Starring: Brad Pitt, Cate Blanchett, Taraji P. Henson
Directed by: David Fincher (“Fight Club”)
Written by: Eric Roth (“Forrest Gump”)
David Fincher’s new fantasy drama “The Curious Case of Benjamin Button” doesn’t exactly mirror 1994’s “Forrest Gump” word for word, but screenwriter Eric Roth, who penned both scripts, uses so many elements from the story that won him a Best Adapted Screenplay Oscar, don’t be caught off guard if during “Button” you start seeing images of Bubba flashing on screen.
The similarities between the two, however, aren’t Fincher’s biggest problem. “Benjamin Button” is a story about death, and a beautiful one to behold from a technical point of view. But with a topic so poignant, Fincher fails to expand on the inner workings of his characters. In a story dealing with so much loss, there is very little life.
“Benjamin Button” begins with Daisy (Cate Blanchett), an old woman dying in a hospital bed in New Orleans during Hurricane Katrina who asks her daughter Caroline (Julia Ormond) to read to her the diary she has secretly kept her entire life. (Think “Big Fish” but without the tall tales and less enchanting moments).
As the story gradually unfolds, we learn of a baby born on the night WWI ended, who’s father abandons it on the porch of a stranger’s house after its mother dies during childbirth. The baby, of course, is Benjamin Button (Brad Pitt), a peculiar child who seems to be aging backwards. He stars as an elderly infant and slowly becomes younger as his body develops stronger and then younger itself. He’s adopted by Queeny (Taraji P. Henson), the caretaker of a senior’s home who can’t have children of her own and raises Benjamin as her son.
Soon, we see how Benjamin and our storyteller, Daisy, meet each other and form an unusual friendship. Daisy is a seven-year-old little girl while Benjamin is a little boy who looks 67 but has the complexity of a child her age. It gets less creepy as Daisy gets older and Benjamin gets younger and the two go their separate ways. Still, they never really never let go of their special bond.
But characters come in and out of each others lives and Daisy’s flashbacks continue in an uninteresting catalog reminiscent of “This is Your Life” glints. It’s not nearly as memorable or entertaining as Gump’s brush with history and celebrity. “Benjamin Button” may have done some wildly inventive things in the graphics department (molding Pitt’s head on a small body looks amazing especially when compared to things like “Little Man”), but there’s nothing here that makes the film as deeply moving as it should have been.