By Benjamin Wright | The Playlist September 20, 2012 at 2:02PM
For anyone who enjoys lamenting the craft and superb marketing sensibilities that used to go into making a great trailer, a fine example would be the 1997 teaser for “The Game.” It was devised by David Fincher himself (doubt they let filmmakers do that anymore) and featured no semblance of the actual film outside of dialogue from some of the film’s more tense exchanges. Instead of bombarding audiences with a sizzle reel of all the best shots, we instead see a beautiful marionette puppet attached to long ominous strings – this is all before the marionette begins to shake violently at the hands of some unseen force. Quite the use of metaphor, if we dare say so ourselves. There is one quick glimpse of Michael Douglas breaking the surface of the water (post car crash) but other than that, it’s all audiences were given. Fincher was hoping to stick with the marionette motif throughout the film’s marketing, but PolyGram had other plans for a heavy emphasis on the pieces of a puzzle forming the face of the film’s star Michael Douglas. A bit on the nose and not nearly as creative as Fincher’s more secretive direction, but the poster of Douglas being formed from puzzle pieces is still pretty recognizable. Fincher laments his marionette motif on the Criterion commentary track as well, noting that he made the opening title sequence feature puzzle pieces falling into place just to keep the motif ongoing, so as not to disrupt the overall experience of the film. His teaser lives on through the disc, along with the film’s standard trailer, with both featuring commentary tracks. As for Fincher’s prized motif of the marionette? It does live on in a small way, as the cover for the latest Criterion release hints at some string being pulled while Van Orton takes a long fall.
Deborah Kara Unger is one of those rare Hollywood actresses who isn’t afraid to bare it all – and we mean that quite literally. For anyone who’s seen her role in 1992’s “Whispers in the Dark” or especially David Cronenberg’s twisted fantasy in 1996’s “Crash,” the actress does not get camera shy when it comes to nude scenes. In a 1997 interview with Entertainment Weekly, Unger bared all in a different way, discussing hang-ups about getting nude on screen – and the odd route she took to land her role as Christine in “The Game.” Other than some brief moments of sexuality, including a scene where Michael Douglas sees right up her skirt, Unger mostly keeps her clothes on in the role of Christine – a waitress who also appears to be caught up in this “game.” Although when she sent her acting reel in for consideration for “The Game,” it didn’t exactly earn her any fans, with Douglas telling the magazine: “Deborah's test reel was a two-minute sex scene from ‘Crash,’ '' Douglas recalls, ''and she didn't say anything. I thought it was a joke. Then we saw her in person and thought that she was just great.'' Considering she’d mostly done some extremely low-budget independent films and the third film in the “Highlander” franchise, perhaps she felt that a scene from the film of a semi-respectable (at the time) filmmaker like Cronenberg would help her land a higher profile role. As we can now see, she wasn’t wrong.
Oh, Jonathan Mostow, where art thou gone? While the director of 1997’s Kurt Russell-starring “Breakdown” and 2000’s submarine thriller “U-571” didn’t exactly prove himself to be a master auteur with those two films, he certainly proved he was on track to be a perfectly capable filmmaker who could give us an entertaining-as-hell thriller. Unfortunately, diminishing returns have lead to Mostow giving us such fluff as “Terminator 3: Rise of the Machines,” and the dead-eyed Bruce Willis Sci-Fi thriller “Surrogates” -- leaving admirers of his first two films bemoaning what could have been. Also, there has been a variety of Mostow projects that almost where – including the recent Jennifer Lawrence starring “The House at the End of the Street,” which Mostow was set to direct from a script by “Donnie Darko” mastermind Richard Kelley. And for anyone wondering why Mostow has an executive producer credit on “The Game,” it’s because he was in the director’s chair at one point. When the spec script by “The Net” screenwriters John D. Brancato and Michael Ferris was picked up in 1991, it sat in a sort of development hell until Propaganda Films picked up the film and attached Mostow to direct. He had set “Twin Peaks” star and David Lynch wunderkind Kyle MacLachlan and Bridget Fonda for the lead roles (though it isn’t clear if Fonda would assume the role of the female sibling or the waitress Christine), but this trio has us dreaming up a wildly different film altogether. Even though a tentative production date was set, in 1992 the project was moved to PolyGram and Mostow would end up with only executive producing credit when Fincher eventually came aboard. As much as we love Fincher’s version, our wheels are spinning as to what Lynchian charm MacLachlan could have brought to the role of Van Orton, and how nutty Fonda could have gotten with her role. We suppose that we still probably ended up with the best possible version of “The Game.”