Inspiring, visual storytelling at its best!

Rating: 10/10 (28 December 2015)

It's very rare that I like a "remake" of a film as much as (let alone more than) the original. Then again, to call this Ben Stiller film a "remake" isn't truly a fair estimation either. There aren't many similarities with the two films beyond some basic concepts which, in this case (in my humble opinion), actually helps the film. I am a cinephile at heart, and love old films tremendously. But I did not enjoy the original. It's plot was sloppy, humor hit or miss and, in certain respects, it's viewpoint unnecessarily cynical.
However, this modern retelling of the James Thurber short story was, to me, a breath of fresh air in the annals of filmmaking. It was not laden with cynicism, as we find with most films today that seem to go for "darker, harder, grittier". The story, as well as the characters, were relatable, the cinematography was near flawless-both technically and aesthetically-and even the protagonist (Mr. Stiller himself) manages to be detached from reality, at least initially, and still exude an optimism that pervades the story from beginning to end.
We are pulled into the character's perspective via the excellent cinematography (which is as much a character as Walter himself; in fact an extension of him) from the opening frame. The style of the shots begins very locked-off, symmetrical, and calculated-much the way Walter governs each step of his daily routine. However, as the film goes on, and the real Walter begins to emerge for the first time in years, the shots take on a more kinetic, documentary-esque feel. Not to be understated either is the precise editing and perfect score/music collection that helps drive our main character, as well as the film's narrative, ever forward.
Though the film has its minor flaws (after all, no art can be perfect), we see each layer of Walter delicately peeled back to reveal his character and why his true self has been "locked away" for so long, as the film unfolds. We are given just enough information to piece him together and see that the more he starts "doing", the less he "goes into one of his little places" (to quote Shirley McClaine as his mother, describing his overactive imagination). This is reflected in the fact that the film begins with one imagination sequence after another, but slowly gives way to "reality" (albeit a slightly exaggerated reality, much like visual hyperbole to drive the core message home). It doesn't condemn imagination, but rather encourages it as the foundation for meaningful life, for both ourselves and those close to us; using imagination for a greater purpose. It's a true "coming of age" tale-coming of middle age by returning to your true, lost self at young age, to reconcile the two portions of your life into one solid individual.
Sadly, this film didn't rate well with many critics. But that's to be expected; after all, it didn't feature enough violence, obscene language or gratuitous sex. It didn't offer any real "shock-value" that many seem to think necessary to classify a film as "brave" these days. The film, however, IS brave ("Adventurous, Brave and Creative" to be precise), especially for suggesting-and proving-the notion that cinema/art can still be powerful, entertaining, and thought-provoking without ever uttering a single "F" word. So thank you Walter/Ben Stiller for reminding us what true bravery is. After all, "That is the purpose of Life."