An intelligent director, Fincher cut his teeth on television commercials and music videos before making his feature debut in 1992 with Alien 3, a forgettable and regrettable installment in that particular sci-fi franchise. It was all uphill from there. Fincher's next five films arguably are modern classics, each impressively different from its immediate predecessor. Gen X fanboys idolize him for the basement-dwelling aggressions of Fight Club. The director brought flash—and a needed backbone—to pulp thrillers like The Game and Panic Room. And cineastes found plenty to appreciate in the meticulous musings of Fincher's cold-case police procedural, Zodiac.
His latest film is a bold step in an alternate direction, but it shares a single quality with Fincher's previous films: brilliance. Beautiful and incredibly moving, The Curious Case of Benjamin Button credits a short story by F. Scott Fitzgerald, but really, screenwriter Eric Roth only lifts the basic premise of a man who is born old and ages backwards. The timeframe of the source material is altered, and events imagined for the movie will not be found in Fitzgerald's story.
No matter. The journey of this unique and gentle character easily enchants as it gives new meaning to the term "turn back the clock." Born at the conclusion of World War I, the decrepit and frail Benjamin (Brad Pitt) is rejected by his father (Jason Flemyng) and left at the doorstep of Queenie (Taraji P. Henson), who runs a retirement home in New Orleans. The resident doctor guesses Benjamin's chances of survival are slim. Needless to say, the resilient child perseveres, and goes on to lead one of those lives most of us would envy.
With each picture, Fincher continues to improve his already impressive filmmaking skills. His dedication to specifics—without forgetting the overall big picture—sets him apart from the directorial pack. He's also finding collaborators who match his enthusiasm for a project. Button utilizes exquisite period detail, pillow-soft cinematography from Claudio Miranda, and a lush, inspirational score by Alexandre Desplat that enhances the film's wide array of moods.
Then there's young/old Benjamin, who Fincher creates with seamless digital trickery that somehow attaches Pitt's made-up face to another actor's body. I stared at the effect for the better part of an hour and never once saw the strings that elevate this cinematic magic trick.
Beyond his technical wizardry, Fincher is maturing as a magical storyteller. He and Roth (who won an Oscar for penning the marginally similar Forrest Gump), embrace sprawling life lessons in Button that will bewitch a willing audience. The amenable Benjamin welcomes outcasts, social misfits, and lonely souls as tour guides during his spiritual journey. They point him in the right direction until he connects with Daisy (Cate Blanchett), his soulmate.
Benjamin and Daisy's relationship ends up carrying Button, though Fincher deftly explores many variations of love with his picture. The deepest connection is Queenie's maternal love for her foster child, an eternal bond between mother and son. But Button also deals with nostalgic love for lost friends and family, as well as fleeting love exchanged between needy strangers.
Blanchett's great, but Henson is better as Benjamin's tender, genteel Southern mother. But it's Pitt who gives Fincher's epic its heart and soul. Acting beneath a series of digital effects or layers of makeup, Pitt still imbues Benjamin with a youthful exuberance, a wide-eyed innocence, and a passion for worldly experience.
Not that each of Benjamin's adventures fits comfortably with our perspective. His stint in the Navy seems out of place, as does a nocturnal affair Benjamin conducts with the forlorn wife (Tilda Swinton) of a foreign diplomat. But I partially blame myself. Fincher has created a supple, stuffed, and rewarding tapestry of emotions and themes. It's one of those films I imagine I'll revisit often, hopefully finding new meaning depending on where I am in my life.
As romantic, impulsive, creative, and alive as Button can be, however, Fincher rarely strays far from his somber point that life, like love, is temporary. He frames his story with a narrative device in which Daisy's daughter (Julia Ormond) reads Benjamin's diary as Daisy rots on her deathbed. As if that weren't enough, Hurricane Katrina also bears down on New Orleans as the story progresses.
What seems overwrought takes on new meaning in the film's final shot, however. Floodwaters seep into a Bayou basement, overtaking a clock that bears significance in the film's opening scenes. And we know that building—like so many buildings in the Gulf—will be destroyed by that devastating storm. Because, as Button soberly reminds us, nothing lasts.
— SEAN O'CONNELL
Very Early Buzz on Fincher's The Curious Case of Benjamin Button
January 1, 2008
Source: Hollywood Elsewhere
by Alex Billington
One of the movies that was mentioned in our article about Why 2008 Will Be An Awesome Year was The Curious Case of Benjamin Button. The film is the latest from David Fincher, the director of Fight Club and Zodiac.
Everyone knows (or should know) that Fincher is a phenomenal filmmaker, from the visuals and camerawork in his films to his storytelling and rich characters. The Curious Case of Benjamin Button tells the story of Benjamin Button, played by Brad 
From Jeffrey Wells' Hollywood Elsewhere comes an e-mail from one of his long-timer readers. Although hardly anyone can be trusted these days, this does sound quite legit (and not too over-the-top). If it is the truth, then this certainly gets me excited for Benjamin Button, almost more than most movies this year.
"A friend of my wife's who is a costume designer was back in Pittsburgh visiting family over the holidays. During her visit we were discussing interesting projects she is or will be working on, and she said she's unequivocally excited about her latest film — The Curious Case of Benjamin Button."
