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SF Radio 9.11: Going Deep with THE WHALE

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Directed by Darren Aronofsky, THE WHALE tells the story of Charlie (Brendan Fraser), an obese recluse who lives his life as an online teacher from the safety of his apartment. With the end of his life approaching, Charlie reaches out to his estranged daughter Ellie (Sadie Sink) in the hopes of reconciling before it’s too late. This week, Robert Bellissimo (Robert Bellissimo at the Movies) and Dave Voigt (In The Seats) join us to dive into THE WHALE and talk about amazing people and looking for one true thing.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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The Whale: Sinking Ships and Saving Souls

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Directed by Darren Aronofsky, The Whale tells the story of Charlie (Brendan Fraser), an online writing instructor who struggles with obesity. Weighing 600 lbs, Charlie feels embarrassed by his appearance and hides away from the world in his apartment. However, when heart problems threaten his life, Charlie refuses medical attention other than the care of his friend Liz (Hong Chau). Knowing that his life is coming to an end, Charlie reaches out to his estranged daughter, Ellie (Sadie Sink) in the hopes of finding some connection to her. At the same time, Charlie receives visits from a Thomas (Ty Simpkins), a door-to-door evangelist from New Life Church who begs Charlie to repent of his sin so that his soul might be saved before the end.

Having leaned into obscure metaphors with his previous films like mother! and Noah, The Whale takes a far more grounded approach for Aronofsky. Set entirely within the confining space of Charlie’s tiny apartment, Aronofsky uses no flashy camera tricks or special effects. Instead, chooses to focus on the film’s stellar performances and its solid script as opposed to any grand, sweeping stylistic devices. In doing so, Aronofsky shows remarkable restraint and prevents his Whale from ever getting lost at sea.

Although the film features strong work from Sink, Chau and Simpkins, one cannot deny that the true star of the film is Fraser himself. Although he is buried under 600 pounds of makeup, Fraser bares his soul in virtually every moment of the film. From laughing with optimism to screaming in agony, Fraser‘s performance has already received accolades and deserves every single one of them. Despite being covered in makeup and prosthesis, his charm, humility and grace bleed onto the screen in one of the more remarkable performances in the past few years. (However, it’s also worth noting that one should not discount the stellar work provided by Hong Chau. As Charlie‘s caregiver, Chau brings a fire and fury often expresses Charlie’s deepest hurts for him. Together, the two have incredible chemistry and somehow manage to serve as each other’s conscience.)

Based on the play written by Samuel D. Hunter (who also wrote the screenplay), The Whale is a piece that delves into the psychology of hurt while pleading for forgiveness and peace. Living in his home, Charlie is a man who is imprisoned by his pain and suffering. In fact, even if he were willing, why would he ever want to go outside anyway? This is a world that is constantly raining and filled and sun never shines. 

In Whale, Aronofsky clings to the metaphors within Herman Melville’s Moby Dick. As Charlie reflects on the famed tale of obsession, one cannot help but appreciate the various ways in which the story seems to come to life within the film. Although the film is called The Whale, Charlie seems to embody each of the characters in different ways. From the sexuality of Ahab to the obsession of Ishmael, different moments within the script appear to shed light on different facets of Charlie’s personality that connect deeply with the story. (In fact, the constant rain further emphasizes Moby Dick by portraying this ‘whale’ as drowning in his sinking ship with the water rising around him.) What’s more, as he clings to an essay Melville’s narrative written by an unnamed author, Charlie recites its brief words with such a passion that they almost take on the role of ritual. To him, these are the last words that he wants to hear as they reveal the author’s soul, inspiring him to believe that honesty still exists within the world. 

And one cannot deny that this is a film looking for honesty. 

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With each passing scene, Charlie cries out with increasing frustration for the world to speak with authenticity. Whether it’s his daughter attempting to speak truthfully through her writing or the heart, his students’ writing or Thomas’ beliefs, Charlie’s demand is that everyone must look into their soul and speak what they believe is true. To him, honesty is the highest virtue and to say ‘one true thing’ is better than any written flourish.

