David Fincher’s The Killer recently premiered on Netflix and that got me thinking about the director’s storied filmography. The auteur is responsible for noteworthy psychological horror-thrillers like Se7en, Nightcrawler, and Zodiac. But my personal favorite of his catalog might just be The Game. It’s a film that revolves around a twist, yet the picture remains infinitely re-watchable despite that. Not only that, the flick features powerhouse performances from an all-star cast, a haunting score, and an ever-present level of tension.
The Game sees multi-millionaire Nicholas Van Orton (Michael Douglas) being gifted a life-changing experience by his brother Conrad (Sean Penn). The experience is a game of sorts and it’s facilitated by an outfit called Consumer Recreation Services (CRS). The Game promises to be just what the player needs and delivers a different experience for each participant. As he embarks upon his journey with CRS, Nicholas has no idea his world is about to be turned upside down and inside out.
As I mentioned previously, The Game is a film that builds to an epic twist ending. But unlike so many pictures that employ a surprise conclusion, this one doesn’t provide diminishing returns upon repeat visits. I think the biggest reason the twist doesn’t negate replay value is that getting there is half the fun. This isn’t a film that hinges on a ‘gotcha’ twist that comes out of nowhere and negates that which preceded it. Everything that transpires within the story builds to the big reveal, making the twist feel entirely justified.
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The ending puts everything in a different perspective and provides new context upon repeat views. But the seamless nature with which the proceedings are packaged has the potential to make viewers want to go back and rewatch, rather than discouraging return visits. The first time I watched The Game, I immediately wanted to go back and rewatch it to see what didn’t stand out the first. I’ve seen The Game countless times over the years now and I pick up on new details almost every time I revisit.
I appreciate the way that Fincher gives us all the information we need to piece the twist together before pulling the rug out from under us. He presents the corroborating details in such a way that the information seems innocuous or quickly becomes overshadowed by what appears to be more pressing matters. That’s masterful storytelling. And that’s just how a twist should work. The viewer should be given the information they need to piece things together. But it should ideally be presented with a level of finesse that keeps things from being too obvious.
Aside from a twist that serves as a masterclass in narrative trickery, the film also delivers a really impressive cast of nuanced characters. Nicholas is shown to be a product of his experiences. His lack of warmth is the result of his past trials and tribulations. Witnessing his dad’s suicide when Nicholas was a child informed his development. It taught Nicholas not to get too close to people and to keep them at a distance because life is fleeting.
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Though Nicholas comes from great wealth, his privilege has left him lacking empathy. He’s completely unable to put himself in the shoes of another. Smartly, CRS takes all of this into account and serves Nicholas exactly the experience he needs. That makes for a compelling character arc. We get to see him grow and he becomes far more relatable as he is challenged in new and unexpected ways.
Nicholas’ experience eventually brings him to a place of being humbled and to a place where he can appreciate his good fortune, rather than take it for granted because it’s all he’s ever known. When everything Nicholas believes he values is stripped away, he is finally able to see what matters most.
Fincher brings to life a tremendous script from John Brancato and Michael Ferris with aplomb. The screenplay is filled with twists and turns designed to put the viewer through the wringer. Watching various forms of misfortune befall Nicholas is rather distressing. But the action unfolds at a furious pace, making it nearly impossible to look away.
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I mean it when I say that the action unfolds at a furious pace. The film runs for over two hours, but you won’t know it when you’re watching. Fincher takes us along for a ride that never feels superfluous. There isn’t an ounce of fat to trim. Each development serves a purpose and the picture never ceases to be compelling.
The hectic narrative makes effective use of misdirection throughout. Both Nicholas and the viewer are frequently given cause to question what’s happening. Nicholas is told that CRS has decided not to move forward with him. But shortly after, he comes home to a message from CRS explaining the parameters of The Game and providing an emergency number. He’s also told that he will receive a series of keys as part of his participation in The Game. Accordingly, both he and the audience are likely expecting a more conventional scavenger hunt-style affair to follow. However, what comes next is anything but conventional.
Aside from masterful direction (and misdirection), the film also boasts a magnificent score. Howard Shore does a lot with a little. Multiple sequences are paired with what sounds like a single piano key. That understated and eerie accompaniment proves far more effective than a more complex musical arrangement would have. Enough is going on within the film that we don’t need a flashy score. In this case, less is more.
All things considered, The Game is an absolute masterpiece that manages to work effortlessly despite a narrative twist that could have easily derailed the proceedings. It’s one of Fincher’s most noteworthy efforts and a title I have only grown to love more over time.
Categorized: Editorials
