color, USA, 2008, David Fincher Duration: 166 min.
Genre: biography in its own way
Cast: Brad Pitt ( Benjamin Button ), Kate Blanchett (Daisy), Julia Ormond (Caroline), Elias Koteas (Monsieur Gateau) Taraij P. Henson (Queen), Jason Fleming (Thomas Button), Tilda Swinton (Elizabeth Abbot). Screenplay: Eric Roth , the short story by F. Scott Fitzgerald, 1921
Music: Alexandre Desplat
Distribution: Paramount Pictures, Warner Bros
AVVERTENZ A: wrote the following, by its very unusual nature, contains in itself revealed the whole plot of the film, supplemented by the thoughts that every part of the story has raised at that time. A blind man, manufactures watches, and in particular a watch, which will be attached to the station, a landmark for travelers from all over the country, and who, Instead, it's going on.
man works tirelessly to his work and raising a son with his wife. One day that child is old enough, and a war that enough to become the great war of all. So the son left for the WWI, and his parents greet him at the station, the same one day host the watch that his father is building, which it hopes will see the return of the child.
On a day like many others, comes the fateful letter. His son will never come back from the trenches.
So the man, or what remains of his soul, he returned to work tirelessly to build the clock.
inauguration are all there, the mayor, the people that matters, and everyone wants to see movement il nuovo orologio. L'uomo cieco lo fa scoprire e fa dare la prima carica. Tutti gli occhi si volgono alla lancetta dell'orologio.
La lancetta dei secondi scatta, ma c'è qualcosa di strano.
Scatta al contrario.
L'orologio comincia a battere i secondi in senso antiorario.
L'uomo cieco parla.
Per tanto tempo ha aspettato che il figlio tornasse. Ma la Grande Guerra gliel'ha portato via. Così ha costruito quell'orologio che batte le ore alla rovescia, perchè, forse, suo figlio possa rivivere al contrario his life, except the explosion that caused death, returning with a jump behind the trenches, and, little by little, until the train that led to war, and then to the station, from his father .
The people are petrified.
The mayor puts the hat, and walks away.
The watch will always remain so.
blind man is said to have disappeared at sea, alone, after you finished building the clock.
So begins Benjamin Button.
The story of a man down, the paradox of an amazing life, full of satisfaction, happiness, but also of profound melancholy, renunciation, a man who deserved a lot, but for want of a cruel fate at the end had to give up everything.
His name is Benjamin Button is born an old man dies and a child, between the lines of a diary, as it is born, without anything and without knowing who he is.
on a hospital bed, to the present day, an old Daisy (Kate Blanchett), reveals to his daughter (Julia Ormond) its history. In point di morte, ormai segnata dal destino ma avendo vissuto una vita piena, Daisy racconta alla figlia la storia di Benjamin Button, il suo vero padre, mentre dalle finestre, fuori, si raccoglie la tempesta.
Quando la Grande Guerra finì, tra le feste e i balli di una New Orleans del 1918, nasce un bambino in casa Button. La madre muore di parto, e il padre, già distrutto dal dolore, si muove verso la culla del figlio. Uno scatto di follia, di orrore, e corre al fiume, con esso tra le braccia, per gettarvelo.
Lo abbandona a casa di una donna che gestisce una casa di riposo. Lei lo trova, diventerà sua madre, ma fin da now understands that it is a special child: his face and his body is horribly aged - in the eyes of all looks like an old man in the body of a newborn.
Despite this, Benjamin will be loved by her new mother, no less than they would have loved if he was born from her own womb.
Born old, he grows the same way. Looking, Benjamin is an eighty-five, who can not even walk, so his arthritis has attacked his still young and not fully formed bones. Has but little hair, he is forced to wear glasses. Born in a nursing home, among his peers, although it had, in a metaphorical mirror double, where the old and new, and the new is old, making fun of the weather, which claims victims around him, while he slowly opens up to an awareness that no one could find.
