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The inner life of Benjamin Button, abandoned at birth by his stricken father (Jason Flemyng) and raised by the infinitely kind caretaker of a nursing home (Taraji P. This creature, tiny and wizened, is at once boy and man, but in every scene the ratio is readjusted, until the strapping figure of a familiar movie star emerges, gradually and all but imperceptibly. Pitt is replaced by younger and younger children and also because, at the beginning, he is evoked by an uncanny computer-generated confection that seems to have been distilled from his essence. I say for the most part because near the end of the movie Mr. Pitt, for the most part, plays Benjamin, who is born, looking like a man in his 70s, into a prominent New Orleans family in 1918. Blanchett is Daisy, a dancer, bohemian and all-around free spirit who ages gracefully, before our eyes, into a stately modern matron and then into a wasted, breathless old woman. Merrick Morton/Paramount Pictures and Warner Brothers Pictures
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Pitt as the old (actually young) Benjamin, below. The young (actually old) Benjamin, above, with Cate Blanchett and Mr. And the puzzles it invites us to contemplate in consistently interesting, if not always dramatically satisfying ways are deep and imposing, concerning the passage of time, the elusiveness of experience and the Janus-faced nature of love. While the film’s plot progresses, with a few divagations, in a straight line through the decades of Benjamin Button’s life, the backward vector of that biography turns this “Curious Case” into a genuine mystery. “The Curious Case of Benjamin Button,” more than two and a half hours long, sighs with longing and simmers with intrigue while investigating the philosophical conundrums and emotional paradoxes of its protagonist’s condition in a spirit that owes more to Jorge Luis Borges than to Fitzgerald. As Fitzgerald unravels it, Benjamin’s story serves as the pretext for some amusing, fairly superficial observations about child rearing, undergraduate behavior and courtship in the late 19th and early 20th centuries.įrom this odd, somewhat unpromising kernel, the director David Fincher and the screenwriter Eric Roth have cultivated a lush, romantic hothouse bloom, a film that shares only a title and a basic premise with its literary source. Scott Fitzgerald, is a slender piece of whimsy, a charming fantasy about a man who ages in reverse, descending through the years from newborn senescence to terminal infancy.
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“The Curious Case of Benjamin Button,” which occupies around 25 pages in the collected works of F.