After this disappointing introduction I remained hopeful at Tim's latest escapade while still not being quite sure of what I was about to witness. It happened that even now, after seeing it I'm still not quite sure what to say and even if I liked it. As is obvious to all Burtonites this film is not quite in his usual "abstract" style and has been publicised as his "breakthrough" film. This, apparently, is the "high point" in his career but quite frankly I think they are all wrong. Their reason for calling it a "breakthrough" seems completely founded on the fact that it is not a film shot in his usual style. Call this film "usual" compared to Tim's trademark "unusual" and apparently this is all a film requires to be a "breakthrough" when in reality it remains nothing more than a condemnation of new ideas and a suppression of the creativity deemed to be negative due to a more macabre theme. This "breakthrough" is therefore nothing more than a celebration of "normality" which I think is terrible. It will only further enhance the opinion that anything that differs from the "norm" is negative and wrong which surely is the incorrect message that should be being conveyed to today's prejudiced society that desperately needs to recognise that it must relieve itself of the negative connotations of an alternative way of thinking (or style) that have come to existence by reactions and attitudes of people such as the critics. By refusing to acknowledge and accept Tim's usual style he is being deprived of the critical acclaim and acceptance that he deserves as it is when directing such productions that he is truly at his prime and his passion for direction evident.
Therefore this film was never going to be easy to assess and although I revelled in his usual style of direction I was eagerly anticipating his attempt at conventional normality. The film boasted an impressive cast featuring Albert Finney, Ewan McGregor, Danny deVito, Helena Bonham Carter and Alison Lohrman of which only two had appeared in other productions of Burton (deVito in Batman Returns and Helena Bonham Carter in Planet of the Apes). This is unlike his usual productions as he is known for working with certain actors frequently so that many films feature the same people, in my opinion achieving a better result as it means a better understanding is present between the cast and director. Perhaps he felt that more universally recognised actors would be better suited to the project.
Finney portrayed an uncharismatic, pathetic old Edward Bloom who embellishes all stories of his youth that he recalls at every opportunity to the annoyance of his son, William, who ends a three year silence between the two when he finds that his father is on his deathbed; as a final attempt at reconciliation and to discover who his father really is. What the man is like behind the stories that William believes to be ridiculous yet Edward persists is truth. The film tells the story of Edward Bloom's supposed life through the stories with Ewan McGregor as the young Edward Bloom and Alison Lohrman as his wife, Sandra. Appearances are made by Danny deVito as a werewolf and Helena Bonham Carter in a double role of Jenny and The Witch.
At times the film is touching and emotion provoking but in general lacked intrigue and belief. The characters in the present were dull and barely compelling which made parts an effort to watch, something I was not used to in a Burton film,. The scenes set in the past that were recanted in the stories managed to redeem the film thankfully. The characters were alive and filled with vivacity that made them endearing and, to an extent, believable i.e. those that were not witches, giants, werewolves etc). The past scenes showed Burton's influence and flare which the present scenes did not with the exception a couple at the end.
The present scenes were filmed in a "normal" style with the past showing slight "abnormality" that was more of a lack of realism. The sets and events, like the field of daffodils and Sandra accepting Edward's proposal despite not knowing him, were unrealistic but Burton's direction ensured that they were shot in a way that showed them not to be attempting an accurate portrayal of real life but instead more of an abstract satire. Consequently one was able to watch and enjoy these parts without being preoccupied about the ridiculousness of them.
As predicted the "normal" direction does not show Burton to be a particularly talented director or superior to any of his peers, in these he is merely average. The "abnormal" scenes however, were blatantly Burton and noticeably more compelling and interestingly shot, showing his genius that really becomes apparent in such scenes. Had the whole film been shot in a similar way then it might have been closer to the "breakthrough" it supposedly was.
It was during the past scenes that I was moved to tears; when Sandra (Lohrman) believes Edward to be dead and is then reunited with him. It was heartrending and one of the most moving scenes of the film. In contrast to the opening scene, the final ones did not disappoint. The mix of present and past were exactly what it needed for the perfect ending and although in hindsight it sounds predictable I had not the vaguest idea as to how it would end.
For me it was significant; the joining and final understanding between two worlds before one ended. In a way it seemed like a message, that to get along we must understand each other and try to see the world from another's perspective to appreciate and value things and their meaning. Maybe Burton was trying to say something to the closed minded critics through this film after all, even if it was only in the final scenes.
To conclude if you can look further than the visually enchanting delight which Burton offers in certain scenes you will find the heart-warming centre of a film that's only flaw is the poorly acted present that tries too hard to be normal.