"Top to bottom she said the set and production was a dream, that both David Fincher and Brad Pitt were consummate professionals, and that the script was top-notch — the only script she can recall making her cry, she said. She added that the look and scope of design of the film while ambitious is also intricate and exacting."
"Furthermore, she mentioned that some of the sequences they saw that had been edited were absolutely stunning. Her description of the mood of those who worked on it is that of bated breath — a near universal belief that they have made an outstanding and moving film, one that transcends and one they wish not to jinx by too much loose talk."
"I take this with more than a passing interest as she has worked on Traffic, all of the Ocean's movies, Solaris and Miami Vice."
"My point is that she has been on top-notch productions and is not prone to be star struck or taken aback by every project she works on. However, in this case, she thinks this will be one of the highlights of her career."
The film is an adaptation from a 1922 short story by F. Scott Fitzgerald. The script was written by Oscar-winning screenwriter Eric Roth, of Forrest Gump, Munich, and The Good Shepherd. Fitzgerald noted that "This story was inspired by a remark of Mark Twain's to the effect that it was a pity that the best part of life came at the beginning and the worst part at the end." The story was recently re-released this year in the form of a book in preparation for the film - you can find it on Amazon.com.
I couldn't imagine a better story for David
The Curious Case of Benjamin Button is currently set to arrive in theaters on November 26th.
The Curious Case of Benjamin Button
Chapter I
As long ago as 1860 it was the proper thing to be born at home. At present, so I am told, the high gods of medicine have decreed that the first cries of the young shall be uttered upon the anaesthetic air of a hospital, preferably a fashionable one. So young Mr. and Mrs. Roger Button were fifty years ahead of style when they decided, one day in the summer of 1860, that their first baby should be born in a hospital. Whether this anachronism had any bearing upon the astonishing history I am about to set down will never be known.
I shall tell you what occurred, and let you judge for yourself. The Roger Buttons held an enviable position, both social and financial, in ante-bellum Baltimore. They were related to the This Family and the That Family, which, as every Southerner knew, entitled them to membership in that enormous peerage which largely populated the Confederacy. This was their first experience with the charming old custom of having babies--Mr. Button was naturally nervous. He hoped it would be a boy so that he could be sent to Yale College in Connecticut, at which institution Mr. Button himself had been known for four years by the somewhat obvious nickname of "Cuff."
On the September morning consecrated to the enormous event he arose nervously at six o'clock dressed himself, adjusted an impeccable stock, and hurried forth through the streets of Baltimore to the hospital, to determine whether the darkness of the night had borne in new life upon its bosom.
When he was approximately a hundred yards from the Maryland Private Hospital for Ladies and Gentlemen he saw Doctor Keene, the family physician, descending the front steps, rubbing his hands together with a washing movement--as all doctors are required to do by the unwritten ethics of their profession.
Mr. Roger Button, the president of Roger Button & Co., Wholesale Hardware, began to run toward Doctor Keene with much less dignity than was expected from a Southern gentleman of that picturesque period. "Doctor Keene!" he called. "Oh, Doctor Keene!"
The doctor heard him, faced around, and stood waiting, a curious ｅxpression settling on his harsh, medicinal face as Mr. Button drew near.
"What happened?" demanded Mr. Button, as he came up in a gasping rush. "What was it? How is she" A boy? Who is it? What---"
"Talk sense!" said Doctor Keene sharply, He appeared somewhat irritated.
"Is the child born?" begged Mr. Button.
Doctor Keene frowned. "Why, yes, I suppose so--after a fashion." Again he threw a curious glance at Mr. Button.
"Is my wife all right?"
"Yes."
"Is it a boy or a girl?"
"Here now!" cried Doctor Keene in a perfect passion of irritation," I'll ask you to go and see for yourself. Outrageous!" He snapped the last word out in almost one syllable, then he turned away muttering: "Do you imagine a case like this will help my professional reputation? one more would ruin me--ruin anybody."
"What's the matter?" demanded Mr. Button appalled. "Triplets?"
"No, not triplets!" answered the doctor cuttingly. "What's more, you can go and see for yourself. And get another doctor. I brought you into the world, young man, and I've been physician to your family for forty years, but I'm through with you! I don't want to see you or any of your relatives ever again! Good-bye!"
Then he turned sharply, and without another word climbed into his phaeton, which was waiting at the curbstone, and drove severely away.
Mr. Button stood there upon the sidewalk, stupefied and trembling from head to foot. What horrible mishap had occurred? He had suddenly lost all desire to go into the Maryland Private Hospital for Ladies and Gentlemen--it was with the greatest difficulty that, a moment later, he forced himself to mount the steps and enter the front door.
A nurse was sitting behind a desk in the opaque gloom of the hall. Swallowing his shame, Mr. Button approached her.
"Good-morning," she remarked, looking up at him pleasantly.
"Good-morning. I--I am Mr. Button."
At this a look of utter terror spread itself over girl's face. She rose to her feet and seemed about to fly from the hall, restraining herself only with the most apparent difficulty.
"I want to see my child," said Mr. Button.
