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Mel Gibson in The Beaver

Written by Jonathan Jacobs

Never underestimate Mel Gibson as an actor. Evaluating Gibson as a human being is an entirely different story but please keep in mind that we here at www.screenspotlight.com are movie pundits and not the TMZ paparazzi police. Having watched the majority of Gibson's films spanning over two decades, it is unambiguous that he is one of the greatest natural actors of his or any generation. Personal demons may plague him but when the cameras start rolling all that Gibson is capable of is delivering one tour de force performance after the next. There is no actor quite like him, and he is in a league of his own. It should come as no surprise, although it fooled me completely, that starring in a film entitled The Beaver, would prove yet another instant sensation for Gibson. It may be a box office blunder given to spelunking, but I will be damned if The Beaver is not as hilarious as it is heartfelt and strangely fascinating.

Walter Black (Gibson) has been suffering from the darkest depression imaginable. With his management of his father's company failing, his marriage crumbling, and his growing apathy toward life in general, disaster seems to be looming on the proximal horizon. Walter and his wife Meredith separate on a temporary basis leaving the husband and father at rock bottom. While wallowing in his self-started misery, Walter takes matters into his own hands, well, sort of. He attempts suicide by virtue of hanging himself with his lovely men's neck tie. When that plan fails, not unlike everything else in his life, Walter tries to jump off a hotel balcony. That miraculously backfires (and thank goodness because we would not have a full length feature film had he succeeded) and Walter is sent tumbling backward into the hotel room only to collide with the television stand, thus causing a rather large and ponderous T.V. to bash in his head. Once he awakens, Walter is left to decide if the alcohol caused the hangover, or the giant T.V. stuck to his cranium. Maybe both?

Oscar's son Porter (Anton Yelchin) strives to differentiate himself from dear old dad. His wife Meredith is baffled by her husband's behavior, and their youngest son Henry (Ricky Thomas-Stewart) is strangely amused. Henry is a social pariah and can understand his father's profound angst. Now, back to the most crucial storyline development.

When Walter awakens from his suicidal/drunken stupor, he dons an old and rather shaggy hand puppet. The puppet comes to live as Walter has an epiphany. He needs a supportive friend to provide encouragement, advice, and a little bit of a spark to his daily routine. "The Beaver" has a sarcastic voice, and Mel Gibson is a terrible ventriloquist. Without much tarrying, Walter reincorporates his family back into his life, and the puppet becomes the puppetmaster. Talk about a twisted situation!

Superficially, The Beaver looks, how shall I state this delicately: moronic. After I crossed the threshold from the previews to the actual motion picture I once again learned by F. Scott Fitzgerald wrote, "Reserving judgment is a matter of infinite hope". Sometimes we critics have a tendency to label, categorize, or otherwise pre-judge a film before giving it its rightful due. Mel Gibson can (pardon the biblical reference, as I do not wish to delve into Gibson's theological or political viewpoints) turn water into wine when filmmaking is involved. If only he had starred in more movies throughout the years perhaps he would have entertained folks more so than staining his reputation. Even as an older and clearly beaten actor, Gibson still delivers the goods like a FedEx next day air service. It make not look like much with Gibson's hand shoved up the backdoor of a puppet, but believe me, it is transformative.