Gone
Girl
A
review
October
4, 2014
Viewed
October 3rd 2014
**** .5
out of *****
All concerns of men go
wrong when they wish to cure evil with evil.
SOPHOCLES,
There is a central question that
many cannot resolve. How well do we
truly know those who share our lives and then our beds? How well do we ever know the person who we
commit our lives to in marriage? For
marriage, as antiquated as the idea may seem as it breathes and lives in this
twenty-first century world where men and women marry many times over the course
of a lifetime; it is a constant and a guide for so many. Marriage defines for
many their chance to prove something to themselves or it is the last refuge of
people who maybe know and understand the vagaries of marriage even if it is on
the verge of unraveling before their eyes.
Then of course there is always the marriage of Nick and Amy Dunne.
As timelines go from initial
publication to the film opening, Gone
Girl establishes a sort of record speed from book to film. Gillian Flynn’s 2012 novel which covers the
disappearance of a wife with husband the top suspect in her sudden vanishing
has captured and rode a wave all the way to film with lofty expectations. The film version lives up to the hype
delivering the twists, emotional shocks, fine acting, and a pinpoint script by
Flynn herself, and another standout work to add to the directorial career of
David Fincher.
Surely no other filmmaker today was
more equipped to handle the dark and disturbing insights into not only the
expected thriller, but the sharp dissemination of popular culture and the
current world we inhabit. Fincher’s
hand is all over the work which will work for fans of the book that have followed
its complex plots and characters who are brought to life with conviction from a
cast that delivers the goods.
Flynn weaves in minor changes to her
story while keeping the central plotline intact including a few tremendous
twists that no one should spoil lest they take away from the fun.
The screenplay allows a great deal
of depth to the characters in its revealing dialogue, and for a long film which
follows the structure of the book’s three acts leaves nothing to be
trimmed. There is simply not a wasted
minute to be had, and this is important for a thriller that wants time and time
again to not only challenge its viewer but alter their thinking.
Fincher has retained the talent he
has used in previous films, with the same cinematographer, film editor, and the
talents of Trent Reznor and Atticus Ross who have again delivered an amazing
score.
Gone
Girl works best in in second half when it takes aim at its targets, leaving
no characters unscathed. This is a movie
that will prompt lots of discussion for possibly years to come.
Its cast is superb. In supporting roles that are a change of
pace writer-director Tyler Perry is a perfect choice for Tanner Bolt, who
supplies the film with some of its only intentional humor. Neil Patrick Harris is both sad and frightening
as Desi. The smaller roles are filled
with great performances including Sela Ward, who is great in her brief moments,
and pay attention to the knockout performances by Carrie Coon as Margo Dunne,
Nick’s sister and Kim Dickens as Detective Boney, a character from the book
that comes alive in the actress’ hands.
In the end the film belongs to the
actors at its center. As its major
star Ben Affleck must walk a fine line as Nick and the actor is perfect
here. He inhibits just the right amount
of pathos and animosity.
I suspect based on her performance,
note perfect and to date the best performance I have seen this year, Rosamund
Pike is going to be a big star by years end based on her shimmering work as Amy
Dunne. In Ms. Pike’s hand we are
treated to a mesmerizing look inside her head.
Whether it is just her voice we hear or we see the impressive gazes she
casts the audience way, this is a knockout.
Gone
Girl stands as one of the first truly great films of the year. It is not for all tastes, and its
challenging subject matter will keep you guessing and wondering for days. It is not to be missed.
Tommy
Key
Rated R( violent and
disturbing images, sexual situations, language, thematic material
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