The Curious Case Of Benjamin Button (9/10)

It’s not a coincidence that this movie reminds a fair bit of Forrest Gump since both were adapted by Eric Roth. But Roth took more liberties here from the short story by F Scott Fitzgerald.

One word to sum up this movie would be “life” – which is also what’s written in beautiful cursive fonts behind the title of movie posters, easily missed unless you look closely.

Benjamin Button was Fitzgerald’s reply to Mark Twain’s observation that the best part of life comes at the beginning and the worst at the end. So, what if a person is born old, age the opposite way and dies young? What then?

It was just amazing what Fincher and his team has achieved in the ageing process. From “baby” Benjamin looking like ET and then going through a seamless transition from a man in his 70s to his 50s, to Blanchett looking absolutely believable be it at 20 or at 60. But the most unnerving sight came when Pitt appeared 20 years younger, as if he was superimposed from Legends Of The Fall. Either the visual effects have made huge leaps and bounds or the makeup artist is to die for.

Pitt took on the role with quiet confidence, portraying great sympathy and gentleness. His performance was so smooth that the illusion of age disappeared along with the visual wizardry. Blanchett went from appearing confidently invincible to completely vulnerable with great ease. Tilda Swinton oozed with aristocracy while Taraji P Henson caught everyone by surprise with an Oscar-nominated performance.

What really worked here is Fincher’s storytelling. It was clear that the story and the characters took priority, and the special effects were just visual aids to the story’s progression and not the main show.

Fincher and Roth turning this fantastical conceit into a love story was a joy to experience, and a sadness when it ends. They did not sugar-coat nor force emotions upon their audience. Instead they allowed their visuals to speak and let the audience interpret however they will.

Movies speak differently to different people and this movie speaks to all ages. One interpretation is that the young and the old – the beginning and the end – shared more similarities than differences (as seen when Benjamin, around 70, first meets Daisy, no more than 10). And no matter how one is born; the journey of life is what matters most.

Therefore, worry more for the life yet to live, not blame how we come to life or how we will meet death. And at the centre of it all, as corny as it may sound, love conquers all.