very good!
Have you ever thought about a person from birth is already 80 years of age? Have you thought about life from the age of 80 to 1
year old
forward? Scott Fitzgerald's classic novel "Benjamin Barton"
is about such a
story.
违反大自然生长规律的本杰明以老人形象降生人世，越活越年轻，最后成为一个婴儿死在襁褓中。影片用本杰明时光倒流般的一生，让人们更深刻的认识了人生。
Violate the nature growth regularity of Benjamin to the image of the elderly born
alive, live more and more young, finally become a baby to die in infancy. The film with Benjamin back in time like life,
make people more
profound understanding of life.
那一年，一个拄着拐棍的12岁的小老头遇到了他生命中最重要的那个人--6岁的女孩黛西，这两个逆向而行的生命自此相遇，这一对生命轨迹相反的男女让这段爱情就仿若一个宿命般的悲剧开始上演。善良而亲切的黛西，给了本杰明许多温暖，他们渐生情愫，经历过人生的许多事情后，他们才走到了一起。他们一起经历了一段幸福甜蜜的生活，黛西说“我们在人生的中点相遇”，本杰明说“总算是遇上了”。每一个人都是另一个人一生的挚爱，我们期望着在对的时间爱上对的人，但大多时候对方都不合时宜，你已年老他正年轻，你还年轻他已老去；你已嫁人，他还未娶
，叫小倩的女子仍旧在世间寻觅爱情的终极，宁采臣却已有今世的爱人为妻。我们注定要失去我们所爱的人，否则我们不会知道他们对我们多么的重要。
That year, with a cane at the age of 12 young man met his life the most important man in the --6 year old girl Daisy,
the two
reverse
life
encounter,
the life track
of opposite
sexes
let this
love is like a fate tragedy began.
Kind and gracious
Daisy, gave Benjamin a lot of warm, they grew closer, have experienced a lot of
things in
life, they get back together. They had a happy and sweet life
together, Mayuzumi Nishi said "we meet" in the life of the point,
Benjamin said
"it is met".
Everyone is
another person's
love life, we expect to fall in love with the right person
at the right time, but most of the time the other side be inopportune or
inappropriate,
you old
age he
is
young, you still young he is old; you have been married,
he also did not
marry, called Xiaoqian female still find love in the world the ultimate, Ning has the love for his wife. We're meant to lose the people we love, otherwise we will not know how important they are to us.
而本杰明意识到自己终会变成一个小孩子，黛西不能同时养活他们两个孩子，决绝地离开黛西母女。本以为本杰明和黛西的故事是时光的妒忌，把这样美好的爱情幻成一汪泪水，本以为自己的悲悯是为了黛西，看她的恋人竟化作怀抱着的婴儿死去，看她拥抱着本杰明就像是拥抱一个雪人消融的身体，可事实上我能感受到的悲伤还有更多。就像本杰明的爸爸当初把他当作怪物一样丢弃一样，人活着就在不停地因为各种正常的标准的原则做出取舍，我们选择了一种正确的人生，然而这样的人生很正确，也很孤单。当本杰明最终以一个可爱的婴儿相貌死在了白发苍苍的黛西怀里时，这个不是那么温情的结局成为了影片的点睛之笔，让人觉得即便是最伟大的爱情也会以死亡来结束，正如导演所说“最伟大的爱情总是以死亡的阴影来度量的”死亡让生命显得更为残酷和真实。生命是一个过程，可悲的是它不能够重来，可喜的是它不需要重来……
But Benjamin realized that he would become a child, Daisy can't feed them two children at the same time, determined to leave Daisy and her daughter. The thought of Benjamin and Daisy's story is the time of the jealousy,
so beautiful
love
magic
into
tears, the thought of
their
compassion
for
Daisy, her lover unexpectedly into the embrace of dead babies, she hugged Benjamin is like hugging a snowman melting body, but in fact I can feel sadness and more. As Benjamin's father had put him as a monster like discarded, people live in does not stop because of various normal standard principles to make a choice, we chose a correct life,
however this kind
of life is very
correct, very lonely. When Benjamin finally to a lovely baby looks dead in the grey-haired Daisy arms, this is not so warm ending a film Punchline, let a person feel even the greatest love will come to end in death, according to the director said, "the greatest love is always in the shadow of death to measure" death makes life more cruel and true. Life is a process, sadly, it can not again, good news is that it does
not need
to do......
（那部返老还童啊..............
