Jodie Foster's Beaver Movie: Creepy or Cutesy?

Published at 8:35 AM on August 31, 2009

BY EMILY RIEMER

Photo courtesy WireImage.com

In the early days of a script in Hollywood, it's hard to know what kind of movie it will become. Scripts that get a lot of buzz early on can end up being bland and overly-managed drivel. Scripts that go by unnoticed can be sleeper hits. In the case of fledgling film The Beaver, frankly, things could go either way.

In 2008, The Beaver got noticed by the Black List, a ranking of the 10 best unproduced screenplays anonymously submitted by industry insiders and compiled by Franklin Leonard at Universal. Since then, this little movie has gotten a lot of attention. At various times in recent months, Steve Carell, Jim Carrey, and director Jay Roach (Meet the Parents) have all reportedly been attached. The Beaver is the story of (no joke) a man who is depressed, loses his job and family, but finds solace in the beaver puppet he wears on his hand, and which he treats like a living creature.

This sounds like a quirky-strange combination of Chucky from Child's Play and Lars and the Real Girl (incidentally, Lars was a Black List winner in 2005). And Steve Golin, who is co-producer with Keith Redmon, both of Anonymous Content, has shepherded dark, surreal comedies in the past like Eternal Sunshine of the Spotless Mind and Being John Malkovich. But there's a catch. Since garnering attention, other players have become attached to the project who are as conventional and light-hearted as a romantic summer popcorn movie.

For example, Jodie Foster has signed on to direct and co-star in The Beaver alongside Mel Gibson, who will play the downtrodden animal lover. (They last worked together in 1994's cute-as-a-button romantic period comedy, Maverick.) And Summit Entertainment, the company responsible for 'tween fare like the Twilight movies and the dance flick Step Up, just acquired the movie's rights.

So will The Beaver (slated for release in 2011) go the way of original, dark, and quirky or will it become a pat Hollywood product geared toward box office earnings by appealing to the widest possible audience? Only time will tell.

Beaver, The (2011) | Review

Being Whole Means Some Stuff Is Left Behind

Jacob Sahms

"This is the story of Walter Black..."

We hear that phrase throughout the movie, and all you really need to know is that Walter (Mel Gibson) has problems. Walter is a depressed company executive who is estranged from his wife (Jodie Foster), and elder son (Anton Yelchin). The main thrust of the story is about Walter's resurgence within his own family and the company he heads after years of struggling with depression and waffling between adjusting and absolute abandonment. Secondarily, we watch a "typical" high school romance between Yelchin's character and the "fake" school valedictorian (Jennifer Lawrence) that involves spray paint, plagiarism, and a few sweet moments about grasping life even when adults betray you.

Walter's resurgence comes in large part because of the large beaver hand puppet he takes out of the trash in the midst of his drunkenness and begins to talk to. The beaver speaks in a British accent, which is obviously Walter to everyone except for Walter. The beaver allows Walter to take control of his own life, becoming the person he should've been all along, a lover, father, leader, and member of his community. The beaver becomes a drug/counterbalance to his depression that allows him to grasp at the life he remembers when he was happy and successful, but it doesn't take him the whole way.

In the end, the beaver is a crutch that ultimately interferes with his ability to be fully integrated into society and family. Sure, that gets a "Duh, it's a beaver puppet!" But the beaver is the image for all of the things which we rely on to cope, instead of dealing with our problems head on. In many ways, I found myself thinking that this was really about Gibson, about his bouts with alcohol, and about his attempts to find a way to be the man so many people thought he was back in the past. In so many ways, I saw this as a testament to his struggle, publicly and privately.

Spoiler alert: The truth is that Walter has to remove the puppet from his life rather abruptly, and I'm reminded of how some things start off as good, keeping us well and healthy, and become obsessions or sins that separate us from the love of God and from each other. In Mark 9:47, Jesus urges his listeners that if their eye causes them to sin, to pluck it out, because it's better to enter heaven without an eye than to go to hell with both of them. It's strict, severe, and I don't take it as literally as Walter does in the dramatic scene, but it's a testament to Gibson and his struggles that to be made whole, sometimes, you have to cut something out.

Next Time...The Beaver (2011)!

A troubled husband and executive adopts a beaver hand-puppet as his sole means of communicating.

