The end of David Fincher Week

You may have noticed that a week ago last Friday I posted a little piece called “David Fincher Week”. Well — 10 days, 8 films, 1,090 minutes of viewing and 9,375 words later (never mind about a month’s worth of personal anticipation beforehand) — said Week is over.

Fincher dominanceOne thing this week has achieved is re-confirming that Fincher is one of my favourite directors. Another is to remind me that I’ve not seen a single one of his films at the cinema.

A third is to have helped me consider each of his films in the context of his others, in order. I would attempt to summarise what I’ve learnt (if anything), but why do that when I can plagiarise myself? So, as I’ve rattled through the films and reviews this week, here’s a little linked-up summary of them all, highlighting where possible quotes that discuss the films in the context of Fincher’s others.


#14
Alien³: Special Edition
(1992 / 2003)

Even though [Fincher] had limited — often, no — control over much of the project, there are still signs that link it with his later films. It’s stylishly shot for one thing, most of the locations either soaked in shadow or cold light, with an often fluid camera. Darkness litters the film thematically too: setting it on a prison colony for murderers and rapists, the violent attempted gang rape of Ripley, the death and autopsy of a 10-year-old girl… Then there’s the Alien itself, from its ugly birth to its violent murders. Fincher may have not turned so explicitly to horror since, but that brand of darkness does flow on into most of his best films: Se7en, Fight Club, Zodiac.

It’s also, perhaps, interesting to remember this being Fincher’s first film. He might seems like an odd choice, a first-timer paling beside the experienced hands of Scott and Cameron. But that would be to forget that, for both, their Alien films were only their second time helming a feature; and while Cameron’s previous had been sci-fi (The Terminator), Scott’s was period drama The Duellists. A first-timer — especially one versed in commercials and music videos — isn’t all that different, really, and Fincher has certainly gone on to show his worth.

Read my full review here.


#14a
Se7en
(1995)

the cinematography [is] an aspect Fincher put a lot of work into both originally and then again to make it look right on the DVD re-release. This may well be because the film is incredibly dark. Black seems to be its default position — everything else is cut out of the darkness with as little light as possible. Often backgrounds and locations are better lit than foregrounds or actors, making the viewer focus on silhouettes with minimal light offering splashes of detail. Even the scenes that occur at daytime (most, anyway) do so in the middle of ferocious, ceaseless rain that ensures it never gets too bright.

Read my full review here.


#15a
The Game
(1997)

The Game stands out in Fincher’s filmography as not being particularly Fincher-y. He’s made equally as mainstream-friendly fare since — Panic Room, Benjamin Button, The Social Network — so that The Game doesn’t have as shocking a kick as Alien³, Se7en or Fight Club is not so unusual. More so, It’s not as stylishly directed or shot as any of his other films. It’s not badly done at all, but the cinematography is unremarkable and the direction is good without being any more. Many other competent directors could have been responsible — there’s no sign of his unique touch, probably his only film (that I’ve seen anyway) not to display that. To sum up: well-made, just not distinctive.

Read my full review here.


#16a
Fight Club
(1999)

Another point that interests me here is the audience’s reaction to a filmmaker who uses twists. As we’ve seen, Fincher produced three films in a row that had considerable twist endings; two of them often number in lists of the best movie twists ever. So how is it that he didn’t gain a particular reputation for twist endings, whereas M. Night Shyamalan gained one after… well, one film. I’m not complaining about this — the constant need to provide a shocking last-minute rug-pull has gone on to scupper Shyamalan’s career — but the difference of reaction/public perception is intriguing. I’m sure there are reasons — the sheer size of The Sixth Sense’s twist relative to those in Fincher’s films (it’s only Fight Club’s, his third such film, that changes everything we’ve seen in the same way); the way Shyamalan appeared to court the reputation; and so on.

…Fincher’s films often look great, but Fight Club is surely the most visually inventive. A list of exciting spectacles could be endless… To top it off, the ‘regular’ cinematography is grounded in Fincher’s trademark darkness, as if every shot was conceived as just black and he added only what light was necessary.

Read my full review here.


#16b
Panic Room
(2002)

it’s still clearly a Fincher film thanks to the visuals. So it’s quite dark and stylish, of course, which at least one review I’ve read credited much more to dual cinematographs Conrad W. Hall and Darius Khondji. Not to dismiss either man’s influence and skill, but, piss off. You only need to watch Fincher’s previous films (one shot by Khondji, the other three by three different DoPs) to see that this is a director who knows what he’s after visually (as if his reputation for shooting an obscene number of takes for every little shot didn’t suggest that well enough). To say it’s only thanks to Hall and Khondji that Fincher could produce such a good-looking film does the director a disservice.

Nonetheless, his style is even more evident in the distinctive, physically impossible swooping camera shots.

Read my full review here.


#16c
Zodiac: Director’s Cut
(2007 / 2008)

there are still some properly chilling scenes. Best — by which, all things considered, I mean “worst”; or, rather, “most scary” — of all is Graysmith’s visit to the house of a suspect’s friend, Bob Vaughn, at which point a series of revelations question who exactly should be under suspicion… Another review describes it as “one of the single most chilling scenes ever committed to film” and I’m inclined to agree.

Another triumph of direction comes in how effectively Fincher conveys the time periods the film crosses using relatively subtle means: popular music, appearing in snatches in the background rather than blaring out at us; the actual passage of time with time-lapse shots of a skyscraper being constructed or an audio montage of the major news in a skipped period; and place-and-time subtitles too, but hey, sometimes you need specificity.

Read my full review here.


The visuals may be Benjamin Button’s strongpoint, holding up a variety of era-evoking colour palettes and other design elements as it passes throughout the 20th Century. Flashback-like asides are conveyed in older film styles — scratchy prints for instance, or with a silent movie aesthetic — that on the one hand could seem an inappropriate indulgence, but objectively work very nicely. For a director who has a reputation in some corners for exhibiting excessive flair with swish shots and effects, Fincher shows steady restraint here — as he did in Zodiac, and Se7en, and all the moments in his other films where it was appropriate.

…Viewer awareness of time passing in the narrative is left to the odd snippet of dialogue or obvious jump; aside from a few clear points, there’s a less convincing sense of era than Fincher evoked in Zodiac. Whether this matters or not is debatable — Button isn’t a chronicle of the 20th Century through one man’s eyes, but is rather the story of a (somewhat unusual) life lived during that timed period.

Read my full review here.


it is indeed marvellously directed. As ever, Fincher knows when to keep it simple and when to jazz it up. Witness the incredible visuals in the Henley Regatta boat race, for instance — not brand-new techniques, but the combination of them with the editing and music makes for an outstanding sequence, 90 seconds of pure cinematic perfection.

Conversely, look at all the film’s conversations. Let’s draw on one that’s discussed in the making-of material, the scene between Mark Zuckerberg and Sean Parker in the club: as Fincher says, he could’ve had a Steadicam endlessly circling them or something similar to make it seem Fast and Hip, but in reality you need to see the conversation, and especially Mark’s reactions, so instead it’s just a good old fashioned shot-reverse-shot. For all his visual prowess, it’s understanding this need for simplicity and (g)old standard techniques when appropriate that Fincher has had a handle on throughout his career.

Read my full review here.



Fincher’s next “gift to us” (as Andrew Garfield put it at the BAFTAs), his ninth film, will be an English-language adaptation of The Girl with the Dragon Tattoo, currently scheduled to reach UK cinemas on 26th December.

I expect I’ll catch it on Blu-ray sometime in 2012.

[P.S. 30/9/2014: I’ve still not watched it. I am a failure.]

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