观《本杰明·巴顿奇事》有感，这是一部阐述人生哲理发人深思叙事独特的影片，影片以类似《泰坦尼克》的叙事开头，从一个老妇人的回忆开始，讲述了2个故事一个是关于本杰明身体有关故事，另外一个讲的是一位富家太太因分娩一个先天患有提前衰老症的婴儿去世，其父亲因憎恨他而将其遗弃到一家养老院门口，养老院的女佣因不能生育而收养了他，并为他起名“本杰明”而未给其姓氏，故事由此展开，其中的独特视角让人耳目一新，本杰明拥有快要入土的身体却有一颗刚刚降世的心，随着年龄的长大身体越发年轻，然而内心却越发成熟，最终又变回婴儿的模样逝去。
影片中还穿插一些时间点，当然是以美国的历史及人物的方式出现的，让我想起了〈阿甘正传〉，幼年时（这能算幼年吗 整个一小老头）出现的黑人神棍让我想起了〈邪恶力量〉，片中对死亡的感悟是让人最为深刻的，养老园中老人离去，战争中友人的离去，亲生父亲的离去，包括本杰明自己的死都是发人深思的。
看完后给人的感觉印象不能说深刻但是却有很多感触，大卫·芬奇的功力可能就在于此吧，相信对当前情况下的美国人也是一种精神上的慰悸吧，还是要感谢皮特哥不惜丑化形象来拍这部片啊，特效也不错就是用在这片里有点可惜了。
共800多字，来自http://movies.nytimes.com/2008/12/25/movies/25butt.html
拿去用吧，对了，是电影的观后感
A Review of The Movie “The Curious Case of Benjamin Button”
“The Curious Case of Benjamin Button,” which occupies around 25 pages in the collected works of F. Scott Fitzgerald, is a slender piece of whimsy, a charming fantasy about a man who ages in reverse, descending through the years from newborn senescence to terminal infancy. As Fitzgerald unravels it, Benjamin’s story serves as the pretext for some amusing, fairly superficial observations about child rearing, undergraduate behavior and courtship in the late 19th and early 20th centuries.
From this odd, somewhat unpromising kernel, the director David Fincher and the screenwriter have cultivated a lush, romantic hothouse bloom, a film that shares only a title and a basic premise with its literary source. “The Curious Case of Benjamin Button,” more than two and a half hours long, sighs with longing and simmers with intrigue while investigating the philosophical conundrums and emotional paradoxes of its protagonist’s condition in a spirit that owes more to Jorge Luis Borges than to Fitzgerald.
While the film’s plot progresses, with a few divagations, in a straight line through the decades of Benjamin Button’s life, the backward vector of that biography turns this “Curious Case” into a genuine mystery. And the puzzles it invites us to contemplate — in consistently interesting, if not always dramatically satisfying ways — are deep and imposing, concerning the passage of time, the elusiveness of experience and the Janus-faced nature of love.
The inner life of Benjamin Button, abandoned at birth by his stricken father (Jason Flemyng) and raised by the infinitely kind caretaker of a nursing home (Taraji P. Henson), is harder to grasp than his outer appearance, in part because Mr. Pitt seems more interested in the nuances of reticence than in the dynamics of expression. It’s true that Benjamin’s condition imposes a certain detachment: he is at once innocent and ancient, almost never who he appears to be.
But even though Mr. Pitt’s coolness is a perfectly defensible approach to this character, his elusiveness, from one film to the next, is starting to look more defensive than daring. His recent performances have been devoted mainly to the study of his own magnetism, a quality he earnestly explores in “The Assassination of Jesse James by the Coward Robert Ford” and playfully subverts in “Burn After Reading.” It goes without saying that Mr. Pitt has charisma to burn, and he is a capable and inventive actor, but he will only be a great one if he risks breaking himself open on screen as he did, briefly, in “Babel.”
And so, while Benjamin’s progress through life drives the narrative of “The Curious Case,” he is (as the title suggests) more an object of contemplation than a flesh-and-blood (or bit-and-byte) candidate for our empathy. His jaunt through the 20th century is certainly fun to watch, with an episodic rhythm that recalls old movie serials or, even more, the endlessly dilated adventures of newspaper comic-strip heroes. After some initiation into the pleasures of the flesh and the bottle in the city of his birth, Young Button (Old Button) hires onto a tramp steamer. He tarries a while in Russia, sampling caviar and adultery (with a superbly soignée Tilda Swinton) before World War II intrudes.
Later there will be sailboats and motorcycles as the ambient light turns gold along with Mr. Pitt’s hair. There will not be much in the way of big events or public happenings — Benjamin Button is, finally, no Forrest Gump — and though he is a white Southerner raised by a black woman, he seems untouched by racial turmoil or by much of anything beyond the mysteries of his peculiar destiny.
But the movie’s emotional center of gravity — the character who struggles and changes and feels — is Daisy, played by Ms. Blanchett from impetuous ingénue to near ghost with an almost otherworldly mixture of hauteur and heat. The story of Benjamin’s life is read to Daisy by her daughter (Julia Ormond) in a New Orleans hospital room in 2005, just as Hurricane Katrina is approaching the city. The imminence of the storm is a superfluous and unduly portentous device, since Katrina brings to mind precisely the hard, real-life miseries the movie has done everything in its power to avoid.
That power, though, is something to be reckoned with, and it resides in Mr. Fincher’s ability to use his unbelievable skills to turn an incredible conceit into a plausible love story. The romance between Daisy and Benjamin begins when both are chronologically pre-adolescents and Benjamin is, physically, a codger, but the initial element of pedophilic creepiness in the relationship gives way to other forms of awkwardness. Their love is uniquely perfect and enduring. At the same time, like any other love — like any movie — it is shadowed by disappointment and fated to end. In the case of “Benjamin Button,” I was sorry when it was over and happy to have seen it.
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