Gone Girl (2014) is a psychological thriller like no other I have seen before. Based on the novel by Gillian Flynn, director David Fincher brings this tragic and perplexing storyline into a scary and shocking revelation to those who watch.
Throughout the film, a constant state of confusion towards the motives of the protagonist Nick (Ben Affleck) is displayed. We go from empathising him, to questioning him and then utterly feeling sorry for him as the story of his wife Amy’s (Rosamund Pike) disappearance slowly unfolds. All the while, Nick is the centre of a forceful media circus as these perspectives change.
Suspicion is raised when Nick spectacles himself in a series of lies and inappropriate behaviour. He is evasive, and definitely harsh when he speaks of his wife privately to his twin sister Margo (Carrie Coon). Whether or not this makes him a killer is questionable, and throughout the film he stands by his innocence. His fierce and desperate statements of innocence become disputed and problematic as evidence and clues lead to him being involved with the crime.
We are enveloped in emotions of creepiness and disturbance as a seemingly normal five year marriage is unearthed. It leads us to question how well we truly know the people we love and care about. This film is guilty of audience- baiting, lurching us into murderous suspense, looping backwards and forwards between the present and the morning of Amy’s disappearance as well as their previous romantic relationship. What was once a passionate and all-consuming romance slowly evolves reveals itself to be an estrangement as Nick and Amy lose their New York writing jobs and move to the Missouri town where Nick grew up. Whilst Nick and twin sister Margo run a bar, the beautiful and intelligent Amy sits at home, feeling herself rot away. In the present, Amy is nowhere to be seen, but in the past her presence overwhelms every scene. The film depicts an old and exasperated recession- era America that will definitely be of interest to watchers and readers in decades to come.
The scenes are rigid and the performance of Amy (Rosamund Pike) is almost masque- like; whilst her face displays no emotions, her diary and dark monologue reveal a staggering amount of hurt, revenge and twisted plans. The characters of this story have their own manipulative motives, throwing the watcher into a state of suspicion.
Alternatively, the startling discovery of Amy’s fate is discovered in the middle of the film. The crafty plot twists energises the story in a new direction, one that was even scarier than the previously assumed story. Addicted, we continue watching, without a lift in the suspense for us to breathe, with a whole new host of concerns for our protagonist Nick.
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