Gone Girl: A Thriller That Resurrects the Source Material
Fincher, once again, raises the bar for the thriller genre, infusing the somewhat dry prose of the original source with a multitude of unresolved social and personal conflicts.
On the day of Nick and Amy Dunne’s fifth wedding anniversary, a nightmare unfolds. Returning from his morning walk, Nick discovers the house doors ajar, signs of a struggle in the living room, drops of blood in the kitchen, and no trace of his wife. The detectives investigating the disappearance quickly focus on Nick as the prime suspect. His alibi is shaky, and too much circumstantial evidence suggests that Nick and Amy were not the happy couple they appeared to be. Soon, the entire town is consumed by hysteria, no longer seeing Nick as a grieving husband searching for his missing loved one. Only Nick himself believes that Amy’s disappearance involves something far more complex than a simple marital spat or even murder…
Over the past 10-15 years, David Fincher has quietly become one of the leading film directors of our time. His older films are turning into golden classics, each new release garners numerous awards, and his upcoming projects are eagerly anticipated. Thankfully, Fincher doesn’t disappoint. “Gone Girl,” his long-awaited film, proves to be a work so robust, dense, and multifaceted that it will be debated by audiences and critics alike for a long time to come.
Gillian Flynn, the author of the original novel, wrote several alternative endings for the film’s screenplay to maintain the interest of readers and viewers and to avoid spoilers.
Fincher’s Mastery: Surpassing the Source
To begin, it’s worth noting that David Fincher has once again created a film that undoubtedly surpasses its literary source. This isn’t the first time; “Fight Club” and “The Curious Case of Benjamin Button” certainly exceeded their book counterparts, and the cinematic world of “The Girl with the Dragon Tattoo” felt more vibrant than the novel. As for the dry collection of documents that formed the basis of “Zodiac,” there’s little to compare. With “Gone Girl,” it didn’t require much effort; Gillian Flynn’s prose isn’t exactly literary high art, yet Fincher’s work is captivating. Despite its close adherence to the novel, the film lives a completely separate life. Fincher’s universe is broader and deeper than even the imagination of a reader can conjure.
This effect is achieved through Fincher’s signature and masterfully applied techniques. His meticulous attention to detail, his assertiveness, and his subtle yet palpable narrative rhythm bring him closer to the best works of Hitchcock and Kubrick. The viscous atmosphere of pursuit, universal suspicion, and the horror of helplessness engulfs and draws you into a vortex, ensuring that the viewer, for 145 minutes, doesn’t even think about the time, popcorn, or phone. Everyone is immersed in the investigation of the mysterious disappearance.
In preparation for filming, Ben Affleck sought out and spoke with several men who had been accused and convicted of murdering their wives. One of Affleck’s interviewees was Scott Peterson, who is awaiting execution in a California prison.
Layers of Meaning: Parallels and Interpretations
Viewers will undoubtedly find numerous parallels while watching “Gone Girl,” from the aforementioned “The Girl with the Dragon Tattoo” to the Danish film “The Hunt,” which depicts the tragedy of a man cornered by public condemnation, and Stone’s “Natural Born Killers,” who crave fame at any cost. This is where the value of Fincher’s film lies – like a giant onion, it can be peeled layer by layer, each one stinging the eyes and forcing you to re-evaluate the events from a new perspective. One moment, you’re watching how laziness, stupidity, and distrust destroy what seemed like “Eternal Love” just recently, and now you feel that living with such a maniac is impossible. One moment you are on one character’s side, and then the plot takes an incredible turn, and the perception of reality changes to the opposite. It’s challenging to maintain decorum and avoid spoilers, but the film is truly striking in its richness. The bouquet of social, interpersonal, and individual problems covered in “Gone Girl” is colossal.
Stellar Performances: Affleck and Pike Shine
Well-deserved accolades must go not only to the director but also to the leading actors. Ben Affleck, often unfairly criticized by audiences, delivers a brilliant performance. His nervous Nick, transforming from a scoundrel into a victim and back again, is a highlight of the first part of the film. His awkwardness, bewilderment, clumsy mistakes, and unintentional errors make the film feel alive. Rosamund Pike, on the other hand, owns the second part of the film. Cinema rarely produces heroines with such a level of energy. Such characters are few and far between, so we should be grateful to witness the diabolical intentions and actions of Amy Dunne, fantastically portrayed by Pike. Watching the suppressed ego of a seemingly modest, angelic-faced woman grow, swell, and shimmer with all shades of color, ready to break free and destroy everything in its path, is endlessly fascinating. Especially since, according to Flynn and Fincher, evil doesn’t necessarily have to be punished.
A Flagship Thriller: Final Thoughts
In summary, the masterful direction coupled with the actors’ performances transforms “Gone Girl” into one of the best films of the year, a flagship of the genre that can be watched again and again. And if some details of the investigation, inconsistencies in the script, or the not-so-convincing story with puzzle-clues somewhat spoil the “detective” impression, well, that’s not what the film is about. Fincher merely chips away at the glamorous facade of those who harbor anger and rage, who lie to their loved ones and distrust them in return, who put themselves at the center, even if they cannot cope with it. And then it’s up to the viewer – to live with it or disappear.