The Curious Case of Benjamin Button of David Fincher, is a good example of a script that sacrifices the nature of the cases, and in particular, gives us the opportunity to explain these two concepts central to Type ® method. A play is usually the product of nature has been subjected to a circumstance, ie the product of human nature that have the challenge of transforming their interaction with the social environment (circumstantial) that contains it, or transforming the environment. And that is what, very in style, contains the original story Scott Fitzgerald, The Curious Case of Benjamin Button . In the famous story by American writer, a man (Benjamin Button), suffers amazing fortune of being born into a old man and the unique nature contravenes and dislocates the fate of the first viewer of this wonder: Mr. Roger Button, his unfortunate father. The nature of Benjamin Button is subversive, not only is the Button family who is forced to test their prejudices and ideas of the world, old age and youth, to sustain the paradox that involves both (Lord Button -oscillating between love and denial-make his son an old man / child, dress, education will, it will share in the family fortune, always subject to the demands of that love painful almost unbearable), but also , some individuals from the society of Baltimore in the late nineteenth and early twentieth compare their pre-conceptions of this nature. The result is a story in which anecdote is dramatized in the clash of these two conflicting natures of a man who, against all logic, he lives life backwards and a society that, by nature, judge the life right.
Very different is the strategy of screenwriter Eric Roth in the film of David Fincher: Benjamin is its nothing but circumstance and circumstance. Benjamin was born as a baby to look old and this curious circumstance is a source of entertainment and wonder. As Benjamin only circumstance (and not an essence that oppose problematic to one essence) no conflict or potential conflict: a black couple picks up the character, breeding, and from here, that circumstantial exteriority be an old man who gradually transformed into places the "young hero? in different situations: to live some adventures, falling in love with an older woman while he is younger, until the chain of circumstantial situations come to an end. Since there is essentially no conflict or potential friction: society, live their circumstances on the one hand (his passing) and Benjamin lives turn theirs (also its passing). And when they run out circumstances, the film ends having said anything more than that: that the fact of being born old and dying young is sad or pathetic or in short, that that fact is just a show.
Fitzgerald's account of speech, ironic voice of the paradoxes and ironies of society, time and life. Fincher's film presents just the sight of a strange situation: what in Fitzgerald's narrative pretext, in Fincher is almost unique ceremony. The conclusion is that without the dialectic between nature and circumstance is very little that can be said that the fate of a script built on the mere fact rests on the precarious possibility that a movie can be sustained only show as nothing more than a circumstance.
