Preston Barta // Features Editor
THE WHALE
Rated R, 117 minutes.
Now playing in theaters.
I have nothing but love for Brendan Fraser, who, like Tom Hanks, is known for his kind heart and optimism about everything. But also like Hanks, he happens to be a terrific actor when the right material comes his way, and Darren Aronofsky’s absolutely magnetic and incredibly moving The Whale sees Fraser producing a career-best work and the year’s single greatest performance.
Based on Samuel D. Hunter’s 2012 play of the same name, the A24-released psychological drama stars Fraser as Charlie, a reclusive English teacher who has allowed himself to become dangerously obese following the death of his partner. As Charlie approaches death himself, he attempts to reconnect with his teenage daughter, Ellie (Stranger Things’ Sadie Sink).
There’s very little to prepare your heart for what unfolds in The Whale. It has the space limitations of a stageplay, but Aronofsky also makes that space feel rich with thoughtful themes about people’s differences and overall attitudes. Charlie has this infectious positivity despite the heartache that occurs when you witness him consume massive amounts of food to bury his genuine emotions. He doesn’t want to leave the world without making an impression, whether that’s with his students writing more honestly or his daughter exercising her brilliant mind.
To watch Sink exchange words and faces with Fraser is a gift. While on the surface, it appears that Ellie is releasing air from her balloon of frustration like any teen, there’s more going on within that stops Charlie in his tracks (as well as the audience). Look out for a haiku sequence and an act of goodness/badness (depending on how you see it) Ellie displays in her helping of a Mormon missionary named Thomas (Ty Simpkins), who often checks in on Charlie.
Alongside Fraser, the performance you should keep an eye on during this awards season is Hong Chau (The Menu) as Liz, Charlie’s caretaker. In one scene, she’ll playfully threaten to stab Charlie with a knife, to which Charlie points out that his vital organs have several feet of external cushioning. In another, Liz will open the emotional floodgates as she reveals certain truths about her and Charlie’s past. It’s the year’s best supporting performance, and I hope voters take notice.
The Whale isn’t merely an actors’ showcase of earnest vulnerability. Aronofsky finds unique ways to make what surrounds his cast members feel just as alive with wonder and fascination. Even a pizza guy’s silhouette passing by Charlie’s window feels interesting. Plus, there’s always a thick air of poetry with how Aronofsky concludes his films. They often wrap up at the story’s greatest dramatic leap.
Here’s a raw, honest and unflinching work that should be celebrated.
Grade: A-
