleep.

Unusually enough it is this same brand of madness that rescues him from the brink of self destruction. It all comes to a head in a third storey hotel room, with hard liquor and a botched attempt at becoming pavement dirt. This is when the Beaver hand puppet enters his life.

“Walter Black, the central character, is someone who has hit absolute rock bottom,” says producer Steve Golin in the production notes for the film. “He’s gotten to a place where he has no coping mechanism left.”

The Beaver is exactly what the term implies: a scruffy hand puppet that’s definitely seen better days. It’s cute if you consider Rolf the Dog (of The Muppets) in his doddering twilight years cute. When Walter first finds it in a dumpster outside a liquor store it’s also full of grime and dust.

Continued HERE.


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