Jon’s a funny name for a Troll.
Umm him liking this movie doesn’t make him a troll. I liked the movie too even though I acknowledge the film was very flawed. I have talked about this movie enough though, and since I haven’t rewatched it yet I don’t want to defend it more since I don’t like defending a movie I think is flawed after one watch.
It’s definitely flawed. Too long, the pacing is inconsistent, but it’s such a beautiful movie with a real ethereal, transcendent feeling that seems to reach beyond simple words. It’s a mood piece, front and center, and as it enchants it also says some really somber things about life, death, our simultaneous need and repulsion of time, the very nature of time as an artificial construct, the fragility and cyclical nature of a living creature’s existence… it’s so nuanced and layered with these cosmic quandaries that it just sweeps you away… past the flaws. At least it did for me.
Drew check his profile. He’s a troll. You know it’s bad enough when you people post on a thread that’s already been started, but don’t start a thread on a film like this. There are three of four other threads on this film, and there is nothing you said that couldn’t have already been said on one of them. You’re clogging up these already clogged threads.
post here please
or here
or here
Just don’t post on this thread anymore. (You should only post on the first one, but at least I gave you a choice, right?)
Sorry, I just wanted to start a thread that wasn’t mindlessly bashing this film. Can’t we have a positive thread around here, or is that too much to ask?
I guess I was thinking he was new here and didn’t know of the search option. (sigh) I think I have too much faith in people. Not that trolling is a sin (it should be though).
The first thread isn’t mindless bashing (in actuality I would say your praise of the film is more just mindless buzzwords than many of the well thought out arguments for and against the film in most of these forums) it’s actually just entitled, “The Curious Case of Benjamin Button” and starts with one of the best arguments for the film I’ve ever read (even if I don’t agree with it).
Well I am new here and all I saw were two negative threads (“Why aren’t 17 Again and Hannah Montana on Criterion?!,” “The Curious Case of Benjamin Button on Criterion. Why?!”) so I thought I would start a positive one defending a film I happen to really love. Apologies if I caused trouble!
If you really are new here I welcome you, and officially apologize. I’m sorry, I hope you don’t take my douchebaggery as representative of the majority of the smart, insightful people on this thread. If you’re a troll I’d appreciate you not clogging up these threads. Please next time you want to post something use the search function to the best of your ability (just typing in the name of the film brought up the first thread for me, it was all of ten seconds). I’d appreciate it. I won’t post on this thread anymore.
I don’t the understand the backlash to this film. The film is a triumph of tone, and a clear example of what a director brings to a film. The screenplay is similar to ‘Gump’, but at the same time, the end film is its polar opposite. The differences are very clear when you consider the contrasts between the relationships at the core the two films. Forrest Gump spends the entirety of the film utterly and inconceivably devoted to Jenny, simply because she made him feel better about himself, and as such that film is an exercise in fanatical romanticism, where Jenny becomes in Forrest’s twist mind an idealised version of woman, whereas Benjamin Button is ultimately about choosing to be in love, and the idea that affection between two develops over time and that love ultimately is not the sum total of life. Maybe I am just a cynic but I find the latter a more resonant idea.
Jon, It pains me to read your writing. Your movie repertoire is obviously limited.
You should consider watching films from Stanly Kubrick, Ingmar Bergman and Frederico Fellini if you REALLY want to see the things you describe.
Such a fantastic film. For me to poop on.
Wow, Farjad. If you would quit making such stupid preconceived notions you might know that Bergman and Fellini are my two absolute favorite directors (along with Spielberg) and that Kubrick’s “2001” is among my ten favorite movies of all time. Don’t start judging people based off silly prejudices.
And if you pressed my name and saw my profile you would see that, as well, along with a huge picture of Ingmar Bergman plastered right on the front.
Way to go.
WHy can’t people just shut up and respect this movie? It may not even come close to the eternal masterpieces from Fassbinder, Fellini, Kubrick and Bergman, but this film excels in its own rights. I loved the movie for the fantastic imagery presented and reminded me that films alongs with presented a story or point of view, are also intended to be pieces of art. The scene where Daisy is dancing in the gazebo reminded of works by some of my favorite artists. Also the brief scene where they are on a boat near Cape Kennedy as a shuttle takes off was nothing more that a visual masterpiece. So whilst many of you have gripes concerning the story, the fact it is a hollywood movie and brad pitt, remember that Michael Bay has two movies in the collection…
Maybe they can shut up and did so 17 days ago.
holy buckets of liver, you guy’s are kinda being…well…down-right prickish. So what if someone likes this movie…cool you’r jet’s, ace’s. the war is over. we lost.
Jon,
You’re dead-on in your diagnosis of the film, except that you are strongly underestimating the film’s flaws. The inconsistent pacing and lazy scripting nearly ruin the film for me, in spite of excellent direction and visuals. In fact, the things that you brush off as unimportant provide the foundation for a great film (namely, solid writing and effective editing). With these two categories coming in at less than average, the end result can be no better than mediocre.
So, you are absolutely right in pointing out the film’s obvious bright spots, but it is only fair to give equal attention to it’s numerous flaws.
People for: looks nice and pretty – - – - People Against: looks like Forrest Gump in disguise
But it’s more than just looking nice and pretty; it’s a beautifully, almost unbearably somber portrait of souls caught in the midst of life’s most crippling, intrinsic struggles… the ever omnipresent artificial stricture of time, a concept that cannot be detained or defeated, but one that must be accepted with quiet apathy; a unique, inevitably pressing force that is simultaneously a necessity in our lives and a great hindrance, even a fear. The film takes a brilliantly perceptive and, dare I say, spiritually enlightening look at this transcendent process and renders it all in deeply moving strokes.
It’s not just a pretty picture; it’s a dense, deeply observed life experience.
Criterion did in fact choose to release this thus I certainly don’t think it should be heresy to praise it on a Criterion affiliated forum. Post away, Jon. I personally hated the ending but parts of it, mostly Taraji P. Henson early scenes, I did find to be moving and powerful. I’m glad you got so much out of it. Many others did too.
You can’t possibly consider the films of Kubrick and Fellini equally “memorable and intensely profound” as the forgettable, pseudo-intellectual garbage that is Benjamin Button. That is like comparing an A&W cheese burger to a prime AAA steak. I had no preconceived notions of you but instead simply commented on your writing; saying that Benjamin Button is one of the most memorable films of the decade indicates little knowledge of film, but now I suppose it’s even more saddening to find out that you actually have seen those great movies and still somehow consider this to be significant. I suggest you revisit those old films.
Jon
This is a truly remarkable film, and has been left lingering in my mind since I first saw it last December. As powerful as it is steeped with intense melancholy, as bittersweet as it is brilliantly, technically innovative, and as perceptive about life, time, existence, and love as it is hauntingly tragic. Stunning visuals, terrific acting, and a true master’s direction add up to one of the most memorable and intensely profound films of the decade. Very glad this film is coming out on Criterion!