18 (149 min)
Director: David Fincher
Cast: Ben Affleck, Rosamund Pike, Neil Patrick Harris
American | 2014
Gone Girl is David Fincher’s latest piece, adapted for screen by Gillian Flynn from her book of the same name. When a much loved local woman Amy (Rosamund Pike) goes missing, suspicions of murder arise and all eyes turn to her husband Nick (Ben Affleck).
Gone Girl is by no means a flawless movie. Having not read the book, I cannot judge on how true it stayed to the source material. But at nearly two and a half hours, I’m guessing it didn’t leave much out. Similarly, smashing Hollywood barriers by showing a woman receiving oral sex and having Affleck’s best-friend character being his sister, Margo (Carrie Coon) leads me to believe that the film didn’t conform to studio norms. If it did, it would have probably been a two parter because, as I said before, this film is really long.
Of course, it’s not as long as epics such as The Wolf of Wall Street or The Deer Hunter, but it does feel longer. This is largely due to the twist being revealed half way through the film, changing the dynamic of it completely, and rendering it almost impossible to talk about without spoiling…
Despite the films length, each scene was an integral cog in the overall machine and, although it churned slowly along, each piece was as every bit important to the end product as the last. Gone Girl injects enough suspense in the first half that it stays coursing through your veins for the remainder; the set up is enough to retain your interest and keep you absorbed in the film’s twisted world
The way Fincher picks up the intricacies of the actors and the environments is something to be celebrated. We as the audience pick up on things in the film that may or may not be important to working out ‘whodunnit’, like picking your favourite sweet out of a Haribo mix. We are blinkered, looking beyond the environment around them, but without them being shoved in our face with glaring signs and bells attached. However, it doesn’t mean we don’t see everything else. We can simultaneously take in the pale beauty of Gone Girl, while inspecting it through a magnifying glass.
The film’s editor, Kirk Baxter (Benjamin Button, The Social Network) should also be commended. Flashbacks mingle with the present day, weaving in-and-out of one-another at different rates throughout the film, becoming a ‘clue’ within themselves.
I cannot talk about the actors performances without giving too much away, but both provide a startling realism in their depictions of two very flawed individuals. Initially I thought the opposite, but as the film progressed… Well, that would be surely saying too much now, wouldn’t it?
The film is multilayered within its narrative and what it feeds the audience, slowly building upon itself. The tone of the film reminded me of Fargo; it’s balance between humour and thrills provided by Detective Boney (Kim Dickens), the sure-handed direction, even the colour palette. Although Gone Girl doesn’t quite hold up to the Coen Brothers’ masterpiece, it’s an enjoyable, savagely well made film that deserves a watch.