The doctors ruled that his severe illness brought him briefly to the death. The weather, however, Benjamin is running backwards, as the clock of the station, and growing old age, become younger. He realizes when, in a fundamental dialogue with Daisy, the stay under the table, by candlelight, at night, he will say "maybe I will not die." In his mind of a child, Benjamin understood the mechanism that feeds fantastic his life.
should be six years, at least in spirit, when he meets Daisy. And 'love at first sight, even if they have two children. Because sometimes love is just a feeling, a quick breeze, an understanding that there is something different in those blue eyes, that smile, in that melodious sound of voice. Sometimes, love must be just barely touched, hardly noticeable, although not fully recognized.
And so it grows, between Daisy and Benjamin, a love subtle and nuanced, which over the years will always accompany them, while leaving them totally unaware, and taking different forms and causing different sensations. Play games, read their favorite story and laugh, by tying their two destinies. Daisy grows fond of a lot to Benjamin, but after discovering his secret, he actually has almost the same age, although it seems an octogenarian.
He is different from everyone, but you know this already.
Many meetings change the world view of Benjamin, including that of his father, in search of redemption; friends who help him come out of his shell that requires the physical decadent; Captain Mike, a man who owns a boat, from which he will work even old, so young (habit a questi voli pindarici). Il Capitano gli farà conoscere le gioie del sesso, portandolo nei bordelli di New Orleans dopo aver scoperto che lui era vergine, commosso fino alle lacrime, avendolo creduto vecchio quanto lo appariva.
Benjamin, spinto dalla giovane sangue che gli ribolle dentro, abbandona la casa materna per viaggiare sulla nave di Mike. Conosce il mondo, e spedisce a Daisy, ormai ventenne, una cartolina da ogni posto che visita.
E ne arrivano a decine.
Inspiegabilmente, Benjamin continua a ringiovanire crescendo.
Un giorno, quando ormai ha assunto an aspect to his sixties, he meets a woman, Elizabeth Abbott (Tilda Swinton), not young, not beautiful but mysterious, linked by a relationship with a man cold and sterile, that love.
little truth, subtle details, because in a hotel at night, between two people can shake the magic ... little things and take on the eternal value of the moment: the sound of the radiators, the swaying curtains of the window to a gust of wind from drafts, the smell of tea in the kitchen, the silence of the empty hall. It 's time to think about who is away at night, when everything rests. While all of the dearest friends are asleep, safe in their homes, people who you dona il proprio affetto, ma che sono troppo lontane per percerpirlo a volte, si pensa a come stiano, cosa faranno il giorno dopo, se hanno sussurrato il tuo nome tra le coperte, se ti hanno pensato prima di andare a dormire.
Così, in quell'hotel, la notte, incontra Elizabeth.
Anche se legato a Daisy, Benjamin, nell'impossibilità di far sbocciare quell'amore, non si nega la possibilità di voler bene a qualcun altra, anche se manca qualcosa.
E' una storia come tante altre, che finisce in maniera improvvisa, lasciando a Ben la consapevolezza e la maturità del primo amore, della prima woman, the first real connection that he could ever experience.
And the ship of Captain Mike again.
Benjamin, after countless trips, now it looks like a middle-aged, but about twenty-six years.
Back home, after seeing the war, after losing close friends, and had its day in the outside world.
As they say in his words, the great thing about coming home is to look at it and see the same things, to feel the same smells, sounds almost the same.
In that house, after he returned Daisy also.
recognizes the man as totally different, her eyes full of Benjamin's life, that child of the past, that once made her heart beat.
She tells of her life, the tumult of New York, where he now makes a ballet dancer. He received his postcards, where he learned of the love affair with Elizabeth.
That same evening, after a dance in the moonlight, she asks him if he wants to sleep with her. Many men have done, tried to ask him, and now she asked him.
But there is time, not yet the moment, and Benjamin does not want to demean his feelings, that has warmed my heart for years, with a night of sex with that person you love, yet strange, different from his Daisy, far different from his idea of \u200b\u200bher.
is not the time.
separated, as often happens, and since then everything will change.
