Movie Review: 'Gone Girl'
The film 'Gone Girl' plays out like a whodunit — something that David Fincher has always been a master of, and once again delivers with a ton of panache
A; Drama/ thriller
Director: David Fincher
Cast: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry
Not all marriages and relationships are made in heaven. The beginning is somewhat out of a Nicholas Sparks movie, you are kitschy and lovey dovey and you can't have enough of your significant other. After a point, the cracks begin to appear. After some more time, you begin to want your own space. You begin to resent each other. You begin to piss each other off. Eventually, you can't stand each other's presence.
This concept is taken to mad levels in David Fincher's 'Gone Girl'. Calling this movie mad would be a nuclear understatement because madness isn't there in this movie. What this film has is bat guano insanity attached to a three kilo RDX placed under your face. The couple in this movie, played by Ben Affleck and Rosamund Pike, isn't exactly crazy — they are sort of high functioning sociopaths. The scary thing is, they aren't very different from a regular couple. But the things they do in the film to each other are more frightening, something out of a Saw movie.
Based on Gillian Flynn's novel of the same name (she wrote the screenplay too), 'Gone Girl' chronicles Nick Dunne (Affleck) who wakes up one morning and finds his wife Amy (Pike) missing. Nick is convinced that Amy would return, but all evidence points to her death. The police recover blood samples from the kitchen and a bunch of stuff in the garage that incriminates Nick. As per history books, 99 per cent of the times when the wife goes missing, the husband is the one responsible. The film plays out like a whodunit — something that Fincher has always been a master of, and once again delivers with a ton of panache.
Even if you have figured out the mystery, nothing will prepare you for the way the solution to the mystery presents itself. It's a brutal deconstruction of imperfect marriages, and the nature for longing, togetherness and eventual hatred in the contemporary world. Surprisingly, the film plays out like a black comedy, even in the face of stunning violence, misogyny and misandry. The marriage in the movie gets so ugly that you will be wondering whose side to take, because they have both turned into monsters sans any redeeming quality. It makes you wonder how it is possible to be sensitive in a completely desensitised world. It also makes you ponder over the act of reconciliation, whether it is worth going through the trouble of forgiving each other, after you have given each other the deepest layer of hell. Flynn is a terrific talent, and if this film does anything apart from making you see it again, it makes you want to read her earlier (read: dark) work.