Every once in a great while, there
comes an extraordinary movie that’s so transfixing and
gracefully beautiful in the way it moves that viewers are as
content to simply marvel over it as it plays as they
are confounded by how much it engrains itself into their
memories days after they see it. The process of being so
spellbound by a work that it resurfaces in the
conscious over time defines Movie Magic and is precisely what
Hollywood should strive when it commits fiction to the screen.
Glib as the proclamation may sound:
this year, David Fincher’s The Curious Case of Benjamin
Button was the movie that reminded me that the above kind of
movie still exists. The picture—a fusion of old-fashioned
storytelling, cutting-edge technology, and just plain brilliant
talent— has left me so dumfounded and giddy that
I don’t know where to begin discussing it. Tack on the fact that
the movie’s sense of time is out-of-whack itself—the title
protagonist ages backwards—and I’m as good as screwed when it
comes to writing this review.
The movie was made from a screenplay
of over 200 pages by Eric Roth, the brilliant writer who fifteen
years ago penned Forrest Gump, another character-odyssey
of infinite elements. Roth and fellow story-scribe Robin Swicord
found their premise in an F. Scott Fitzgerald short-story:
Benjamin Button is born with the body of an old man and grows
physically younger as time passes. They expanded this into a
work that encompasses the breadth of American history, the
emotion of great romance, and the tragic inevitability of a life
story.
The basic idea behind The Curious
Case of Benjamin Button is endlessly thought-provoking, but
director Fincher would never let you know it as the tale
unfolds. Something new and/or remarkable occupies the viewer’s
immediate thoughts at every step of the way.
After a brief, but vital parable on
the nature of time that I dare not spoil, the film opens at the
onset of Hurricane Katrina in a New Orleans hospital. Caroline
(Julia Ormond) is comforting her dying 80-year-old mother Daisy
(Cate Blanchett) amidst the sound of the harsh rain. At Daisy’s
request, Caroline reads aloud from the diary of Benjamin Button
(Brad Pitt), the great romance of her mother’s life who she
never knew due to the extraordinary circumstances of his.
What follows is the opus of
Benjamin’s (indeed curious) existence, which began at the end of
World War I and continued for the better part of the Twentieth
Century. It seems foolish to go into detail because the movie’s
intricacies are better left discovered, but I’ll summarize the
main points for the sake of cogence. Born wrinkled and weathered
to a mother who dies in childbirth, a crying Benjamin is left at
the doorstep of Queenie (Taraji P. Henson), a caregiver for the
elderly who raises him as her own. Defying doctors’ warnings of
his impending death, Benjamin grows stronger by the day. He
gains the ability to walk at seven, goes to work on a tugboat
bound for Europe when his teenage body is strong enough to
withstand the rocking waters, and has a passionate affair with a
seductive Brit (Tilda Swinton) in a Russian hotel in his early
twenties. During World War II, Benjamin finds himself aiding
Allied Forces aboard the boat during his long return to
Louisiana…
… And I’ve just skipped over the most
important part of the story. While away from home, Benjamin
quietly yearns for Daisy, the woman who will eventually,
fatefully become the love of his life. She’s the granddaughter
of one of Queenie’s tenants, and she and Benjamin hit it off
during childhood. In their early years, Daisy showed Benjamin
the purest compassion he ever knew because her young, innocent
eyes saw nothing wrong with his elderly appearance. Even Queenie,
a woman with the kindest of hearts, all the while prayed for the
boy because she knew he wasn’t normal. But to Daisy, Benjamin
was simply her playmate.
When Benjamin returns from Europe, he
endures a great deal struggle to win Daisy over, just as the
protagonist of every proper old-fashioned love-story should. But
he and Daisy’s future together is certain. Unfortunately, just
as their romance is an object of fate, so is the ultimate
tragedy that Benjamin will continue to grow younger and Daisy
older. They are helpless to their own devices and will one day
be unable to coexist. The emotional impact therein is far
greater than that of the standard epic love-story, which might
fatally send the man to war or diagnose the woman with cancer.
Benjamin and Daisy find themselves in a relationship that is
destined to collapse in a slower, more painful fashion, and yet
it’s all the more beautiful and moving and downright whimsical
because they cannot help but embrace it regardless. A lot
happens over the course of their lives that I will not reveal
here, but I will assure you that each development feels as
natural as it does unexpected. And all funnels back to our
thoughts and passions tied to Benjamin and Daisy’s everlasting
bond.
Given the sweeping nature of the
story, it’s easy to forget just how groundbreaking the visuals
in The Curious Case of Benjamin Button are, a testament
to how seamlessly they have been integrated into the film.
Fincher employed impressive face-replacement technology that
allowed Brad Pitt to play Benjamin at all periods of his life by
animating his facial-expressions onto the profiles of actors
whose bodies were better suited for the different ages. (Pitt is
physically present for about two-thirds of the scenes, which he
was able to pull off with simple make-up.) The film never once
seems like it has been animated; all of the images are lifelike.
This represents something of a landmark: a film with visuals so
masterful that the viewer can’t tell the difference between
reality and CGI. Sure, the feat has been achieved before with
exploding buildings and end-of-the-world catastrophes, but to
replicate it with something as sensitive and complex as the
human face is remarkable. Let’s also not forget that the movie
was shot digitally and yet boasts some of the best
cinematography of the year thanks to Fincher’s career D.P.
Claudio Miranda. Between the photography in this film and
Slumdog Millionaire, I’m beginning to think that traditional
35mm has indeed met a formidable opponent.
And the performances – how have I
spent this long without gushing over them? While The Curious
Case of Benjamin Button is by definition an auteur piece
given Fincher has refined such a sprawling, mammoth project into
a near-perfect symphony, the depth achieved by leads Pitt and
Blanchett is equally vital to the film’s effectiveness. Pitt’s
ability form a distinct character over so many different ages is
a masterful achievement in and of itself; that he makes Benjamin
one of the most sympathetic and relatable protagonists ever
encountered is just an added bonus. It would be a shame if the
Academy didn’t recognize him because he disappears into the role
so much; I fear that voters who haven’t done their homework may
not even recognize that Pitt plays Benjamin at every stage of
life because the transformations are so unbelievable. With Ms.
Blanchett, however, there is no such excuse for a snub: she’s
recognizably mesmerizing throughout, like one of the
screen-beauties seen in the 1930s epics to which this film’s
form often pays tribute. She is the main reason the central
romance works so well.
All of the above comments represent
initial reactions I had watching The Curious Case of Benjamin
Button. As I said in the opening of this review, it’s a film
that begs to be simply experienced, so entrancing you almost
forget you’re watching a movie even while recognizing its
substantial narrative and stylistic accomplishments. I could go
on about the thoughts I’ve had on the film’s themes about the
nature of time and the sublimity of love in the week and a half
since I saw it, but I fear that I would be analyzing a great
film to death. Truth is: Fincher has made a work of art so
precious that we’re all entitled to pure personal reactions, an
occasion so rare in contemporary cinema that it must be
protected and celebrated. For now, I’m content in chewing The
Curious Case of Benjamin Button over some more and
anticipating a second viewing.
-Danny Baldwin, Bucket Reviews
Review Published on: 12.24.2008
Screened on: 12.13.2008 at the
Egyptian Theatre in Hollywood, CA.