Sometimes, I have to separate my personal tastes when reviewing a film. The truth is, I don’t like thrillers. I’ve never been a fan. I have a hard enough time watching the news, especially when it involves heinous crimes against humanity or animals. So, it stands to reason if I avoid it in the news, I’m not going to go pay $10 to see it in a theatre.
However, there are times that I have to put my personal opinion aside when analyzing why a film works. Such is the case with movie Gone Girl. It earned an 88 percent rating on Rotten Tomatoes; in fact, the rating is what sent me to the theatre to watch it.
Gone Girl will not get a 5-star rating from me, but I’ll admit that it’s hauntingly brilliant at times. It is a sick, twisted adaptation that defines “psychological thriller,” and yet…
Nick Dunne (Ben Affleck), a failed writer and college professor, and Amy (Rosamund Pike), a famous children’s book writer seemingly have the “perfect” marriage, but that quickly shifts from the get go. It’s their fifth wedding anniversary, only Amy is nowhere to be found. She is “MISSING.” As the story unfolds, we learn that the marriage is a bust; Nick is having an affair with one of his college students, and Amy’s overly cool and distinctly faultless manner is nothing short of disconcerting.
It is then no surprise when the audience discovers that Amy is not dead (as we have been led to believe), but she has grimly, shrewdly plotted her own death while framing her husband as the murderer. Yes, she is fictionalizing a masterful revenge, but it’s very obvious to me that Nick will never do time.
In the meantime, Nick, who was planning to divorce her after their anniversary is in a quandary; the police suspect him of murder. As the police investigation continues and with the pressure of nation-wide media exposure, Nick is forced to “act” like he’s a caring, concerned husband who simply wants his “loving” wife back. In addition, while the police hold Nick as the main suspect for Amy’s supposed murder, he is on a scavenger hunt looking for “clues” that will lead him to his big “anniversary” surprise – a storage shed full of guy toys.
We learn about Amy’s antics through flashbacks as Amy reveals her masterful plan via her diary, which she reads in a voiceover. Amy has no plan to leave the country; she has logged a date on her calendar and confirms her intent to “kill self,” but she will make certain her husband is locked away on death row before she exits the planet.
Seems like a perfect plan, right? Wrong.
The story is about to switch gears; in fact, this story switches gears so many times you might feel like you’re on the ride of your life in the in German’s famed Nürburgring – each twist and turn moves you onto the next part of the course, as you look for a moment of reprieve from so many detours, but none are given. When Amy’s apparent suicide plot is suddenly thwarted and she is forced to immediately come up with an amendment, the audience is introduced to an entire new twist. The story (for whatever reason) seems dependent of these kinds of subplots. Truthfully, good old Aristotle, with his belief that there is one main plot might not have given Good Girl such a favorable review.
This “R” rated film is given the rating with good reason. It is loaded with explicit sex scenes, and one bloody (and I do mean bloody) act of violence after another. If you have the slightest sensitivity toward brutal violence and excessive, juggler-gushing bleeding, then Gone Girl is not the film for you. To be honest, I found the melodramatic blood scenes excessive and near unbelievable. Especially after dear, sweet Amy, the woman who has written so many wonderful children’s books, decides to change her game-plan and murder her ex-boyfriend (played by Neil Patrick Harris). This sorry, ultra rich, obsessively love-struck guy does not have a clue that his ex is nothing shy of a full-fledged sociopath. Each crazy scene somehow morphs into the next, while believability is basically tossed out the window.
One of the imitable things illuminating Hitchcock’s genius was his ability to weave suspense into a story. He was known as the “Master of suspense” for good reason. He had an amazing talent to use both suspense and tension to shock his audience. Some of this was done with camera positions (angles) movement and various shots. Music and lighting also played a big part of aiding in his desire to keep an audience on the edge of their seats. He thrived on startling his audiences with the unexpected, and this is part of my issue with Gone Girl. The audience is on information overload almost from the get go, and while the story seems bent on confusing the audience with so many twists and turns, I was never once surprised. The only thing that actually kept me un-nerved was the Amy’s vehemence and twisted evil undertakings. So, it seems that Gone Girl is reliant upon violence and bloodshed to create dramatic tension and push the plot forward, where Hitchcock used a variety of calculated techniques and strategies to fool the audience and create suspense. Time and time again, Hitchcock artfully lured an audience into a foreshadowing of suspense largely through the use of camera angles, shots, music and lighting.
Much like Hitchcock, the film addresses relevant fears such as: abandonment and rejection, failure, loss, sexism, masculinity and femininity, but it never addresses them in a real way. With so many variables in the plot and melodramatic psychological shifts, it becomes impossible to suspend belief. We have been fed a smorgasbord of plot twists causing a nasty heartburn and a gassy aftermath, and wondering “why” we decided to dine out at all. This “villainous” twist of a film is one crazy roller coaster ride, but instead of feeling that infamous rush of adrenaline at the end of the ride, we are left with a mishmash of perspectives – perspectives sold to us in the narrative – none of which are earmarked by anything true or reliable. One thing is certain though; Amy is a “shrew” that couldn’t be tamed. “Gone” is the understatement. This girl is lost in a crosswalk.