The Whale

Much has been made of the comeback of Brendan Fraser in Darren Aronofsky’s latest: The Whale.

Awards talk aplenty (and a likely Best Actor Oscar recipient) but not much mentioned about the actual film itself.

This is unfair as the film absolutely matches its towering lead performance.

Aronofsky has long been a master at creating enthralling character portraits, from Requiem for a Dream and The Wrestler through to Black Swan and Jackie, and The Whale is another masterpiece.

Based on a stage play (and adapted by its creator: Samuel D. Hunter) The Whale is a week in the life of reclusive English teacher Charlie as his binge-eating, stemming from the trauma of a loss, threatens his life.

It's a script and setup very suited to the stage but that plays out brilliantly onscreen thanks to the performances.

Whilst all based within the confines of Charlie’s apartment, the viewer stays totally engaged. Fraser’s herculean performance, using heavy prosthetics, deserves those headlines but he’s supported brilliantly by Hong Chau, Ty Simpkins and, particularly, Sadie Sink, playing against Stranger Things’ Max as Charlie’s surly and bratty teenage daughter.

It's a disturbing, traumatic and engrossing film with a tragic story where Aronofsky and Hunter are careful to tow the line just so, not really granting any character true redemption or forgiveness but keeping the audience rooting for them.

Visually, there isn’t a large amount going on save for those startling prosthetics (the aforementioned Requiem for a Dream, Black Swan and The Fountain are all better examples of Aronofsky’s skill behind the camera) but it doesn’t really matter.

However, a slight trimming would probably be enough to nudge the film to a maximum score with a slight midway lull as some ‘reveals’ fall a little flat.

The Whale is much more than just an awards-worthy performance and is an original and heart-wrenching film.

⭐️⭐️⭐️⭐️