The nurse gave a little scream. "Oh--of course!" she cried hysterically. "Upstairs. Right upstairs. Go--up!"
She pointed the direction, and Mr. Button, bathed in cool perspiration, turned falteringly, and began to mount to the second floor. In the upper hall he addressed another nurse who approached him, basin in hand. "I'm Mr. Button," he managed to articulate. "I want to see my----"
Clank! The basin clattered to the floor and rolled in the direction of the stairs. Clank! Clank! I began a methodical decent as if sharing in the general terror which this gentleman provoked.
"I want to see my child!" Mr. Button almost shrieked. He was on the verge of collapse.
Clank! The basin reached the first floor. The nurse regained control of herself, and threw Mr. Button a look of hearty contempt.
"All right, Mr. Button," she agreed in a hushed voice. "Very well! But if you knew what a state it's put us all in this morning! It's perfectly outrageous! The hospital will never have a ghost of a reputation after----"
"Hurry!" he cried hoarsely. "I can't stand this!"
"Come this way, then, Mr. Button."
He dragged himself after her. At the end of a long hall they reached a room from which proceeded a variety of howls--indeed, a room which, in later parlance, would have been known as the "crying-room." They entered.
"Well," gasped Mr. Button, "which is mine?"
"There!" said the nurse.
Mr. Button's eyes followed her pointing finger, and this is what he saw. Wrapped in a voluminous white blanket, and partly crammed into one of the cribs, there sat an old man apparently about seventy years of age. His sparse hair was almost white, and from his chin dripped a long smoke-coloured beard, which waved absurdly back and forth, fanned by the breeze coming in at the window.
He looked up at Mr. Button with dim, faded eyes in which lurked a puzzled question.
"Am I mad?" thundered Mr. Button, his terror resolving into rage. "Is this some ghastly hospital joke?
"It doesn't seem like a joke to us," replied the nurse severely. "And I don't know whether you're mad or not--but that is most certainly your child."
The cool perspiration redoubled on Mr. Button's forehead. He closed his eyes, and then, opening them, looked again. There was no mistake--he was gazing at a man of threescore and ten--a baby of threescore and ten, a baby whose feet hung over the sides of the crib in which it was reposing.
The old man looked placidly from one to the other for a moment, and then suddenly spoke in a cracked and ancient voice. "Are you my father?" he demanded.
Mr. Button and the nurse started violently.
"Because if you are," went on the old man querulously, "I wish you'd get me out of this place--or, at least, get them to put a comfortable rocker in here,"
"Where in God's name did you come from? Who are you?" burst out Mr. Button frantically.
"I can't tell you exactly who I am," replied the querulous whine, "because I've only been born a few hours--but my last name is certainly Button."
"You lie! You're an impostor!"
The old man turned wearily to the nurse. "Nice way to welcome a new-born child," he complained in a weak voice. "Tell him he's wrong, why don't you?"
"You're wrong. Mr. Button," said the nurse severely. "This is your child, and you'll have to make the best of it. We're going to ask you to take him home with you as soon as possible-some time to-day."
"Home?" repeated Mr. Button incredulously.
"Yes, we can't have him here. We really can't, you know?"
"I'm right glad of it," whined the old man. "This is a fine place to keep a youngster of quiet tastes. With all this yelling and howling, I haven't been able to get a wink of sleep. I asked for something to eat"--here his voice rose to a shrill note of protest--"and they brought me a bottle of milk!"
Mr. Button, sank down upon a chair near his son and concealed his face in his hands. "My heavens!" he murmured, in an ecstasy of horror. "What will people say? What must I do?"
"You'll have to take him home," insisted the nurse--"immediately!"
A grotesque picture formed itself with dreadful clarity before the eyes of the tortured man--a picture of himself walking through the crowded streets of the city with this appalling apparition stalking by his side.
"I can't. I can't," he moaned.
People would stop to speak to him, and what was he going to say? He would have to introduce this--this septuagenarian: "This is my son, born early this morning." And then the old man would gather his blanket around him and they would plod on, past the bustling stores, the slave market--for a dark instant Mr. Button wished passionately that his son was black--past the luxurious houses of the residential district, past the home for the aged....
"Come! Pull yourself together," commanded the nurse.
"See here," the old man announced suddenly, "if you think I'm going to walk home in this blanket, you're entirely mistaken."
"Babies always have blankets."
With a malicious crackle the old man held up a small white swaddling garment. "Look!" he quavered. "This is what they had ready for me."
"Babies always wear those," said the nurse primly.
"Well," said the old man, "this baby's not going to wear anything in about two minutes. This blanket itches. They might at least have given me a sheet."
"Keep it on! Keep it on!" said Mr. Button hurriedly. He turned to the nurse. "What'll I do?"
"Go down town and buy your son some clothes."
Mr. Button's son's voice followed him down into the: hall: "And a cane, father. I want to have a cane."
Mr. Button banged the outer door savagely....
http://www.reel.com/movie.asp?MID=151393&buy=closed&Tab=reviews&CID=13
http://xroads.virginia.edu/~HYPER/Fitzgerald/jazz/benjamin/benjamin1.htm
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