For most of my time as an aficionado of cinema, that is to say a significant portion of my life, I have been a fervent supporter of independent films. I have always been drawn to movies that offer a different, frequently been drawn to movies that provide an alternate view of our world, one that normally I would never have an opportunity to experience. Even when an Indy is not great is still can be fascinating, intriguing and thought provoking. Much of this is a result of the experimental component that is inherent in the entire independent cinema movement. Without the trial and error process at the heart of Indies filmmaking would stagnate devoid of fresh ideas and innovative new methodology. Some of these movies may seem strange even bizarre but that is the largest part of the enjoyment. These are movies that would never be produced by the major, bottom line driven major studios. For example if a filmmaker had a meeting with a studio executive to describe a proposal for a film about a clinically depressed man who choose to communicate with others exclusively through as felt hand puppet of a beaver the most likely outcome would be a quick call to security for an escort out of the building. Even if the filmmaker could guarantee ‘A’ list talent the results would be the same. Thanks to the more visionary vantage point provided by independent film a little movie called ‘The Beaver’ came into existence. The best word to sum up this flick is ‘quirky’. It has to be noted that this is not a film for everyone. It takes an appreciation of cinema beyond entertainment into the realm of art. You need to look past those that label the movie as ‘silly’ or ‘foolish’ and consider it through a more open minded attitude. If you go into this film with such a frame of mind you will be rewarded with a story that is as poignant as it is whimsical. It does have a number of technical missteps but they are technical in nature and in some ways reinforce the heart of the movie. I feel that it is impossible to tell a story of an imperfect human being with a highly polished film. At least it is disservice to our flawed species to attempt to create a work that doesn’t reflect of natural inclination towards the imperfect. This film is a celebration of the eccentric side of human nature reveling in one man’s odd coping mechanism.

Walter Black (Mel Gibson) is the chief executive officer employed by a toy company, a career you might think would be conducive to a jovial, carefree attitude. Unfortunately, this is not the way Walter views life. Quite the opposite, he is clinically depressed. His melancholy had progressed so far that his wife Meredith (Jodie Foster) has reached the limits of her tolerance resulting tossing him out of the family home. This decision sits well with their eldest son Porter (Anton Yelchin) who is concerned for his mother. It also is a source of confusion for the younger son Henry (Riley Thomas Stewart). Porter has come to hate his father for the pain and disruption he has inflicted on the family. Removed from the house Walter spirals even deeper into his depression moving into a hotel room where he fails in his attempt to commit suicide. Walter fines something that literally changes his life in the most unlikely of places; a beaver hand puppet discarded in the trash. Walter develops an alternate personality that expresses itself through the beaver. In short order the beaver is a constant fixture on his hand becoming the exclusive means foe Walter to communicate. Porter is embarrassed by his father’s strange predilection especially when the beaver makes an appearance in front of Norah (Jennifer Lawrence), a classmate his has a crush on. He is shy around her, his initial contact with her being a business transaction. Port earns cash by ghost writing term papers for his fellow students. Norah is charged with delivering a speech at graduation, a prospect that makes her extremely uncomfortable so she hires Porter as her cover speech writer. After delivering the speech she confesses the fact she was not the author. It also comes out that she suffered a serve emotional trauma a few years ago when her brother died. The use of the puppet does manifest a profound effect on Walter’s outlook on life and his relationship with his family. Meredith is disgusted by the beaver and leaves the home taking her son’s with her. It also turns out that he deceived her by telling her the puppet was part of therapy with a psychiatrist not the focus of delusional thinking. This sets up a serious dichotomy in how Walter regards the beaver. Part of him feels secure using the puppet as a social intermediary while another part of him knows how it looks and realizes he has to put the beaver away for good. Already unstable this inner turmoil leads Walter to a drastic course of action.

It is certain that many people might wonder why Gibson and Foster, both two time academy Award winners, would agree to participate in a movie based on such an outlandish premise. This is a reasonably train of thought but one easily explained. This is precisely the kind of film a star, and filmmaker, wants to become involved with. It takes them out of the comfort zone of roles and stories that have been done repeatedly. Both of these actors are accomplished and well respected for their talents but a project such as this has to carry a certain degree of professional and artistic satisfaction. After all it’s not every day that an actor can claim portrayals of Scottish chieftain William Wallace a grown man walking around speaking through a felt beaver puppet.