These days, I think many assume the art of silent cinema is a bygone medium. The charming physical comedy, the animated, exaggerated mannerisms, and the wholesome tales of romance attained by the elimination of practical, eccentric barriers seem like characteristics of an era of film that has been long abandoned. At risk of sounding like a boomer at odds with the entire modern industry, there is a certain magic to these older films that feel lost to time, something we can only relive through looking back. That is, until a film like Hundred of Beavers comes along and proves the old and new can be melded into something exceedingly entertaining.

Hundreds of Beavers is, in the most literal sense, exactly what it sounds like. In 19th century North America, Jean Kayak of Acme Applejack finds himself with nothing to his name and alone in the wilderness after his apple orchard suddenly becomes unviable (he accidentally blew it up). The straits are absolutely dire for our central underdog at first, as he is outsmarted by various homosexual rabbits and assaulted by notably industrious beavers in his fight to survive the elements. After learning the art of trapping and stumbling upon a merchant and his beautiful, fun-loving daughter, however, Jean Kayak hatches a plan to make a lot of money and win over the girl of his dreams. He needs to kill hundreds of beavers (the exact number is unknown) and bring them to the standoffish merchant.

And, thus, we watch as our lead applejack salesman turned tactful fur trapper goes through a series of increasingly outrageous hijinks in his quest to vanquish bunches of big-toothed vermin. The premise is quite morbid until you remember the fact that all of the animals in the film are human actors dressed in ridiculous looking fur suits. Once that sinks in, the film quickly becomes absolutely hilarious as we see countless anthropomorphic beavers mangled in a variety of bloodless ways. The other animals even get in on the action too!

If the entire appeal of the film was a silly, often inept fur trapper fighting a variety of ridiculous rodents, I would be quite entertained, but there somehow even more to appreciate about this film. For starters, the gags are absolutely amazing. The neverending amount of insane scenarios Jean Kayak finds himself in feel straight out of a Chaplin film. There are running gags and gags that come completely out of left field in their sheer randomness. References to other films are abound as well. This is a style of unwavering slapstick comedy that, outside of classic silent films, really hasn’t been seen in any capacity in mainstream film since the likes of Airplane!

But Hundreds of Beavers is not all nostalgic Chaplin-esque gags, either. After all, this film has the clear benefit of releasing well into the 21st century. While the film never goes so far as to forsake the stylistic bounds of its old school roots, the film certainly knows how to get a bit risqué. There are sex jokes, there is mass mammalian murder (but it’s super silly, don’t worry), there is pole dancing, and again, there are GAY RABBITS. This film is more than cognizant of modern sensibilities and knows exactly what it can get away with in terms of offering up modern jokes without taking you out of the classic style. This film’s complete and utter commitment to the bit really is its greatest strength, and it only gets better as it goes along. The gags in the final act are completely outrageous and shocking with just how bold they are. What Saltburn thought it was for homoerotic thrillers, Hundreds of Beavers actually is for “silent” slapstick comedy. In fact, the film has acoustic sounds but essentially zero dialogue and uses title cards for that. The film is just absolutely crazy, and I say that in the most glowing way possible.

My thoughts on its gutsy sense of humor are similar to those on its technical prowess. As previously stated, this is a film of the 21st century, so just as it takes advantage of the sensibilities of modern storytelling and humor, it also takes advantage of modern filmmaking technology. The cinematography is crisp and the sound design is creative, with its implementation of environmental sounds and cartoonish noises played for comedic effect. But arguably where the film benefits the most from its modern means is its use of visual effects. The film’s implementation of visual effects is as fascinating as it is impressive. It’s the perfect cognitive balancing act. Intuitively, one knows the film is taking advantage of modern visual effects technology. There’s no way it isn’t. But it also never feels inauthentic to the silent era aesthetic. Everything is integrated seamlessly, with nothing ever feeling overdone. Nothing looks unbelievable within the reason of the world, but it doesn’t look too realistic either. It looks perfectly silly without simply looking bad. While there is a certain cheapness built into this style of visual effects, I really cannot fathom how they pulled it off, as I imagine this film had quite the microbudget. Much to my dismay, studios don’t seem to be handing out millions for the creation of silent slapstick comedies about beaver murder. Nonetheless, the film looks consistently fantastic — especially in the final act, which makes clear and extensive use of visual effects to absolutely perfect effect. The visual effects only ever enhance the gags and take them to heights never before possible; they never distract or ruin immersion. The film is privy to a host of technical feats without ever boasting them. 

I could continue to discuss the film, even on a subtextual level, as the film certainly has things to say about the environmental detriment of humanity and the restrictive policies colonial powers place on those they conquer (in this case beavers), but that’s beside the point. This film, as gleefully silly as it is, is not brainless. But I also don’t want to mar the innate quaintness of a slapstick comedy about humanoid beavers and their dam of metropolitan proportions and fully functioning judicial system with a full blown academic dissertation. That’s not really the point of a creatively vibrant film like this. In fact, I think the magic and mysticism of it all is part of the appeal! But do know there is something beneath the surface to chew on (besides wood) for us intellectuals. Wood for thought, perhaps.

In the end, though, Hundreds of Beavers was everything I wanted and more. If this comes in a theater near you, I would definitely seek it out. I was grinning from ear to ear the entire time. This film is hilarious and bursting with creativity in every frame. It’s not merely some homage to silent slapstick, but an evolution of a genre many assumed to be gone for good. There is clear directorial vision on display in every frame, and to that I must say: All hail Mike Cheslik! All hail beavers! This film is a technical marvel and a total riot that can more than hold its own against a traditional modern blockbuster. It is incredibly entertaining, technically astonishing, and surprisingly thoughtful! Hundreds of Beavers is a perfectly unique film experience that has more than made its mark on this year of cinema.

9/10