Director: 

Jodie Foster

Writer: 

Kyle Killen

Stars:

 Mel Gibson, Jodie Foster and Anton Yelchin | See full cast and crew

Storyline

Walter Black ('Mel Gibson' ) is depressed and sleeps most of the day. It's driving his family crazy, and his wife Merideth (Jodie Foster) kicks him out. Walter starts carrying a beaver puppet and tries to commit suicide (unsuccessfully). He uses the puppet to talk to himself, trying to bolster his spirits, and is trying to rebuild his life. Through the beaver, the family begins to learn about Walter's history and problems, and as he continues rebuilding, the beaver shows us all a way to cope. Written by Anonymous  

Taglines:

 He's here to save Walter's life.

Box Office

Budget:

 $21,000,000 (estimated)

Opening Weekend:

 $107,57

7 (USA) (8 May 2011) (22 Screens)

Gross:

 $970,816 (USA)

See more »

Quotes

[first lines] 
Walter Black: This is a picture of Walter Black, a hopelessly depressed individual. Somewhere inside him is a man who fell in love. Who started a family. Who ran a successful company. That man has gone missing. No matter what he's tried, and he's tried everything, Walter can't seem to bring him back. It's as if he's died, but hasn't had the good sense to take his body with him. So mostly what he does is sleep.
See more »

User Reviews

A very emotional and enjoyable movie

10 May 2011 | by med77_99 (Los Angeles) – See all my reviews

People seem to forget that humans make mistakes, and that Mel Gibson has his shares of mistakes that I'm sure he is feeling bad about and trying to fix, but people are just so judgmental and non forgiving. the problem is, I'm sure that most of them had made similar mistakes in their lives, but are still going on about Gibson, sheesh !!

back to the movie, I was looking forward to it, because i think Mel Gibson is a really talented actor, and I gotta say, the movie did not disappoint me. the story as most of you might know from the trailers, is that Gibson's character suffers from depression, which has negative impact on him as well as on his family surrounding him. and just as things seem to be looking hopeless, he finds the Beaver, and with it, he finds his voice and his self. A simple yet effective story, executed in a very professional manner, it is a journey into healing and trying to beat that nasty depression. the characters are played to perfection, as Mel Gibson and Jodie Foster, who also directs the film, deliver memorable performances.

It also tackles the family relations and how it is affected by the father's sickness and turmoil, about family supporting each other and an emotional father - son story.

Digging deep into Mel Gibson's character Psyche, and how he escapes his inner depression through the puppet, the beaver, is just so interesting. and they actually made the Beaver, the puppet itself so real, it appeared as a completely independent character, who was funny and at times even freighting. In summary, a highly recommended movie, great acting and a wonderful story. If you are one of those who are still obsessing about Gibson's mistakes, then just go watch Jumping the Broom.

The Hunger Games

Intro:  The Hunger Games is a 2012 adaptation of the best selling novel of the same name written by Suzanne Collins. It stars Jennifer Lawrence, Josh Hutcherson, and Woody Harrelson. Set in a post-apocalyptic country of Panem, 24 children are randomly chosen out of the 12 outlying dissects of Panem to fight to the death for the entertainment of the citizens of the Capitol, in retribution for the districts' past war of rebellion against the Capitol. Katniss Everdeen (Jennifer Lawrence) volunteers in the place of her younger sister after her sister is selected for this depraved competition. In a world where any trace of religion is absent, Katniss' act of love transforms a game of survival into a catalyst for true justice in this morally corrupt society.  

Big Theological Idea: New Covenant Sacrifice - We have rebelled against God and deserve to die, however Jesus substitutes Himself as the sacrificial lamb to pay the ransom for our rebellion.  While watching, keep in mind the Old Covenant sacrificial system and compare the need for blood for the forgiveness of sins both in the Old Testament and in the movie, and how the blood of Christ has satisfied that requirement for those who believe.

Scene 2: “Check-In”

The public "Reaping" is at hand for the residents of District 12, where the names of one boy and one girl from the ages of 12-18 are selected at random for the "honor" of participating (and most likely dying) in the Hunger Games. Before the lottery, a propaganda video is shown explaining the "purpose" of the Hunger Games. Because of the districts' treason, the price of their "freedom" is death, however the Capitol's "great forgiveness" would be manifest in the crowning a sole survivor in riches and wealth. When Katniss' 12 yr old sister, Primrose, is chosen as the female participant, Katniss volunteers, substituting herself for Prim.  Likewise, our rebellion from our Creator warrants our own blood and death.  The Old Testament sacrifice of innocent lambs on The Day of Atonement (Yom Kippur) was a reminder of the heinousness of our rebellion and our need for a substitute sacrifice that was able to cleanse us from our unrighteousness.  Graciously, our Creator substituted the blood of His blameless Son in our place, for the forgiveness of our sins.

