“その大切さに気づいたのは、最期のときだった。 人生なんて、まるでお伽噺さ。”
ジャーナリストのウィルとジョセフィーンの結婚式で、ウィルの父親エドワードがウィルの生まれた日に釣った巨大魚の話を始めて招待客を楽しませたが、ウィルは父に今夜の主役は自分であると言ったことから、ずっと二人の不仲が続いていた。
製作費: $70,000,000 (105億円)
興行収入: $123,200,000 (185億円)
推定収支: $53,200,000 (80億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ティム・バートン
脚本: John August / Daniel Wallace
音楽: ダニー・エルフマン
制作: ブルース・コーエン / Dan Jinks / Arne Schmidt
撮影監督: Philippe Rousselot
制作会社: Columbia Pictures / The Zanuck Company / Jinks/Cohen Company / Tim Burton Productions
First time seeing this since probably 2003 in theaters and it's absolutely heartfelt and charming, probably one of Tim Burton's best films, or at least one of my personal favorites of his. Great performances all around but especially Ewan McGregor and Albert Finney. Really well done. **4.5/5**
I must admit I did struggle a little to wonder how Ewan McGregor could ever age into Albert Finley, but then as the whole principle of this story is to stretch the truth, then I suppose why not! It’s those very far-fetched sort of scenarios that caused this family’s problems in the first place as the young “Will” (Bully Crudup) has to return home after a three year estrangement from dad “Ed” (Finney) when the latter man is diagnosed with terminal cancer. A sort of uneasy truce breaks out between them as we realise that extent of their issues is more that the young lad actually believed some of the fantastic fables he was being spun by his enthusiastic younger dad (McGregor) and so feels that somehow he has been betrayed and lied to all these years. The most preposterous of those sees an early witchery outing for Helena Bonham Carter as the neighbour whose glass eye will espy the impending death of the startlingly naive young “Will”. The only solution here seems to be that dad acknowledges his failings to his profoundly disappointed son and maybe some form of reconciliation might emerge from these truths. “Edward” isn’t the apologising type, though, and so a bit of a Mexican stand-off seems destined to thwart any possibility of a rapprochement. Then again, could there be some truth to the old man’s stories after all? The inventive use of flashback and two really quite engaging efforts from McGregor and a sparingly used but effective Finney give this a certain poignancy as the ridiculousness of the initial premise of their falling out gives way to more serious and profound issues about truth. What might that actually be, and need it be the same truth for everyone? Maybe, just maybe, the young “Will” needs to take things a little less on face value? As the film progresses, the story becomes increasingly more touching and for that, the equally on-form Crudup can take much credit as this character study advances in the face of one tragedy, certainly, but hopefully not two. The switching around of the timelines works well and allows the production to indulge itself in two totally different eras with all of the creative benefits that offers. It’s quirky, quite funny and well worth a couple of hours.
