“The Whale” introduces a multifaceted narrative; it operates on a level that may initially strike viewers as repulsive, yet within its framework lies a tapestry of exceptional performances that demand acknowledgment. A paradox emerges as the film seemingly fixates on the central figure’s grotesqueness under the veil of sentimentality, while also intricately weaving sharp interactions among characters that resound with candid sincerity.

The Whale’s Duality: A Must-See with a Deterring Aura

Intriguingly, “The Whale” straddles a line between being a film that warrants attention and one that viewers might be inclined to avoid. This dual quality aligns it with the broader body of work by Darren Aronofsky, a director renowned for his penchant for crafting challenging cinematic experiences. Aronofsky has established a reputation for subjecting both his actors and audiences to narratives that are often intense and uncomfortably immersive. Consider, for instance, the gripping portrayals of characters such as Jennifer Connelly’s drug-addicted persona in “Requiem for a Dream,” Mickey Rourke’s depiction of an aging athlete in “The Wrestler,” Natalie Portman’s role as an obsessed ballerina in “Black Swan,” and Jennifer Lawrence’s portrayal of a beleaguered wife in “mother!” (It is important to note that I personally admire Aronofsky’s work.)

Contrasting Intent: Beyond Artistry and Provocation

Yet, it is the intention behind these films that draws a clear distinction from “The Whale.” The distinguishing factor is not solely the remarkable craftsmanship or the riveting provocativeness of the themes presented. Aronofsky’s previous works exude vitality, unpredictability, and a daring artistic style that etches an enduring impact on the audience. The imagery in these films lingers in the memory long after the screen goes dark, an experience that “The Whale” grapples to replicate.

The Film’s Approach: A Delicate Surface Veils Complex Depths

Upon an initial viewing, “The Whale” may present a more gentle facade. However, beneath this veneer lies the film’s primary objective: to place the spotlight squarely on Brendan Fraser’s character, encased in a fat suit that astonishingly transforms him into a 600-pound individual. The film invites us to witness his physical and mental deterioration, ostensibly to evoke sympathy or compassion by the narrative’s conclusion. Yet, paradoxically, the overarching emotion evoked by the film is a morbid fascination with the monumental downfall of this larger-than-life character. Scenes unfold: a struggle to rise from a couch, candy bars being consumed alongside a search for information on “congestive heart failure.” We sit, engrossed yet uneasy, as Fraser’s character, Charlie, devours greasy fried chicken with abandon or consumes a gargantuan meatball sub with such fervor that he almost chokes.

Provocative Interpretation: A Spectator’s Morbid Intrigue

“The Whale” seems to convey a message of relief, reminding us of our own fortunes when juxtaposed against Charlie’s predicament. Translating Samuel D. Hunter’s script from stage to screen, Aronofsky’s interest appears not to lie in deciphering the complex impulses and indulgences that define Charlie. Instead, the film seems content with presenting these facets for mere observation. Amidst the grim environment of Charlie’s Idaho apartment, Aronofsky portrays his isolation with stark scenes, one featuring a moment where Charlie’s fervent engagement with gay pornography nearly leads to a heart attack. This moment teeters between shock value and a sense of shame.

A Change in Tone: Charlie’s Martyrdom

Surprisingly, the film undergoes a tonal shift, delving into Charlie’s growing sense of martyrdom. Amidst these opposing extremes, Fraser infuses warmth and humanity into Charlie, transcending the limitations imposed by the screenplay. The audience first hears Charlie’s voice as he instructs his online writing students from behind the anonymity of a dark screen. This voice exudes kindness and humor. Despite Fraser’s temporary hiatus from the limelight, his appeal has always stemmed from the juxtaposition of his imposing physical presence and his light-hearted nature. Here, his eyes offer glimpses into Charlie’s gentle yet tormented soul, making “The Whale” an easier viewing experience.

Artistic Tensions: The Script’s Heavy-Handedness

Nevertheless, Fraser grapples with a script that leaves no emotional subtlety unexplained, often resulting in clumsy and groan-inducing passages. During Charlie’s moments of desperation, he seeks solace in reading a student’s cherished essay on Moby Dick, a symbolic touch that gains significance as the narrative unfolds. As Charlie recites descriptions of Herman Melville’s elusive white whale, his movements from room to room are accentuated by elaborate makeup and prosthetic work. These elements, while visually captivating, are often overshadowed by the script’s heavy-handedness.

Symbolism and Self-Reflection: A Compelling Overtness

In an overtly symbolic moment, Charlie intones, “He believes his life will improve if he can conquer this whale, yet in reality, such an act will yield no salvation.” He adds, almost redundantly, “This book made me reflect on my own existence.” Amidst the solitude, visitors punctuate Charlie’s isolation, with Hong Chau portraying his nurse and long-time friend, Liz. Her blend of care and practicality infuses vitality into the film’s somber atmosphere. Aronofsky’s cinematographer, Matthew Libatique, drenches Charlie’s abode in an unyielding darkness, visually echoing his anguish. As the realization sets in that the entire film unfolds within these cramped quarters, a sense of foreboding intensifies. The decision to adopt a boxy, 1.33 aspect ratio further amplifies feelings of confinement.

Emergence of New Dynamics: Characters Redefine Narrative

However, a shift occurs with the introduction of Sadie Sink, recognized for her role in “Stranger Things,” as Ellie—Charlie’s estranged, rebellious daughter. Her presence breathes new life into the narrative. Their interactions traverse layers of exposition that delve into their painful estrangement, eventually blossoming into a captivating yet prickly connection. Sink’s performance infuses immediacy and relatability into the portrayal of the moody yet perceptive teenager. Sink’s inclusion significantly elevates the film, paralleled by her physical resemblance to Fraser, particularly in her expressive eyes.

Contrived Presence: An Intriguing but Disjointed Addition

Amidst this redefined dynamic, a character emerges—an earnest church missionary portrayed by Ty Simpkins. His recurrent presence within Charlie’s dwelling defies logic, even within the context of Charlie’s presumed impending demise and his desire for reconciliation. Charlie’s outright dismissal of the young missionary’s intentions adds complexity. Yet, the interactions between Sink and Simpkins infuse authenticity and emotional resonance. Interestingly, this subplot, while compelling, seems to belong to an entirely different film—one that might captivate audiences more effectively.

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