Indeed, under the law almost everything is purified with blood, and without the shedding of blood there is no forgiveness of sins.

(Hebrews 9:22)

you were ransomed from the futile ways inherited from your forefathers, not with perishable things such as silver or gold, but with the precious blood of Christ, like that of a lamb without blemish or spot.

(1 Peter 1:18-19)

Scene 12: “Not Going To Hurt You”

When Katniss volunteered for the Hunger Games out of love for her sister she did something unprecidented in Panem; no one volunteers in a loved one’s place.  This was evident in Rue, the 12 year old from District 11, where no one took her place, and was all but hopeless in the Games.  In a game where the death of another participant is cause for celebration, Katniss again does the unthinkable.  Not only does she begin an alliance with Rue, she sincerely mourns her death, going to the extent of preparing a proper burial for her at the risk of being found.  This act of love is seen as a rallying cry in District 11, perhaps a new hope in the districts for the desegregation of Panem.  Our God’s act of love on our behalf, in the face of our rebellion, unites all people under his sacrifice.  The differences between us as people and nations are replaced with the citizenship of God under the sacrifice of Christ. 

So then you are no longer strangers and aliens, but you are fellow citizens with the saints and members of the household of God, built on the foundation of the apostles and prophets, Christ Jesus himself being the cornerstone, in whom the whole structure, being joined together, grows into a holy temple in the Lord.  (Ephesians 2:19-21)

There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus. And if you are Christ's, then you are Abraham's offspring, heirs according to promise.

(Galatians 3:28-29)

Scene 15: “Only Team”

It’s down to the last 3 tributes, Katniss, her “lover” Peeta, and the menacing Cato of District 2, a “career Tribute”.  Due to a new rule revision, it is possible that Katniss and Peeta can both win since they come from the same district.  As Cato realizes his grim fate, he finally realizes that he has been dead his whole life.  All the training and all the glory is worthless; a gimmick for the amusement of the Capitol.  After Cato’s death, it’s all over, or so it seems.  In an attempt to triumph over the love between Katniss and Peeta, the gamesmaker attempts to reverse the revision; there would be only one survivor.  Rather than kill Peeta, Katniss shuns the glory of winning for love in death.  Katniss and Peeta decide to kill themselves, depriving the Capitol of a victor, exposing the Games as a ploy, and ultimately planting the seed for true change in Panem.  Like the Hunger Games, the blood sacrifice offered on Yom Kippur was only valid for one year.  The next year two spotless lambs would again be chosen; one slaughtered (the sin offering) and one set free, covered with the blood of the other (the scapegoat).  In either case, there was no true atonement; the districts of Panem were not forgiven for their rebellion and the Jews were still under the curse of sin.  However, through the sacrifice of love, our God provides the Lamb, Jesus Christ, to die in our place to take away our sins.  Our rebellion has been forgiven and the need to offer a sacrifice is abolished.

The next day he saw Jesus coming toward him, and said, “Behold, the Lamb of God, who takes away the sin of the world!

(John 1:29)

For since the law has but a shadow of the good things to come instead of the true form of these realities, it can never, by the same sacrifices that are continually offered every year, make perfect those who draw near. Otherwise, would they not have ceased to be offered, since the worshipers, having once been cleansed, would no longer have any consciousness of sins? But in these sacrifices there is a reminder of sins every year. For it is impossible for the blood of bulls and goats to take away sins.  

But when Christ had offered for all time a single sacrifice for sins, he sat down at the right hand of God, waiting from that time until his enemies should be made a footstool for his feet. For by a single offering he has perfected for all time those who are being sanctified.

(Hebrews 10:1-4, 12-14)

Katniss’ Hunger and Peeta’s Bread

I promised a *spoiler-filled follow-up to the video review for The Hunger Games, as the ideas of identity and substitution can’t be fully discussed without wrestling key elements of the plot for the first film and entire trilogy. So, for those who are already fully vested (or those who don’t mind knowing how things end up after things start Catching Fire and theMockingjay sings) count down from 10 and enter the arena below.

