The problem with visionary directors like David Fincher is that sometimes, perhaps, we expect a little too much. This fantastical tale, the reunion of the Seven/Fight Club director with Tyler Durden himself, Brad Pitt, has been looking like a potential masterpiece for months. As it turns out it’s not perfect, it’s just very, very good. And that’s ever so slightly disappointing.
Benjamin Button has so much going for it though. There’s beautiful earthen-hued cinematography throughout. There’s a convincing, controlled performance from Pitt, natural enough to stop you obsessing over the amazing ageing effects once the initial novelty has worn off. There’s a story which, while it has little to do with its Fitzgerald source material (except for the basic premise), does throw in a little bit of excitement for all tastes, with moments of self-discovery, high adventure, humour and romance.
But on the downside, the story unfolds in such an unhurried, best-part-of-three-hours way that it sometimes drags, with the love story between Button and Cate Blanchett’s Daisy proving both the heart of the film, and its least interesting element – the early womanizing and wartime scenes are much more fun. Add in a distracting, unnecessary modern day Hurricane Katrina side-theme and there are undoubtedly a few blemishes here.
So what sounded like it could be one of Fincher’s strangest films, in fact comes out as one of his most accessible – a less madcap, more grandiose Big Fish. It may have a crinkly bub gradually morphing into a teenager in it, but essentially it’s a star-crossed love story with philosophical accoutrements. Go into this expecting a feast of offbeat originality, or thrills and spills throughout and you’ll feel a bit let down. But expect elegance, tenderness and stunning visuals and you’ll be repaid warmly.