Benjamin will find in New York. But she has nothing left to give him, his way of removal against him is complete, and those empty, meaningless, pale shadows, surrounding it, in a life of estranietà Benjamin, of things oscure e lontane. Daisy adesso sta con un altro, ma è un riempitivo dell'anima, una fonte di calore passiva, che lei s'illude di amare, pur sapendo che non v'è menzogna più veritiera di quella che si rifiuta di accettare.
Benjamin esce dalla sua vita, lasciandosela alle spalle.
Non è ancora tempo, e forse non lo sarà mai.
Le lancette dell'orologio scorrono, e sul viso di Benjamin le rughe s'assottigliano. Le due età separate, quelle del vero cuore di Benjamin, e quelle del suo aspetto esteriore, vengono a coincidere, in quel magico incrocio della middle-aged, in which the fate of a man reaches its fullness. The overlap between the two timelines of Benjamin, when ideally he becomes able to manage the flow of his destiny, the story gives the moments of greatest emotional force, involvement spiritual.
Brad Pitt finally appears without makeup, as it is, forty, himself, like Benjamin.
In another masterful sequence, after that introduction, and description of the magic of that night in the hotel was the setting for the short but exciting love affair with Elizabeth, Benjamin tells us, after receiving a letter, and we explains the value of the case, its value mocking deadpan of force, fair grader.
Just a moment, and things change completely. A glossy chaos theory, easy to understand, full of variables, which are the small things the day of a person, that will cause a series of events that will focus all in a moment that held, winds past a new route for fates of two people.
E 'intervention Fincher joined the narrative skills of Eric Roth, who dance together in a harmonious dance, made of special presentations, and small subtleties, elusive things that need to be educated and appreciated.
For one series of fortuitous events of all, Daisy has an accident and can no longer dance. Benjamin is looking for, find it, but she pours him his pain, his instability, his regrets, the reproach of his refusal to blame for not having understood the feelings that he had to throw in the empty heart of someone else , so she did not matter.
Rejected, Benjamin returns to his world, and its women, many women, other stories that serve as a watershed, as often happens in life to make people understand the importance of the only love that now there ' is more, but that could perhaps still be there.
until she returns.
The love story between the two, both came to the middle-aged, takes on the tone deliberately immense, immersed in complete nostaglia melancholy of lost time, the carefree days, the purest of love and naive. Resonate in the way of living these moments, central to the film, a whole series of elements that are part of our lives, our moments, the feelings that bind us to the little things, people, with unique moments, perhaps meaningless in the eyes of others. And 'the very essence of love more sincere sharing of two species, the joy of rediscovery a lifetime in a few short strings of time, locked forever in their own unique dimension.
As a constant chase, face, and how to make Brad Pitt Robert Redford recall the figure of the golden years, the mythology of the Fifties Sixties but especially in a series of iconographic references and appearances , ways of seeing things, stage presence. And it is a subtle but huge spark, that of "The Way We Were," which comes out bullying in the beautiful images of Blanchett / Pitt and the Streisand / Redford living hand to mouth, carefree, in the home that turned into a prison of sweet ' love, accompanied by "Twist and Shout" by the Beatles.
The only emotions that these sequences are able to provoke in the viewer, make the film an unforgettable experience, even more intense than the story itself that runs without jams or lengthy narrative, despite the unusual length of the film (166 minutes), to which the public is not used today.
suspended magic of this moment, it makes the passing of Benjamin as painful as it was a wonderful experience for the audience his story with Daisy.
With the arrival of a daughter, the one who reads the diary of Benjamin at the bedside of her dying mother at the beginning of the film during all phases intermezzo, Benjamin decides to leave.
He tells Daisy that can not be the father of her daughter, Daisy will have to rise because otherwise both. Benjamin, in fact, he feels that his body is yet rejuvenating. It has now become accustomed to over time to reverse it has always been associated. When he was young and old, envied the children playing across the street. He still remembers as he was, at first, his body, progress over time, the loss of old age.
