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The Game (1997) [The Criterion Collection #627] [Re-UP]
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The Game (1997)
DVD9 + DVD5 | ISO+MDS | NTSC 16:9 | Cover + DVD Scans | 02:08:37 | 7,71 Gb + 3,46 Gb
Audio: English Near Fields and Theatrical AC3 5.1 @ 448 Kbps (each) | Subtitles: English SDH
Genre: Mystery, Thriller, Crime | The Criterion Collection #627
DVD9 + DVD5 | ISO+MDS | NTSC 16:9 | Cover + DVD Scans | 02:08:37 | 7,71 Gb + 3,46 Gb
Audio: English Near Fields and Theatrical AC3 5.1 @ 448 Kbps (each) | Subtitles: English SDH
Genre: Mystery, Thriller, Crime | The Criterion Collection #627
Director: David Fincher
Stars: Michael Douglas, Deborah Kara Unger, Sean Penn
The enormously wealthy and emotionally remote investment banker Nicholas Van Orton (Michael Douglas) receives a strange gift from his ne’er-do-well younger brother (Sean Penn) on his forty-eighth birthday: a voucher for a game that, if he agrees to play it, will change his life. Thus begins a trip down the rabbit hole that is puzzling, terrifying, and exhilarating for Nicholas and viewers alike. This multilayered, noirish descent into one man’s personal hell is also a surreal, metacinematic journey that, two years after the phenomenon Se7en, further demonstrated that director David Fincher was one of Hollywood’s true contemporary visionaries.
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The Game (1997) [The Criterion Collection #627] [Re-UP]
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The tensions between the rich, the middle class that serves them, and those wild forces who subvert both groups have been the bread, butter, and jam for David Fincher since he debuted with his woefully underrated Alien³. Even the seeming exception, Se7en, shares a tangential connection to this anarchic spirit: two protectors and figures of social norms being exhausted and rendered savage by a psychotic other. But The Game, Fincher's third feature, remains the filmmaker's most challenging and balanced workout of these conflicts. It's a twisty, expertly plotted morass that at once investigates the misanthropy of the elite and ruptures their distanced state of being, but also suggests that all of that is, itself, a clever ploy.![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/88/4a/00264a88_medium.jpeg)
The Game (1997) [The Criterion Collection #627] [Re-UP]
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At first, it's hard to imagine anything but cold, ruthless tactics driving Nicholas Van Orton (Michael Douglas), an investment banker and scion of a wealthy businessman who jumped off the roof of the family mansion when Nicholas was only a boy. The reasons behind the father's suicide, seen in flashbacks captured on scratchy Super-8 footage, are unclear, but the death haunts Fincher's movie, which kicks into high gear when Nicholas's brother, Conrad (Sean Penn), gifts him with a "game" from CRS (Consumer Recreation Services), a mysterious company that no one seems able or willing to give any detail about.![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/86/4a/00264a86_medium.jpeg)
The Game (1997) [The Criterion Collection #627] [Re-UP]
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Beginning with an unsettling bit of home invasion involving Daniel Schorr and a large harlequin doll, the game methodically escalates from minor irritations, paranoia, and implausibility to a full-on plot, which seemingly hinges on Nicholas's sudden relationship with a world-weary waitress, Christine (Deborah Kara Unger). Consistently scintillating, it's very much a plot built on a crucial augmentation of Hitchcock's "wrong man" theme that allows for a wild, kinetic sense of reflexivity. In essence, Fincher's film is about the devious trickery inherent in filmmaking, the seductive sleight of hand that makes even the most impossible of scenarios believable. (Ironically, critics largely dismissed the film as a trifle because of its various instances of implausibility.)![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/87/4a/00264a87_medium.jpeg)
The Game (1997) [The Criterion Collection #627] [Re-UP]
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In this, Fincher has outdone a number of other talented filmmakers who feel compelled to punish their audiences. Working from a heavily edited script by Michael Ferris and John D. Brancato, the director is able to at once confirm and laugh at the impossibilities that power his narrative while also pulling us further and further into the "game." And the success of this sensational ploy, of course, is dependent on Douglas, who's able to fluidly move from cool and coiled to furiously intense with a stunning sense of timing and physical prowess. Fincher, Jeffrey Beecroft, and the great Harris Savides turn San Francisco into a corroded labyrinth, gloomy, grungy and consistently dark, and yet the viewer remains vigilantly pinned to Douglas as he narrowly makes his way through the traps CRS has set out for him; he's at once CRS's star and chief audience, for the time being at least.![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/89/4a/00264a89_medium.jpeg)
The Game (1997) [The Criterion Collection #627] [Re-UP]
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As a sort of meta text on filmmaking, The Game is assured, beautiful, and endlessly inventive, but its narrative offers other robust implications. At its core, the story isn't completely unlike that of A Christmas Carol, but the ultimate reward here isn't a newfound respect for Nicholas's fellow man or the unprivileged. Rather, it's a selfish yet inarguably positive exploration of himself, a secular excoriation of what's been repressed since his father plummeted to his death. He learns to appreciate what he has, but, as we find out, there was never any real risk of him losing it; there was always something to break his fall. But Fincher is smartly ambiguous about whether or not that matters: Would the experiences that Nicholas suffered through have been somehow more rewarding if they were real and not the expert fabrication of an impossible syndicate of schemers?![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/8a/4a/00264a8a_medium.jpeg)
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To view it cynically, The Game suggests a constant state of paranoia in the terminally wealthy, that they believe the world is after them when really their friends and family are just having a good, cruel go at them, and that even their revelations essentially come from a false place. This isn't, however, what Fincher's ends are, for as much as he's one of the great American filmmakers currently working, he's first and foremost an entertainer, like Hitchcock. If The Game is truly critical of anyone, it's of those who are in the business of, as Glenn Kenny recently put it, "outsmarting" movies. It's a very personal, revelatory work for a director who, coincidentally, was dealing with his own feelings of isolationism and misanthropy at the time of its production. And like the masters of the medium, his tremendous power as an artist is in his ability to communicate and make these feelings resonate, perhaps even make them universal, by presenting them as a preposterous game.![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/8b/4a/00264a8b_medium.jpeg)
The Game (1997) [The Criterion Collection #627] [Re-UP]
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Criterion continues to polish their gold standard with their release of David Fincher's most underrated and unseen masterpiece, The Game, which is given even greater depth thanks to an excellent commentary track.
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![The Game (1997) [The Criterion Collection #627] [Re-UP]](https://pixhost.icu/avaxhome/89/4a/00264a89.jpeg)
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The Game (1997) [The Criterion Collection #627] [Re-UP]
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Special Features:
- New, restored digital transfer, supervised by director of photography Harris Savides, with original theatrical 5.1 surround soundtrack
- Alternate 5.1 surround mix optimized for home theater viewing, supervised by sound designer Ren Klyce and presented in DTS-HD Master Audio
- Audio commentary by director David Fincher, Savides, actor Michael Douglas, screenwriters John Brancato and Michael Ferris, digital animation supervisor Richard “Dr.” Baily, production designer Jeffrey Beecroft, and visual effects supervisor Kevin Haug
- An hour’s worth of exclusive behind-the-scenes footage and film-to-storyboard comparisons for four of the film’s major set pieces, with commentary
- Alternate ending
- Trailer and teaser, with commentary
All Credits goes to Original uploader.
No More Mirrors, Please.
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