The Curious Case of Benjamin Button

What is this movie trying to say?

Beyond the simple (though certainly substantial) message that the trailer hits us over the head with (by quite overtly stating it) that life can only be understood looking backwards but must be lived moving forwards, what can we seek to understand from this tale?

The part of the premise that gives me pause, and I'll leave it at this for now, is the nature of the relationship between Pitt and Blanchett's characters. Wrap it up in hollywood trimmings and drapery all you like, but is this not a pedophilic relationship? Are we supposed to sympathize and identify with an old man who pines for a young girl? Similarly, the other end of the logical conclusion would have us ask what happens when she becomes old and he becomes young? Is it a total role reversal or do gendered double standards change anything?

Something to ponder, but no real conclusions can be drawn without seeing the movie.

Further Media Ponderings

Recently, I caught on television the tail ends of two movies that impressed me. It's difficult to discuss the merits of these movies with many folks because both movies exist behind a sophomoric facade.



Here, I shall explain what I think many people entirely miss about National Lampoon's Van Wilder and 50 First Dates.



I've been a huge fan of Van Wilder for a few years, and this may have something to do with watching the sanitized version aired on Comedy Central. The gross-out humor certainly isn't necessary to facilitate my enjoyment. Furthermore, it likely takes away from what lies at the heart of the film.



Van Wilder is ultimately a coming-of-age story. Rather than using some metaphoric vehicle such as football or a globe-spanning quest (both of which are quite good) the main character struggles, grows, and overcomes his demons through introspection and social support systems. The result is a refreshingly honest story about a man learning how to grow up. I think that maybe gets lost in the dick jokes, though.



50 First Dates is also a sneaky sort of movie. Adam Sandler is known for getting hit with a bat and shouting a lot, generally making a fool of himself. That dynamic is not absent from Dates, but it is icing on a much more substantial cake. Sandler's character demonstrates immense commitment and profound self-sacrificing love, but he doesn't get whiney or burdened by it. He eagerly puts himself through a titanic degree of effort and struggle simply to be with the woman he loves. Love, compromise, and self-sacrifice are to be treasured in this story, not simply tolerated. Naturally, there are some just plain sweet moments of sappy romanticism; for example, Sandler has one of the best lines in recent Romantic Comedy:

"You thought you were holding me back from having a full and happy life. But you made a mistake. Being with you is the only way I could have a full and happy life."

Come on! That's freakin' sweet! And I mean sweet in the "aww, puppy dogs" way, not the "dude I just pwnzored that noob in Halo" way.

These movies, with their sophomoric approaches to compelling dramatic content, are indicative of a bizarre trend, which can be interpreted in two opposing directions. Either the standard of sophistication the common movie viewer demands is on a downward slide OR filmmakers are attempting to broaden the appeal of their projects to grab the frat-boy demographic.

One way or another, I think it's important that we take a moment to consider all the angles of our entertainment. There's typically more than meets the eye. Ironically, Transformers was little more than a cheap action flick. Whatevs. :-p

Out.