EXCERPT FROM NYTIMES -- “The Curious Case of Benjamin Button,” which occupies around 25 pages in the collected works of F. Scott Fitzgerald,
is a slender piece of whimsy, a charming fantasy about a man who ages
in reverse, descending through the years from newborn senescence to
terminal infancy. As Fitzgerald unravels it, Benjamin’s story serves as
the pretext for some amusing, fairly superficial observations about
child rearing, undergraduate behavior and courtship in the late 19th
and early 20th centuries. From this odd, somewhat unpromising kernel, the director David Fincher
and the screenwriter Eric Roth have cultivated a lush, romantic
hothouse bloom, a film that shares only a title and a basic premise
with its literary source. “The Curious Case of Benjamin Button,” more
than two and a half hours long, sighs with longing and simmers with
intrigue while investigating the philosophical conundrums and emotional
paradoxes of its protagonist’s condition in a spirit that owes more to Jorge Luis Borges than to Fitzgerald. While the film’s plot progresses, with a few divagations, in
a straight line through the decades of Benjamin Button’s life, the
backward vector of that biography turns this “Curious Case” into a
genuine mystery. And the puzzles it invites us to contemplate — in
consistently interesting, if not always dramatically satisfying ways —
are deep and imposing, concerning the passage of time, the elusiveness
of experience and the Janus-faced nature of love. Above all, though, “The Curious Case of Benjamin Button” is a triumph of technique. Building on the advances of pioneers like Steven Spielberg, Peter Jackson and Robert Zemeckis — and on his own previous work adapting newfangled means to traditional cinematic ends — Mr. Fincher (“Fight Club,” “Zodiac”) has added a dimension of delicacy and grace to digital filmmaking. While it stands on the shoulders of breakthroughs like “Minority Report,” “The Lord of the Rings” and “Forrest Gump”
(for which Mr. Roth wrote the screenplay), “Benjamin Button” may be the
most dazzling such hybrid yet, precisely because it is the subtlest.
While he does treat the audience to a few grand, special-effect
showpieces, Mr. Fincher concentrates his ingenuity on the setting and
the characters, in particular — and most arrestingly — on the faces of
his stars, Cate Blanchett and Brad Pitt. Ms. Blanchett is Daisy, a dancer, bohemian and all-around
free spirit who ages gracefully, before our eyes, into a stately modern
matron and then into a wasted, breathless old woman. Mr. Pitt, for the
most part, plays Benjamin, who is born, looking like a man in his 70s,
into a prominent New Orleans family in 1918. I say for the most part
because near the end of the movie Mr. Pitt is replaced by younger and
younger children and also because, at the beginning, he is evoked by an
uncanny computer-generated confection that seems to have been distilled
from his essence. This creature, tiny and wizened, is at once boy and
man, but in every scene the ratio is readjusted, until the strapping
figure of a familiar movie star emerges, gradually and all but
imperceptibly.CONTINUE READING...
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