Prepare yourself for a complete mind fuck. You have been warned!
Gone Girl is an American mystery film directed by talented David Fincher and adapted by Gillian Flynn from her 2012 novel of the same name.
It tells the tale of Nick (Ben Affleck) and Amy Dunne (Rosamund Pike), a seemingly happily married couple. Well that is until Amy disappears, presumed kidnapped and more than likely dead.
Nick becomes the focus of an intense media circus which is only made worse when it’s suspected that he may not be innocent. As the hunt for Amy continues all of the evidence is pointing to Nick.
The cracks in the couple’s relationship are laid bare for all to see and you’re left not knowing what to believe. This is a movie about identity and that sometimes concealing the real you is preferable to the revealing truth.
Nick doesn’t believe that Amy has been kidnapped but he’s running out of options. Even his family is starting to question his character, and if he doesn’t solve his wife’s disappearance soon then the only thing that he has to look forward to is an indulgent last meal before the lethal injection.
Gone Girl has a clear dichotomy. The first half of the movie covers the police investigation and the demise of the Dunne’s marriage shown in flashbacks. We are repeatedly told that Nick is an unfeeling sociopath and that his poor wife is the victim of his bitterness and frustration.
But is this perception correct? Halfway through the movie’s narrative shifts and we get to see Amy’s version of events.
If you’re familiar with Fincher’s previous work (House of Cards, The Girl with the Dragon Tattoo, The Social Network, Panic Room and Fight Club ) then you will be fairly acquainted with his dark sense of humour, and with the exception of The Social Network, his exuberant use of violence.
Gone Girl is a dark and twisted thriller reminiscent of Alfred Hitchcock’s classics. Fincher cranks the tension up to an unbearable level just to subside it with grotesque violence. But would you have his movies any other way? No, that’s what I thought.
By Ruth Walker