Even though his films have varied greatly in quality, one thing I've always been able to count on from David Fincher is a film a little unlike any I'd ever seen before. Sixteen years ago, for his directorial debut, he turned the third installment in the Alien franchise into post-modern creep-show about isolation and contagion. It wasn't good, but Fincher's bizarre aesthetic and hip camerawork (self-taught from a career in music videos) almost made the film watchable. Where Alien 3 really faltered was in its screenplay, a problem that has tormented Fincher through much of his career. His directing is always spot on, but even a master of dark horror couldn't have turned David Koepp's screenplay for Panic Room into much more than a timid "there's someone in the house" movie. Fortunately, his success as a stylist has largely enabled him to choose whichever screenplays best suit his unique groove, but even the best directors occasionally elect to film a screenplay that's abysmally mediocre. The Curious Case of Benjamin Button is the best example in Fincher's career - even more so than Alien 3, which was largely dumped on him as a freshman initiation - and its blandness can best be summed up by the phrase that kept popping into my head every few minutes during the film: "This is exactly like Forrest Gump".
I have read both Winston Groom's novel Forrest Gump and F. Scott Fitzgerald's short story The Curious Case of Benjamin Button, and I have to admit that it took a lot of creative maneuvering on the part of screenwriter Eric Roth to turn both of them into nearly identical screenplays. The former was a tragicomic biography about a ******ed man becoming accidentally successful in a culture that doesn't value intelligence. The latter was a satire about society's perception of age told through the lens of a person born as a full grown old man and aging backwards to infanthood. Roth managed to turn both into whimsical fables about this big ol' unpredictable, ever-changing stream we call life - without ever really saying anything wise, insightful, controversial, or new, of course.
It's nearly impossible to overstate the similarities between the two films. Both are about boys born with disabilities to well-to-do white Southern families. Both films are told in a series of episodic flashbacks. Gump and Button are both raised in the absence of their fathers, and by mothers who are impossibly kind and faultless. They both fall in love as children with the one blonde girl who will prove to be the love of their life. They both meet and are friendly with poor black people, with the social problems of said blacks taking a backseat to the comic potential of a white man being in their midst. Through accident and circumstance, they both end up traveling the world and getting involved in important historical and cultural events. Their relationships with said blonde girls are on-again, off-again, resulting in a decades-long series of brief encounters ending with the girl being unnecessarily cruel and Gump or Button being unreasonably forgiving. The girls, conversely, live equally exciting lives, traveling the world as they pursue a career in performance art but ultimately failing due to health problems and realize that they find no happiness in their bohemian life styles without the down-home Southern boys they loved as children. Both relationships eventually culminate in marriage and a single child, but, due to reasons of illness, their marriages are short-lived, and the remaining parent is forced to care for their perfect child alone. Neither Gump nor Button ever seem to be particularly distressed about anything, and all the other characters are made out to be fools for not taking things in such stride. The moral at the end of the story is either "you never know what you're gonna get" or "you never know what's coming for you", depending on which version you're watching.
It's not just a simple matter of a few parallel themes and plot elements, though - dozens and dozens of individual formal techniques, scenes, characters, conversations, and recurring images are taken out of Forrest Gump and transplanted into The Curious Case of Benjamin Button. Lt. Dan becomes Captain Mike. The Bubba-Gump shrimp boat becomes Captain Mike's tugboat, as well as Button's father's sailboat. The feather Gump sees flying around in the wind becomes a hummingbird out at sea. Lt. Dan's loss of his legs after a war injury becomes Daisy's crippled legs after a car accident, complete with scenes in foreign hospitals where the injured party sends Gump or Button away disdainfully. Infantry battles in Vietnam become naval battles in World War II, with the protagonist being the only one to come out unscathed. Gump's cross-country running becomes Button's travels on a motorcycle. Gump's influence on Watergate and the invention of the smiley face become Button's encounter with the oldest woman to swim the English channel and his mystical connection to Hurricane Katrina. The scenes where Button and Daisy finally live happily together could have easily been described as "we were like peas and carrots again." The famous "run, Forrest, run" scene becomes Button learning to walk as an elderly seven-year-old. Gump watching Jenny play guitar at the night club becomes Button watching Daisy dance at a concert hall. Gump going to the Black Panther meeting and then saying goodbye to Jenny as her boyfriend calls her onto a bus becomes Button going to a beatnik party and saying goodbye to Daisy as her boyfriend calls her to a cab. It just goes on and on and on.
There are differences, of course - Gump's duncehood versus Button's reverse aging being the most glaring example - but they're ultimately trivial and don't change any of the film's core messages. Fincher directs The Curious Case of Benjamin Button with far more flair, beauty, and fantasy than Robert Zemeckis did with Forrest Gump, and had Forrest Gump never existed, The Curious Case of Benjamin Button could very well be called a good film - but it does, and it isn't. All the masterful technical filmmaking in the world can't cover up a corny, shallow, contrived story, and even less so one that's already been told before. The Curious Case of Benjamin Button is one of the biggest cinematic disappointments in years.