I am forced to do so thats why IT;s NOT MY VIEW ASK Mr. HERMIT HE WILL KNOW ALL REVIWERS AND HE CAN TELL WHOSE TAKE IT IS, else its my take only.
Movie begins with a old lady laying on death bed and movierounds full circle with ladies lap as death bed for a child. . The old lady isCate Blanchett she got a book which sheasks to read and the daughter Caroline reads it and the narration takes us back to the night of Button’s birth, the end of the First World War, when he emergedinto the world a wizened old baby.
Script in starting remembers you like forrest gump, because I found out both movies script is written by one personRoth. Same like forest gump this one is also masterpiece.
Forest gump didn’t touched me that much but this one do and baby very deeply.After his birth, the baby Button is abandoned by his father on the doorstep of an old people’s home run by Queenie (Taraji P Henson).
Queenie’s difficulty in conceiving means she takes in the malformed infant on her doorstep without a second thought. The old people’s home is the last stopon the way to the grave, a suitable setting for Benjamin’s wrinkled childhood.
People will always pass him by as he reverses along time’s one-way street.Among the nearly dead, youth appears in the form of Daisy, the granddaughter of a resident who strikes up a friendship with the child-like old man.
Daisy growsup and moves to New York to be a ballet dancer, falling in with a bohemiancrowd. Benjamin becomes a sailor on a tug boat. For a moment, their contrastinglives - her’s artistic and beautifully pretentious, his one of honest toil andold manners - threatens a reprise of Forrest Gump’s and Jenny’s relationship which so polarized audiences.
Gump’s love failed to leap across the divide ofAmerica’s culture wars, in which Jenny’s sweet self came a cropper in the decadence of the 1960s - the era that conservative America regards as the pointof decline, as opposed to liberal America’s idolization of the era as one inwhich suffocating hypocrisy and moral evils were swept away.
For Benjamin andDaisy, the 1960s is the sweet spot at which her ageing and his"youthing" meet in the middle, the only time they can come togetherness equals.
Throughout the tale, we return to Daisy on her death bed inNew Orleans. Outside the hospital window, Hurricane Katrina gathers force. In this narrative frame, Daisy’s features are bald and sunken, one gnarled hand scratches at her chest. Cancer is adding the final touches to its portrait.
Her thoughts are morphine-loose and drifting back over the life she shared with Benjamin. Benjamin’s journey against the tide is a picaresque one, taking in marvelous diversions. In a hotel in the Russian port of Murmansk, he conducts dead of night liaisons with a diplomat’s wife, Elizabeth Abbot.
Tilda Swinton plays her with the high cheekbones, sophisticated hauteur andbarely-suppressed longing that recalls both Billy Wilder’s worldly heroines andCelia Johnson’s duty-bound Englishness, a brute matter-of-factness concealingabnegated desires that only emerge in the witching hour.
One fascinating interlude among many, the film’s looping narrative arcs gives you the sense you could almost live in it - the epic David Lean-inspired framing encourages further immersion. Fincher and his team’s technical achievement in integrating the digital make-up within a lush but grounded reality is considerable.
The actors do interesting work with their charactersat different points in their respective lives. Around Brad Pitt’s still, emotionally simple Benjamin, Cate Blanchett, Tilda Swinton and Taraji P Hensonbring layered, inspiring, and intriguing performances.T
hroughout his career Brad Pitt has strived to show thathe’s more than just a pretty face, and in The Curious Case Of Benjamin Button he unveils a whole gallery of them.As the titular hero who ages backwards, he starts out looking like MickeyRooney and ends up a cherub with all the angelic wisdom that suggests.
It’s delicately shaded performance from the star and for director David Fincher it’s simply a stunning feat of filmmaking. Not only does it look great, but beneaththe surface there is plenty of heart and soul as well. Life lessons come thickand fast but Fincher isn’t shy of playing the situation for laughs either.
Ascene where Queenie takes Button to be ’healed’ by a preacher is classic, butPitt deserves much of the credit for managing to play this seemingly old man with the beguiling innocence of a toddler. It could have been funny for all the wrong reasons but, even through mounds of latex, he gets it pitch perfect.
The slow-burning love affair between Button and Daisy is just as skillfully handled taking into account the ostensible age difference when they first meet; Button, a senior citizen, and Daisy, just seven years old
Benjamin Button is an absolute masterpiece and is probably one of the greatest films of all time. At almost three hours in length, very gradual pacing and a story line set in New Orleans in the 1920s this has all the hallmarks of being an absolute snooze fest but by some miracle this delicate, beautiful, involving and fantastical story is utterly enchanting and will warm the smallest, deepest cockles of your heart.
it’s a film that you should make everyeffort to see. This film is not only Brad Pitt’s finest performance ever, it isdirector David Fincher’s finest work and he is a man with a very impressivemovies. Quite rightly Benjamin Button has been nominated for 13 Oscars including Best Actor and Best Motion Picture.
This film is pretty much asperfect as a film can get. Button remains too enigmatic. Its emotional power comes from the incapability of the couple parting - she will grow old and he will get younger - but this is really about coming to terms with mortality.Perhaps uncharacteristic of Fincher, he doesn’t stagger in loser mentality, instead boldly celebrating the bittersweet nature of life.