Director David Fincher has been moving on an interesting path lately. His first noteworthy films, like Se7en and Fight Club, were long "epic" tales, yet they had a certain focus on their characters so as to ellicit really memorable performances (particularly Ed Norton, Brad Pitt, and Helena Bonham Carter in Fight Club). Recently, this trend has changed, in favor of films that yield better overall products than performances (2007's woefully overlooked Zodiac, which succeeded due to its writing and directing, and not its performances, which were just "good"). The Curious Case of Benjamin Button is indeed quite curious, because it is much more of a story than an actors' piece, even though it appeared to be full of meaty roles. Benjamin Button is born in 1917, on the eve of the end of World War I, but is born with features/health issues in line with that of a dying man in his eighties. His father, horrified, abandons him on the stoop of an old folks home in New Orleans, where Benjamin comes under care of the home's head nurse, Queenie (Boston Legal season 4's Taraji P. Henson). As Benjamin begins to age backwards, he grows stronger, and eventually meets young Daisy Fuller (later played by Cate Blanchett). Surely such a story had all the potential to be overly sentimental, and Fincher and screenwriter Eric Roth (who also wrote Forrest Gump) had plenty of opportunities to shamelessly tug at our heart strings, but they choose not too. Several scenes where we learn of a death of a character go by without making a huge impact. Sometimes, it's in the moments you wouldn't expect (my eyes got watery when Benjamin, mentally 5 but outwardly 80 grabbed Queenie's hand late at night to ask what was wrong with him). What's really surprising about the film though, is the pacing more than the tone. Fincher's film's usually have an undercurrent of twisted cyncism or darkness, which isn't present here. The constant sense of tension and dread (ala Zodiac) is gone as well. For someone who's a big fan of Fincher's work, I was surprised by the lack of energy with which the first segment of the film moved; not brisk by any means, and occaisionally meandering. And while some of it does come back later to help bring the story full circle, I couldn't help but feel that the first hour or so could've been tightened just a bit. That said, when the movie hits its stride, it soars as entertainment, comedy, and dark drama, all of which is enhanced by Claudio Miranda's lovely cinematography and Alexandre Desplat's delicate score. Special mention should also go to the special effects and make up departments for aging the cast members so gracefully. Performances however, are an entirely different matter. No one is bad or a "weak link", but it's hard to really heap praise on anyone, despite the enormous talent of the cast. It's a shame that a project that has "Oscar" written all over it couldn't have boasted stronger performances from Pitt (who really is a very good actor) and Blanchett (one of the best of her generation). The other problem comes from the story's use of flashback. Instead of a straight narrative, we're told the story in segments as Daisy, on her deathbed as Hurricane Katrina heads toward New Orleans, is read Benjamin's journal by her daughter Caroline (Julia Ormond). At times it can be frustrating when the beautifully lit past suddenly jumps back to the present. That said, transforming F. Scott Fitzgerald's short story into a sprawling 3 hour movie was no easy task, and it's mostly a success. It's just not Fincher's magnum opus, like many of his fans hyped it up to be.
Grade: C+
Nominations: I'm no longer ranking these, as it spoils the fun when it comes time to announce my favorites of the year. That, and I'm having trouble deciding how much I like this movie. Best Cinematography, Best Art Direction, Best Costume Design, Best Make up
Number of 2008 films seen: 50
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