They always say marriage is about compromise, but when your other half tries to kill you, it’s often hard to find the middle ground. From the first moments of Gone Girl, you can tell this film is something a bit different to what expected. You find yourself saying: “Did he really say that? That can’t be what he meant, can it?”
Ben Affleck stars as Nick Dunne, a man having a really bad time when his wife is taken…sorry, gone…one morning when he returns from his bar (imaginatively known as ‘The Bar). What has actually happened is a mystery, which unravels unexpectedly throughout the film. To say that the film contains a twist might be considered a twist for most films, but in this case, there are so many twists and turns you’ll be amazed that you haven’t ended got a headache.
…Because I’m Bat-fleck
Affleck brings the feeling in this film, in a role which shows a lot of emotional depth – admittedly already evidenced by his excellent work in films such as Argo – which gives a lot of hope for his turn as The Caped Crusader in Batman vs Superman next year. Watching the story unfold in front of you through Affleck’s eyes just forces you to route for him, even if his character might not be as straightforward as your first impression might have thought.
Female lead Rosamund Pike as wife Amy is just as complex a portrayal as Mr Affleck, although some male viewers might find it hard to relate to her just because of how strongly her gender runs through her character – you don’t feel as though if the genders of the two leads were reversed that the film would have unfolded in the same way.
If director David Fincher had a word in mind when he was directing this film, it must have been ‘tension’. The film is dripping with it, so much so that you may not have any fingers left by the time the credits roll. Like The Social Network before it, Fincher’s understanding of the subtleties of close personal relationships shine through here, causing no surprise at all when the characters interact naturally together.
Part of the credit for that must go to screenwriter and author of the original book Gillian Flynn, who’s tale ups the ante at every stage as we delver deeper into its characters with each revelation. Even Desi Collings, the most misunderstood character of the piece, who Neil Patrick Harris gives you no choice but to feel sorry for, is written sharply enough to draw blood, despite a relatively short span on screen.
Bite the hand that feeds
As usual, Fincher’s musical meastros Trent Reznor and Atticus Ross bring the rich soundtrack which set the stage, and highten the uneasiness of the characters on multiple occasions. The visuals by comparison are generally low-key, with straightforward production and set design keeping the film grounded despite the fluctuations of its plot, though occasionally there is effects work which makes you stop dead and then squirm in your seat.
There’s a strong feeling of balance with this film. Let things slip too far into the surreal and you could lose your audience, but the way it is knotted together by Fincher (often with stubborn, ugly knots which can’t be unravelled) makes it strangely compelling viewing. More than once there is a moment where you feel like the story could finish, but then the film steps up a gear to push the audience even closer to the edge.
There might not be a right time or a right place to take in the story without drawing comparisons to your own life, but in truth this just emphasises what a strong example of the medium the film is. Not one for the faint-hearted, but undeniably a quality experience.
James Michael Parry