To celebrate the 25th anniversary of Se7en and the 10th anniversary of The Social Network, The Ringer hereby dubs September 21-25 David Fincher Week. Join us all throughout the week as we celebrate and examine the man, the myth, and his impeccable body of work.
Many describe David Fincher as cold, but the scene when Benjamin and Daisy meet in the middle is anything but
Romance isn’t the first thing that the name David Fincher brings to mind. His work is more often characterized as dark, ingeniously twisted, even cold-hearted. What made Zodiac so striking was its almost neutral approach to its sinister topic, in line with the serious detective work that its protagonists engage in to try to catch the infamous serial killer. No surprise that the director eventually gave his take on the Scandinavian crime saga The Girl With the Dragon Tattoo. But this calm and collected approach belies a genuine sensitivity and emotional intelligence. Even in Se7en, love was present and essential to the story’s darkness, hidden in a box that was much more than a simple piece of evidence. Some kind of love is also what drives Amy Dunne to trap her husband in an increasingly loveless marriage in Gone Girl. Although the director revels in humanity’s natural bend toward perversion, he understands that deviance isn’t all that interesting without the passion that often spawns it.
Sometimes, however, love remains pure and impervious to the corruption all around. 2008’s The Curious Case of Benjamin Button, Fincher’s most romantic film, isn’t about some guy insulting his girlfriend and then trying desperately to add her on Facebook like a 14-year-old; its hero isn’t a washed-up teacher who can’t help but sleep with one of his young students and ruin his wife and life, nor does he need a little push off a rooftop to feel alive again. Benjamin Button (played by a peak Brad Pitt, if you ask me) is a very nice guy who knows how to love a woman well; with his good manners and big heart, he couldn’t be further from a pervert. It’s his genetic makeup that’s gone wrong—a fact that makes Benjamin Button, as lovely as it is, Fincher’s most disturbing film, albeit in an unusual way for the director.