Big Fish is Tim Burton’s 2004 visual spectacle. In many ways, it is a meta look at colourful storytelling, more so in the context of Burton himself. Albert Finney and Ewan McGregor share the lead role of Edward Bloom, who has lived an adventurous, surreal life. This has left him with memorable tales to retell countless times, so much so that his son resents him for stealing the limelight at his own wedding.
Will, Edward’s son, is one of Billy Crudup’s understated roles. There is a flip side of pragmatism manifested in his character, in complete contrast to Edward. Edward sees himself as a metaphorical “big fish” who is constantly seeking a “bigger pond” so that he can grow as a person. His journey reads like a book, even in the film. He moves from place to place and leaves with a lesson or core memory every time.
The lighting contributes significantly to the journey, with a soft, halo-like quality to it. It is real enough to touch you emotionally but creates a distance between the viewer and the film all the same. The real underdog of this film is the screenplay and script. Adapted from a book by John August, this story, full of specific details, is ironically able to harness one unique thing: experiential subjectivity. Each person watching the film has a different experience with it.
We often seek cultural texts like films, books and music that articulate our feelings in a way we cannot by ourselves. These texts in a sense, are a manifestation of how we feel at a moment in time.
For many of us, there is no way to describe a big win or feel it in its entire capacity. But when a character in a story, or a crescendo in a melody becomes known to us, it is often synonymous with that feeling. That is precisely what Burton’s touch does to this film: we are able to take Edward’s surreal experiences as he pursues several things, only to be able to relate to his journey deeply, and individually.
Job*