Interestingly, this passion for honesty also drives the film’s conversations surrounding faith. Throughout his career, Aronofsky has always shown a profound interest within Biblical allegory and that conversation continues within The Whale. Having been devastated by his experience with the church, Charlie refuses to buy Thomas’ message of hope for the afterlife. Charlie knows the Scriptures and has a faith. However, while New Life Church preaches the pervasive sinfulness of man and fear of the End Times, he is far more optimistic. To him, people are inherently good, despite their brokenness. It’s this belief that gives him greater hope than anything that New Life Church seems to be able to provide and challenges him to see the good in every situation. For Charlie, his home will not be one of judgment so one need not fear being honest about who they are.

Beautiful and moving, The Whale Is one of those pieces that could potentially transform the way one sees the world. Instead of dousing the film in metaphor, Aronofsky makes a plea for hope, love and, above all else, grace.

The Whale is available in theatres on Wednesday, December 21st, 2022.

American Woman: We All Want to Change the World

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Transporting the audience back in time to the mid-1970s, American Woman is told from the perspective of 25-year-old former radical Jenny Shimada (Hong Chau). Having masterminded an act of violence against the US government, Jenny has been living off the grid, hiding in plain sight. When she is asked to take care of three fugitives, Jenny begrudgingly accepts for the sake of the cause (and the potential paycheck). Led by the chaotic but charismatic Juan (John Gallagher Jr), the group also includes Pauline (Sarah Gadon), the kidnapped granddaughter of a wealthy newspaper magnate who has become well-known due to the perception that she may have fallen under the spell of her captors and embraced their ideology.

Directed by Semi Chellas (Mad Men), American Woman is a solid piece that attempts to blur the lines between fiction and reality. Through her fictional account of the experiences of Patty Hearst during her abduction, Chellas paints a portrait of a young woman looking for freedom in the midst of chaos. Beautifully shot with faded colours, the first-time director visually depicts a culture which has been seared by the pain of revolution. Anchoring the film is a remarkable performance by Hong Chau as Jenny, a revolutionary who is angered by the state of her nation but remains cool and calculating in her approach. Meanwhile, as the lost and broken Pauline, Gadon continues to evolve as an actress, imbuing her character with maturity and furious innocence. 

Despite taking place in the 70s, there is something very timely about American Woman that speaks to our current cultural climate. At a time when racial and political tensions are erupting across North America, Woman speaks to the nature of justice in uncertain times. By showcasing the different perspectives of Jenny and Juan, the film speaks to the sharp dichotomy between approaches in response to social upheaval.

Though she has been involved in revolutionary actions in the past, Jenny’s tactics have been largely peaceful in nature. For her, fighting for change does not mean putting innocent lives at risk but rather, challenging the powers that be. However, Jenny’s quiet demeanour is held in contrast against the erratic and irrational Juan, who’s understanding of revolution is rooted in his own self-doubt and insecurities about his experience in Vietnam. Constantly trying to prove himself both an activist and as a man, Juan seems to believe that freedom comes through anarchy. 

Caught in the middle between these two visions is Pauline who seems torn between Juan’s forceful revolution and Jenny’s more graceful–but, nonetheless, committed–approach. Though violently abused by her captor, Pauline still remains drawn to his vision until Jenny arrives and disrupts their plans. As such, in many ways, Woman is a story about the battle for Pauline’s soul. Mirroring the shattered heart of American culture, Pauline recognizes the importance of freedom, even if she remains unsure as to what it looks like. As a result, her desire for change remains in constant conflict with a loss of personal hope.

Powerful and provocative, American Woman is an intense look at what it means to speak up for justice in the midst of a corrupt system. What’s more, at a time when political unrest is a daily occurrence, the conversation surrounding what it means to seek change feels both poignant and timely. Though the film encourages a generation to speak up and challenge the status quo, it also looks at the damage that can occur on the soul of a nation in the process. 

American Woman premieres online on June 30th, 2020.