What we see is a thriller about the gradual moral dulling of a human being in a sea of vanity and corruption, who has never been oblivious to the world around him and at the same time wants to break with everything, just to like what happened to him. the main character.
And what could disturb us more than to see the privacy of our own home, symbol of security and comfort, violated?
To me, "The Game" seems to be a corrosive and disturbing portrait of a society where economic and social triumph once again trumps all else.
The cast is fantastic, with a strangely and hauntingly beautiful Deborah Kara Unger.
[Image](https://cuatrobastardos.com/2020/10/07/retrospectiva-bastarda-the-game-1997-de-david-fincher/)
Nicholas Van Orten (Michael Douglas) is one of those arrogant types who spends his busy life hoarding money and using his power to abuse others.
He's a divorced financial investor who doesn't care much about his career.
"He transfers money from one place to another," a millionaire who owns everything, including his Swiss accounts.
But watch as his wayward brother Conrad (a haunting Sean Penn) sends him a cryptic letter as a birthday gift: the chance to play a game designed for each participant.
But what else could this impetuous executive who watches the stock market from the comfort of his mansion's sofa miss? Perhaps he has weaknesses, some childhood trauma and the "misadventures" of a brother who lives up to his last name.
[Image](https://cuatrobastardos.com/2020/10/07/retrospectiva-bastarda-the-game-1997-de-david-fincher/)
Captivated by his own curiosity, he embarks on a treacherous and bewildering journey where the line between reality and play is blurred.
Fincher's use of brief, rapid-fire shots immerses the audience in this game, preventing them from fully understanding each scene.
In this deceptive world, appearances are deceiving and the viewer has access to the same information as the "innocent-persecuted" victim of a sinister plot. For Nicholas, the revelation that his Swiss account has been reduced to nothing and that he must resort to begging to survive is the ultimate tragedy, as it forces him to live in humiliating and unconventional conditions for someone of his social standing.
In the midst of a series of appalling circumstances, Nicholas feels vulnerable and desperate. It seems that Nicholas Von Orton's moral sickness is a game that can be cured by yet another game.
From my perspective, the script seems diabolically designed, leaving the audience to speculate on the events unfolding before them.
Despite the seemingly far-fetched nature of the plot, the entire film feels like an enigma.
It's worth noting that there are rich-exclusive games that are even more outlandish and improbable than this one. Trying to find logical coherence in this baffling and intricate work of art is futile; it is a game within a game that Fincher presents to the viewer.