Someone noted on our Youtube post that I shouldn’t take the idea of Katniss’ substitution as completely paralleling Christ’s ultimate proxy, since Jesus substituted himself for the unworthy. Prim is presented as weak, but rather innocent, not a stranger or a sinner. The question, “would Katniss have offered herself in her sister’s place had her sister committed some crime worthy of death?” is thought provoking, but obviously not the focus of Suzanne Collin’s narrative arc for Katniss. (Maybe if she’d substituted herself for the mangy cat, Buttercup…)

However, someone else in the series does sacrifice quite a bit, for a character whose worthiness may be considered questionable.

The strong-willed Katniss isn’t sure she wants to rely on ANYONE other than herself, though she finds herself drawn in different ways to two different men: Gale and Peeta. The harsh world has built into her a notion of self-reliance, and a lot of mistrust (and much of this is sadly warranted). I suspect this is one reason Katniss Everdeen is such a relatable character to men and women, as we all tend to look inward and rely solely on ourselves, rather than God or anyone else, a cocktail of understandable past hurt, shaken with fear, but mixed with a self-destructive shot of pride.

It’s obvious that if Katniss has a leaning toward either relationship in the beginning, it’s obviously Gale: the man named for the wind, a strong “gale-force” personality that reflects herself in many ways. How often do we ultimately want someone who is a mirror of our own self– a vanity lived out in our relational choice– someone who validates not only our best traits but also our worst, so we don’t really have to change?

Conversely, the humble Peeta, supplier of bread and life, is not someone Katniss respects at first. She even distrusts his motivations. He claims to have loved her since she was a child, and continues to desire relationship despite her flaws. Peeta is grieved that her affections at first are simply for her own survival, actions for necessity, for results instead of relationship. He’s willing to lay down his life for her and doesn’t even let Katniss in on the whole plan, because he knows she’ll chafe or resist. In the later books he is tempted and tortured severely, and the character we know is even psychologically slaughtered, but Peeta’s love and character ultimately rise again to become the foundation Katniss will eventually build her life, home and hope upon.

We love because he first loved us. – I John 4:19

Although his name sounds like a kind of bread and thus serve as a metaphor in one sense for the answer to Katniss’ ultimate hunger (beyond mere survival. for love and relationship) Peeta’s name is more closely associated with Greek roots, a feminine form of Peter, that mean “rock”. Intentional or subconscious, it’s curious that Collins chose a word we would associate with both firm foundation and sustenance for our body. In the end, Katniss doesn’t go chasing the Gale-force wind, but instead receives love from the one who loved her first, continued to love her despite her mistrust and scorn, who didn’t shirk from action but ultimately treasures peace. Instead of simply hiding and hunting for survival– the life she probably would have had with Gale– Peeta’s hope even makes Katniss dare to risk being fruitful, forging a future and building a family legacy together.

Although not perfect, (as no human parallel can be) Peeta is the Christ-like figure in The Hunger Games, taking Katniss’ single act of loving substitution for a sibling to an even godlier parallel, demonstrating a long-suffering persistence for someone less deserving. One of the reasons I identified so deeply with Katniss is realizing that her journey follows a similar path to my spiritual relationship with God:

• He loved and provided for me before I even gave him a second glance. 
• I was glad he fed me, but didn’t give him much thought.
• My initial devotion to him manifest as simple necessity (as outward appearance) at best a tactical desire to escape the arena of hell, but lacking any genuine inward affection for the one who first loved me.
• Eventually, realizing how much he sacrificed for me, Christ’s long-suffering brought me to humbled and willing relationship.
• He is now my foundation (rock) and sustainer (bread of life).  

How about you? Do you see the parallels inherent? It’s not stretching to think this narrative similarity emerges from this story, or ANY story about life and love, since scripture tells us marriage as a concept was designed at creation to be a mysterious metaphor for the ultimate revelation of Christ and his spiritual “bride” the church (Ephesians 5). Like Mockingjays responding to a masterful tune, our lives and love mimic the ultimate love song of our Creator and Lord.

It’s no surprise then, that our most popular fictions like The Hunger Games are the ones singing it back to God in close approximation.

James Harleman