Director: Asif Kapadia
Stars: Amy Winehouse, Mitch Winehouse, Janis Winehouse, Raye Cosbert
Release date: July 3rd, 2015
Distributors: Altitude Film Distribution, A24 Films
Running time: 128 minutes
Release date: October 3rd, 2014
Distributor: 20th Century Fox
Running time: 149 minutes
Movies and relationships – despite the major differences between fantasy and reality – share one vital similarity. Oddly enough, these two ‘necessities’ rely on first impressions. A good first impression can make for blissful rewards, while a bad one can turn smiles into frowns. Tinseltown’s latest smash hit crime-thriller/marriage deterrent Gone Girl makes it mark within its first few moments. In its second scene, one of our two lead characters, standing next to a wheelie bin, looks around the neighbourhood before skulking back into his/her house.
Analysing this one uneventful moment, Gone Girl‘s audience could piece a million ideas together to create a billion different interpretations. In a year of shlocky actioners and dodgy biopics, the movie pick critics and film-goers up off the ground. We can all rest easy, thanks to this pulsating crime-thriller. We can now look forward to a potentially ingenious Oscar season. Obviously, I fell in love with this movie and might never let go. Thanks to its commendable cast and crew, this is 2014’s best movie. So, what is it about? Well, that is certainly an interesting question. The aforementioned lead is Nick Dunne (Ben Affleck), a disgruntled writer dangling on the thinnest moral tightrope imaginable. The bin scene delivers only a minuscule look into his existence. Kicking off in the present, the narrative scours through his hit-and-miss past. Early on, we witness a younger, more confident Nick introducing himself to alluring femme fatale Amy (Rosamund Pike). Hitting it off immediately, our cute characters ignite the ultimate topsy-turvy relationship. At first, our lovebirds float through life in each other’s arms. Bolstered by kinky sex and likeable personalities, their coupling seems perfect. However, soon after Nick and Amy’s wedding, life swings the one-two punch of a recession and mass lay-offs. Following Nick’s twin sister Margo(Carrie Coon)’s advice, our leads move from New York to his hometown of North Carthage, Missouri. On their fifth anniversary, Nick comes home to find a crime scene. Amy has been kidnapped, and detectives Boney (Kim Dickens) and Gulpin (Patrick Fugit) are on the case.
From here, I promise to stick to my specific criticisms about the final product. In doing so, I will be avoiding Gone Girl‘s jaw-dropping twists and turns. Based on tabloid journalist turned novelist Gillian Flynn’s best-selling beach-read, the movie elegantly tackles several genre tropes and thrilling ideas. Faithful to said momentous page-turner, Gone Girl hands screenplay duties over to Flynn. Gracefully, Flynn develops a straight-to-the-point translation of her own material. The novel – telling a slinky and cynical story about marriage’s ups, downs, and left turns – tip-toes between plot-points and chapters. This adaptation, though aided by Flynn’s succinct screenplay, is bolstered by mega-successful psychological-thriller filmmaker David Fincher (Fight Club, Seven). Along with the aforementioned modern classics, Fincher’s no-nonsense direction has delivered such gut-wrenchers as The Game, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, and the Girl with the Dragon Tattoo remake. Like his Stieg Larsson adaptation, his take on Flynn’s novel amplifies the emotional resonance and stakes. Examining the text’s denotations and connotations with microscope-like focus, his style aptly suits the narrative. Amy – the missing gorgeous, white woman – sends the world into a tailspin. Meanwhile, Nick, a handsome journalist sulking inside their McMansion, becomes the prime suspect. The first half, setting up its story and character threads, omits the fat and lovingly nurtures its more-important concepts. Thanks to Fincher’s non-linear style, aided by chapter-defining fade-ins/outs, the narrative peels back story-lines with fingernail-like sharpness and intensity. Relishing in Amy’s oppressive diary entries, Fincher and Flynn craft an alarming tale of regret, temptation, monogamy, and gender politics. Adding to the overbearing cynicism, the story even pits Amy against her mother’s notorious literature creation ‘Amazing Amy’. Slithering around one another, these people are despicable, desperate, and just plain fascinating!
“I will practice believing my husband loves me. But I could be wrong.” (Amy Elliot Dunne (Rosamund Pike), Gone Girl).
As a pulpy, trashy, and intriguing mystery-thriller, Gone Girl makes airport novels, Hollywood cinema, and Affleck look so damn irresistible. Affleck, coming off an Oscar win and a major career resurgence, makes the most of this experience. Shedding his polarising persona, the A-lister succumbs to the character. However, credit belongs to Pike for perfecting her indelible role. Delivering multiple turns within one performance, the British character actress deserves the Oscar win. In addition, the stunt casting works wonders. Neil Patrick Harris goes full ‘One Hour Photo‘ in his disturbing role. Tyler Perry delivers a charismatic turn as ego-driven attorney Tanner Bolt. Boosting everyone’s careers, Fincher is the all-seeing, all-knowing God of big-budget filmmaking. Dissecting Nick and Amy’s marriage like a water-logged body, the movie delivers several arresting surprises and hurl-inducing moments. Certain scenes, testing each viewer’s tolerance levels, lodge themselves in the consciousness. Throughout the second half, in which character psyches are repeatedly broken and remoulded, the narrative delves into its own unabashed insanity. In fusing 1940s film noir, 1980/90s Brian de Palma/Paul Verhoeven fare, and modern kidnap-thrillers, this mystery-thriller crafts an unconscionable swagger. As the cameras and Nancy Grace-like newscasters obliterate Nick’s life, Fincher – like with previous efforts – beheads 24-hour news media, police ignorance, and studio-driven dross. In fact, the movie points out its own quirks; calling attention to everything meta, symbolic, and cliched. Matching Flynn’s sarcasm, Fincher’s blackly comedic humour is worth the admission cost. Gone Girl‘s technical precision stands out above almost anything else in 2014. Jeff Cronenweth’s handsome cinematography, highlighting Fincher’s signature style, lends pathos to this gruelling experience. In addition, Trent Reznor and Atticus Ross’ score boosts their already impressive oeuvre.
Despite the wheelie-bin scene’s infinite importance, the scene before it sums up Gone Girl‘s insatiable prowess. Nick, looking at the back of his wife’s head, discusses his overwhelming desire to break her skull and learn her many saucy secrets. The following two hours does this with style, gusto, and chills. Thanks to Flynn’s taut screenplay and Fincher’s vigorous direction, this adaptation succeeds where similar efforts fail. Like Fincher’s previous efforts, Gone Girl takes the genre, eviscerates it, reshapes it, and dares others to do better. It’s a worthwhile experience…just don’t watch it with your significant other!
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