Big Fish: A Tale of Stories and Truth

From the perspective of Edward Bloom's son, the timing of his father’s storytelling is frustratingly off.

In the years leading up to his son’s birth, Edward had thrilling adventures and met unforgettable characters. After his son was born, he repeatedly recounted these stories, to the point where listeners might feel their eyes glazing over, reminiscent of a comic gone awry.

Despite this, some find Edward endearing, including his wife, Sandra (played by Jessica Lange). As Edward approaches the end of his life, Sandra calls for their son, Will (Billy Crudup), who has grown weary of his father's endless tales. A journalist in Paris, Will has heard these stories countless times and now seeks the truth behind them.

Directed by Tim Burton, the film dives into flashbacks featuring Young Edward (Ewan McGregor) and Young Sandra (Alison Lohman), showcasing the adventures the older Edward recounts. These memories include a witch (Helena Bonham Carter) with a glass eye that predicts death, and a circus run by Amos Calloway (Danny DeVito), where Edward befriends Karl the Giant (Matthew McGrory).

One memorable moment occurs when Edward, enchanted by Sandra under the Big Top, realizes she is his destined partner. Other escapades, such as one involving a catfish the size of a shark, add to the film's whimsical charm. However, the most outrageous tale is when Edward parachutes into a Red Army talent show in China, meeting a conjoined vocal duo. Whether these stories are fanciful fabrications is left for viewers to decide, echoing the idea that belief can validate reality.

Burton's signature visual style makes "Big Fish" visually stunning, often described as "Burtonesque." Yet, Will's frustration with his father’s incessant storytelling is warranted; there comes a point when entertainment turns into a form of bad ending. While brevity can enhance storytelling, old Edward seems to belong to a group of slow talkers, extending his tales far too long.

Interestingly, another film, "The Barbarian Invasions" by Denys Arcand, shares a similar premise: a dying man recounts youthful memories while his loved ones gather at his bedside. The son, tired of his father's stories, longs for honesty. Both films explore the significance of legends in our lives, reflecting how narratives shape our understanding of existence.

The distinction lies in the tonal differences; Arcand’s film offers a poignant human comedy, while Burton's is marked by flamboyant spectacle. Arcand uses the past to deepen character exploration, whereas Burton often prioritizes visual fantasy over emotional depth. The film presents enchanting settings like the village of Spectre, with its grass-paved streets and fantastical creatures, but one might wonder if Burton’s focus on visuals detracts from the core narrative.

In a way, both Burton and Edward Bloom recycle their talents, waiting for a deeper purpose to emerge. When Burton anchors his creativity to a solid story, he excels ("Ed Wood", "Sleepy Hollow"). Without that anchor, his visual prowess may feel like elaborate doodling, lacking the narrative weight that gives it true meaning.