Director Selective Series: David Fincher Part 4

Hello, Weirdos and Happy Holidays. This is the final installment of David Fincher’s directorial filmography. Two more films to go, and they are:

I’ve seen both of these, but not for a few years. I look forward to seeing how they hold up for me. 

These are the thoughts on the two pictures from Part 3

  • The Curious Case of Benjamin Button: Fincher takes his love of colored tones and uses them to demonstrate the difference in time. The cold blue is reserved for the present. Yellow is used for the past. As the past catches up, the color slowly shifts to match. Button reminds me of Forrest Gump mixed with Boyhood. It is the story of a life from beginning to end. Fincher toys with the idea of time and how we perceive it. A bulk of the movie is spent with Benjamin as an old man aging into his midlife, then his adolescence. The film skims over Benjamin as a child, hardly giving audiences any time after his teenaged years. It is like life: Childhood goes by in the blink of an eye, and most of our time is spent becoming an adult and growing old. The film is character driven; there isn't much plot. For me, the biggest problem is the graphics used on old man Benjamin. The CGI resembles The Polar Express, and falls into the uncanny valley, which is unsettling. Other than that, the film is gorgeous, especially the cinematography. Nothing feels wasted. Yes, the film is long, but every scene has a purpose.
  • The Social Network: Sorkin and Fincher knock this one out. They take a story that could have easily been boring and transform it into a visual treat full of quick-witted dialogue. Fincher makes you feel like you're there, and Sorkin makes you believe the characters are real. It is a good example of using what’s current to draw people in, as with Steve Jobs and Straight Outta Compton. The writing and direction aren’t the only stars. The performances from Eisenberg and Garfield as the leads deserve recognition. Each play a pivotal role and pair well with each other as monotone nerd and enthusiastic, handsome financier, respectively. Music is also worth mentioning. Reznor and Ross amplify the film by adding bits of digital sounds into their score. They also take old ideas and present them in new ways, which parallels Facebook itself. As with his last film, and even more true here, Fincher wastes nothing.

Next week I’ll have a new director to comb through, and my thoughts on these final two films. Suggestions are always welcomed as are thoughts on any of the movies I’ve been watching. Keep On Creepin’.