He knows now that will not stop, will continue. It can not grow his daughter, why will the point where they will have the same age in adolescence.
So Benjamin disappears, leaving all the money as possible to his family, alienating in a sequence, in which Daisy wakes up and realizes, observing the gestures, movements, that their "forever" is just finished. But it does nothing ... does not get up, he can not, because something stops it, the weights ... is the weight of conscience, responsibility. The new life that had given birth to deserve any chance that Benjamin had been denied, and all his love.
For this, Daisy lets him go.
Years pass, and Daisy, one evening, closing the school dance that manages to be years after the accident, sees a figure at the door. It 's a boy ... but Benjamin is the face of his, from his twenties. Brad Pitt looks frighteningly young. His face was reconstructed with computer graphics, youthful appearance and shape brought back to the times of "Thelma and Louise," and perhaps even further in time - a shocking reality unreal, to prevent its detection. The trick is, but it is impossible to find, as we strive for - an occurrence never occurred so far in the history of cinema, and special effects. Brad Pitt is young, about twenty-five years, and there is no way convincersi del contrario, che in realtà abbia superato la quarantina, e che quello che appare non sia altro che una meravigliosa sospensione dell'incredulità materializzatasi in forma fisica, palpabile.
Ecco che la Blanchet, invece già sessantenne, ormai sposata, presenta a Benjamin la quasi sua coetanea figlia. E Julia Ormond, la figlia che legge la storia nel 2003, si ricorda improvvisamente di quel ragazzo che fu suo padre, incontrato tanti e tanti anni fa.
Dice "era lui...".
Lo spettatore viene travolto da un senso di disorientamento, di paradossale poesia, dall'inganno visivo più meraviglioso che la storia del cinema abbia mai partorito, dall'incanto più affascinante che insieme storia e arte dell'illusione possano mai aver creato.
E il vero amore, rimasto per sempre sospeso tra Daisy e Benjamin, riaffiora in una notte di unione, dove lei conosce il ragazzo ventenne che doveva esser suo quando il tempo in realtà li aveva privati di quella loro gioia. E' il cuore che, ribellandosi a tutto, al flusso delle cose, alla realtà del mondo, ritorna a quelle emozioni, mai dimenticate, a quei momenti infiniti. Benjamin e Daisy si appartengono, a discapito di ogni legame esistente nelle loro vite con altre persone, a discapito persino del destino e del tempo stessi.
belong and will belong forever, in every age, every season of their lives.
The spectacular transformation of the seemingly anonymous Pitt in the end, it is amazing how the special effects applied at the beginning, when Button is a child old, but still the physical features of Pitt. We are state of the art of the special effect, what is not seen, even more critical and trained eye, because perfect, and that can only be inferred from the impossibility that the event that material can be created in reality. We can only understand by what logic suggests che l'inganno esiste, e questa è la consacrazione di un'arte cinematografica fin troppo spesso criticata ed attaccata. E' porre la firma sulla storia.
La straordinaria metamorfosi di Pitt non va intesa come unica perla del film a livello visivo e induttiva alla coerenza narrativa. Sconvolgem infatti, anche la perfezione assoluta del make-up di Cate Blanchett all'inizio del film, nel 2003, e lei sta spegnendosi nel suo letto, con accanto la figlia.
La fisionomia della vecchiaia è riportata con una perfezione anatomica e materiale al di fuori delle capacità della percezione umana di poterne comprendere l'inganno. Lo splendido, raggiante volto della Blanchett, here reaches a state of art form being devastated by the signs of old age, old age is possible, real, realistic, well beyond the far-fetched. The expression lines are well marked, and has a particular value of the makeup of the lips. If thirty years from the same actress does not take those traits, maybe nature will have done something wrong in his acccompagnarla towards seniority.
and sensitivity in this age show, this time, has no equal so far.
