I'm sorry, Max.
And then we have Benjamin Button. I can't believe in the cinematic evolution of Fincher. Shot after shot after shot, this is deep sense and notion of what cinema can achieve. Beautifully and unpretentiously filmed; simple and humble storytelling, showing us the time passing by, the places staying, people going away. Life is violent but violence is this.
"Every second of Benjamin Button, every shot and every cut, every gesture and every facial expression, every turn in its narrative and every visual effect, is devoted to the contemplation of time’s passing. Of course, that is the theme of Eric Roth’s screenplay, an epic embellishment of F. Scott Fitzgerald’s wisp of a story about a man who is born old and grows young, displaced from Baltimore to New Orleans and shifted ahead fifty years in time. And it is easy to imagine the film directed by someone else, anyone else apart from Fincher, and made into a poignant love story about two people who “meet in the middle,” set against the backdrop of the American century. I’ve read many descriptions of this phantom movie, Roth’s script as directed by Ron Howard or Nora Ephron. They are very far from the mysterious and troubling film Fincher has actually made... The picaresque/kaleidoscopic strategy of the script might be familiar to viewers of Forrest Gump, also written by Roth. But Benjamin Button finally moves in a very different direction. Fincher never allows us anything more, or less, than glimpses, distilled into visions. That NASA liftoff stays on-screen just long enough to register before the director cuts away to another incremental but palpable step forward in time, and it is ephemeral (a brilliant streak of white light traced across a bright blue sky) more than iconic. It is also evocative of earlier streaks of light, sent by artillery fire in World War II and machine-gun fire in World War I, both flashing just as quickly—yet harrowingly—before our eyes. And Benjamin’s." -Kent Jones
One's difference as nothing but is certainly central to 'Benjamin' as allegory of the disempowered (minorities, the geriatric and the disenfranchised), yet what's most humanly interesting is how Button's spacial immersion with death is engrained as matter-of-fact, and what terrifies him most is exactly the opposite of those living a 'conventional' life: birth. His 'brother' and his own child strike great fear.
the essence of the film is based only on the eternal desire of human beings. when we are small, we want to achieve more rapidly the end (I always said. "I wish I could be eighteen years") ... but will as time passes, we want to delay as much as possible, the end - we want to be under eighteen. and I think Fincher wants to show us that!
When it comes to love, whether you're an old man and a little girl, a couple of 40 years old lovers, an old lady and a young man, or even a granny and a baby boy, it exists if he/she is the one. Just like it's tagline "Life isn't measured in minutes, but in moments" My favorite part is Button's monologue (and of course the scene) about destiny (the morning on Daisy's accident). Super! Fincher!
It's sad to see David Fincher stumbling in several narrative cliches can irritate during projection. Certainly not the kind of product you could imagine adapting it, but no doubt he could have done better. The story itself is powerful and provides an opportunity to raise much higher flights. Often the characters are portrayed in idealized form and limited. But it is not completely flawed: no doubt there are many good moments and sincere. There are technical quality and a very capable cast. The story itself is engaging and moving.
"Few films in the history of cinema have more fully exemplified Cocteau's maxim about the medium itself embodying death at work than this digitally mediated end-of-year entertainment, which finally reveals itself as a cinematic song of inevitability. Technology is not used to efface time, but to illuminate it. Benjamin Button may have its roots in the fantastic, but the finished work has stronger ties to previous contemplations of time's passing like The Magnificent Ambersons (1942) or The Life and Death of Colonel Blimp (1943), albeit with a crucial difference. Unlike the heroes of the Welles and Powell films, Benjamin does not rail against the flow of time because he is not born with the illusion that he exists within a magic circle that can never be broken. Benjamin is born different, and therefore alone. [...] At its deepest level, The Curious Case of Benjamin Button is a film about the solitude of difference." —Kent Jones
Gets an extra star for the fantastic opening. Otherwise, not Fincher's finest hour.
After viewing this for a 3rd time I've finally decided to "fan" it. I had a much more interesting experience watching it this time than previously. Although I do think the film loses some of its whimsey around 2/3 in, I still think there are parts of it that are absolutely magical.
Back when this came out/when I first saw this, it was probably the most disappointed I'd been by a movie in a long time. I had such high hopes and expectations, and with a concept full of potential.... man this could've been so much more. Still enjoyable, but a true missed opportunity.