Directed by David Fincher
One of the sad facts of life is that, as old age approaches, people yet again have to tackle many of the problems that they faced when they were babies. F Scott Fitzgerald gave this proposition a twist when he wrote his short story in 1921, about a boy who is born with all the debilities of an eighty year old man. Still small, but monstrously ugly to those who were expecting a smooth-skinned baby, Benjamin is abandoned on the steps of a New Orleans old people’s home. Raised by one of the carers, Queenie (Taraji Hensen), he feels safe among all the older residents but it is not long before the balding 7-year-old is racing around the place in his wheel chair, and we realise that he is slowly getting younger as the years advance.
Brad Pitt narrates Benjamin’s 159 minute tale with a Southern drawl reminiscent of Forrest Gump (Eric Roth wrote both the screenplays). It is an interesting wander through history as his character lives his life in reverse. It is also fascinating to see how Pitt’s heavily made-up face is digitally attached to a succession of aged bodies before he emerges as the sexy specimen we all know and love. He is then able to seduce a wealthy English woman living in Russia with her husband (Tilda Swinton) and the beautiful bohemian ballet dancer Daisy (Cate Blanchett), with whom he falls madly in love.
Of course, it becomes an impossible love, as Benjamin will continue to grow younger while Daisy grows older. As Cyclone Katrina approaches New Orleans, the dying Daisy continues Benjamin’s story and the audience is left with questions about life and mortality. The proposition is totally implausible, but for a brief while the film envelops you with its fanciful world.
Lezly Herbert