David Fincher gives us a story worthy of any major script by Eric Roth (based on a short story by F. Scott Fitzerald, 1921), as Forrest Gump, and amazes the diversity of issues facing, and how they manage, the complexity of this layered film, as well as to the completeness of which it is permeated in the long unraveling of the plot. The brightness of some scenes of the film, while infused with the melancholy, is the mark of a change log that those behind the camera has made on the basis of history, the sacred narrative integrity. This is a clear and permanent sign of professional maturity reached.
The hand of the director takes us through history, through images of rare beauty and delicacy, subtle perceptions, tastes and odors, memories. As demonstrated by the various special sequences and dialogues in the film, there are moments when time stops, and you find yourself thinking the most common things with a different perspective, trying to perceive the hidden reality of the banal. Beautiful in this sense is the initial part of the film, set in a hospice for paradox, with all its wonderful elderly guests, dark mirror of the young old Benjamin, and ambassadors of a world he will never know the right way.
The nursing home becomes a place of growth, even for the spectator, who learns to affiliates the walls, talking to his guests, too, to seek their own answers, to strive to be able to see the light filtering through the windows of the season through the air in New Orleans.
The same speech on the technical maturity of the cast is also true for the pair of actors, chosen from iconic figures but also in possession of all the artistic and human capacity required to handle the roles were not easy, that cross all sphere of human feelings, and they do vibrate in the flow of time, unfolding a plot of absolute humanity.
effort recitative Brad Pitt in particular, here reaches its highest climax, going as far as playing with his person, after returning young was old and not so old, having the courage to be reflected in a decline in the near future, is a dazzling and exuberant youth of the past, both worlds insidious, difficult to cross the borders.
The courage of Pitt and Blanchett is commendable, valid and admiration that only the highest form of drama can ensue.
Honorable Mention in photography, which as we have seen from the descriptions given so far, has the magic, the charm of the suspension, the delicate silence. The original music, then, could not be outdone, rocking in the enchantment of the melancholy memory of the past lived from the present, and the vitality of the memories of the life of Button, and that life was lived.
All this wonderful synergy when unexplained, this confluence of artists in a chance collective state of grace, added at the time of the birth of a unique history of uniqueness, that breath of life that often lacks such a creature.
Everything, The Curious Case of Benjamin Button, seems to want to take her hand, whispering "let this change you life."
It is not granted to the heart of man to reject the offer.
All this wonderful synergy when unexplained, this confluence of artists in a chance collective state of grace, added at the time of the birth of a unique history of uniqueness, that breath of life that often lacks such a creature.
Everything, The Curious Case of Benjamin Button, seems to want to take her hand, whispering "let this change you life."
It is not granted to the heart of man to reject the offer.
The film has a predictable ending, because the shrinking back in shape infant of Benjamin's logic is illogical in its progression throughout the story. Daisy, in turn, acquire a "backwards" in its role as a mother, than the departure of friend and then lover.
will she will take care of baby Benjamin, until, slowly, every memory from his mind, gradually come to get lost in the mists of a brain that is shrinking, which no longer has space for save the memories of a lifetime. The memory is erased, because instead of shrinking inexorably expand, and all those memories, all that love, all that wonderful life of Benjamin Button, will disappear forever.
When the story reaches its conclusion, the daughter of Daisy goes away because you hear the sirens. Hurricane Katrina reached New Orleans. Daisy, in silence, breathe in peace, thinking of Benjamin, and looking out the window, a hummingbird, by the beating of wings faster than the eye, it passes quickly. Benjamin also had seen him, when his life had reached its climax. It 's a sign that symbolizes a poetic passage, a figure almost supernatural, embodied in a bird whose life is a continuous fight on the edge of time.
Then Daisy remembers the last look of Benjamin.
It 's time to remove the station clock. For too long misled the time by scrolling down. A cool digital clock on the correct and precise operation, is mounted in its place.
Somewhere in the arms of un'ormai old Daisy, the baby Benjamin is off, asleep forever, throwing the last look, full of awareness, perhaps, or anything, how can it be look of a small child, full of love towards his mother.
It all started, finally ends.
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