Also published in www.miradas.net
When you go, I come
Preamble and Epilogue
Life is complicated where there always seems to do what you would have never have done. If not they should ask to Chenoa, Che Guevara, Shakespeare or The Chelito. A complicated equation sensory always legitimate (I, a champion of self-indulgence, I'm telling you, you also have yours) the move occurred, the decision, the fait accompli. It is not easy to know how to do things when you do not know what to do, in mathematics, which is the truth and the dwelling place of peace, it is much easier to perform a demonstration. So while we're demonstrations, mathematics, operations, life, love, the circus and midgets, is a good time to approach the latest film from David Fincher, a mature reflection on the fatum made with optimism and a sense of humor that overlaps a speech less affluent than it may seem / be expected.
Fincher at the crossroads
The Curious Case of Benjamin Button looks so impossible to deal with the unlikely. Wants to build a story that is both history but with a material that hovers between the particular and collective, between the dream narrative and personal routine of having a code themselves before / front / under / with the world. Wants us participants in a story too individualized part of a character that would not have the slightest interest if it were not coming from where comes and goes where it goes. So forget some of what we are waiting to contemplate and take hold as if for the first time at the option of seeing a different movie. The only bad thing is that there is as much difference in their end and the means to define and characterize. Fincher looks like a prisoner and standard of the very status of a work that defines itself by opposition of the factors that shape it. Video clip between lousy and posh mature Alien 3 and reformulation of the paradigms of modern thriller (which was good and bad school pupils) Se7en is a sacrifice that not only is explicit in his work if implicit in his works (both two paths). Playful sense of suffering and overcoming involuntary spent more traumatic for The Game to the acceptance of this as a crisis, which means break, sponsored by the need to reinvent themselves every time a Game Over end your game in the club struggle. The inability to protect the inability to discover the lines of Hitchcock to Lang's great holes, as clautrofóbico of Panic Room with the Zodiac's agoraphobic. Of, as you said Javier Pulido, being a director "antisociedaddeconsumo" in the club fight to be the most efficient commercial director for globalizing brands. The Curious Case of Benjamin Button is facing, until you reach the next movie, which to me is the masterpiece of Fincher's Zodiac, a task not too easy at the time of opposing concepts, texts and contexts of wealth and maturity of the odyssey of Graysmith, Avery and Toschi's return to Ithaca as womb efficient the last indent Eric Roth (The dilemma, Munich, The Good Shepherd and, yes OK, Forrest Gump)
meeting points
Both paths (three, if we count Fincher) have points where they meet briefly before returning to disperse naturally. Love is fickle, volatile and does not invoke any study or any logical or scientific rigor or the other. The transition from Leonard Benjamin reminiscent of Memento, what happens is that what one was missing in Nolan's film is what you have left here on the other. Memory can turn out to be a conviction or release (Leonard transforms reality in order to consummate his revenge and unjust but justified), but Fincher's character gives you the motivation, credibility and the leitmotiv Fincher to build an ode to the movies as he likes to understand. Postcard images, perfect framing, music and digital effects like pinch to stop any producer. Fincher takes advantage of them because it is primarily an artist who enjoys the technical challenges in its time Kubrick made them with theirs. Everything comes from the imagination of a memory of a journal. To create is to recreate. As he did in Big Fish Burton, Fincher autohomenajea to pay tribute to storytellers and does impinging on the ability Fabulous own narrative technique. That's when the author returns to him, when the pieces fit and Brad Pitt and Cate Blanchett are the same age. And at least we like the movie. Fincher realizes the beauty and his conception of beauty makes the show a predictable and old parade of platitudes that do not seem to belong to a filmography as modern as its impact. It is when the film is tight as affected by the impostada harmony than we usually understand happiness. Creepage
But calm, because soon returns to its overflowing waters. Fincher as a good foul shooter is not aware of penalties. He falls short distance and it will power. So are the vanishing lines, the lines of his speech. And the foreword is masterly blind watchmaker with a dead son in the war. And it is fascinating scene in which, by leaving the tone of the rest, so virtuous tells the accident that ends the career of dancer Daisy. It is paradoxical man black and white seven rays that fall to just six. And is that part between tragic and comic that Paul Thomas Anderson parentalize rarest of his escapes in Magnolia and Punch Drunk Love, is when comes to light the talent of this underrated director in public debates and diatribes exalted in private. Fincher thrives in adversity and back, as in his best films, to be the perfect annotator of lost battles, the bard of everyday failures and universal, which certifies that if something can go wrong is that something is wrong. His work is marked by the unexpected fatum and poetic, everything is nice when an old man loves a girl, when an old woman tells her battles together a brat forgetful. In those moments is when the story flows as contaminated by something larger than its own structure. So the time when death is nearest when life becomes something that binds us to a movie and a way of making films. For this kind of thing, Fincher is a director who specialized in paradoxes, since he is in himself: the director looking for the author who is not.
final Coda or
Foreword Over this article I decided it was time for breakfast as champions (toast, coffee and orange juice squeezed live) in a bar that is under my home and it is not difficult find me. Before showering, I went to the drawer where I keep my underwear and socks in strict mess of colors and sizes. I glimpsed the bottom part of my past more present. I reached in and pulled my ex-girlfriend's underwear, which had been forgotten to live without her in my house. I watched for a while and I was surprised by her childlike appearance. Then I realized that maybe she had gone because he made his way and that more would be younger and more girls and everything and that our paths had been bifurcated on the map hopelessly sentimental life. Today I certainly am a little older.
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