Gone Girl

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Gone Girl (David Fincher, 2014)

By creating films based on timely novels, stories, and pop-culture phenomena, David Fincher almost guarantees his films will draw attention for a longer time than they really deserve. I mentioned a while ago how people really need to start “getting over” Fight Club because frankly, it’s not that great of a film (gasp! did he really just write those words with a straight face?!?), it is simply a pop-culture relic of counter-culture thought. That’s not to say it’s not good, it certainly is, but again Fincher’s movies hitting American culture’s popular artifacts right at the apex of their relevance helps propel them further than they could have gone.

Anyway, in this sense, imagine if Fincher decided to make The Social Network after people got tired of Facebook, or something better was about replace it? What if he decided to adapt Gone Girl say, 15 years after the book’s inception? Would we have payed so much attention to it? Would there be some time to digest the material and concentrate more on the pathology of marriage and it’s decay, its turbulence, and eventual reconciliation? This is all hypothetical, but it’s important to ask this because Gone Girl if anything is a representation of reactionary filmmaking to a controversial event. Gillian Flynn’s book is certainly not a traditional story, it does not have a comfortable trajectory. For popular fiction, this book rides against a tide of what people usually expect from this kind of novel. In the same way Oliver Stone’s W or that Ashton Kutcher-Steve Jobs movie hit theaters right after their subjects became a tidal wave conversation piece, in the same way Fincher’s Gone Girl treats Gillian Flynn’s novel as something that is supposed to make people react. It works because it’s topical… the book released recently, there was already buzz about it everywhere and due to the movie people who are adverse to ‘reading’ will be able to eagerly join in on the conversation.

Double-edged sword alert: Just like Oliver Stone’s George W. Bush piece and the Kutcher-Jobs film, because of Gone Girl‘s topicality, it completely forgoes saying anything about its own subject. There’s nothing insightful that Fincher adds to what Flynn said in the book, and its because the film is riding entirely on the book’s reputation. In the same way the Harry Potter films desperately clung onto J.K. Rowling’s reputation as a precedent and then continued replacing every ounce of magic in Rowling’s world with elaborate special effects, David Fincher replaces any conversation of marriage that Flynn wanted to address in the story with a simple “He’s an asshole/She’s a bitch” mind-game. That’s probably why the ending of the film felt a bit gimmicky because it never really ended with a bitter compromise, but just a bleak captive situation in which we feel sorry for Nick that he’s caught in a spider’s web… the more he struggles the harder it is to escape. I would like my readers to go watch John Cassavetes’ A Woman Under the Influence to gain an interesting perspective on marriage, and see how a “bitter compromising ending” is handled well in a film script… and trust me, the wife and husband’s tug-of-war is just as infuriating if not more so because it’s displayed as being rooted from a completely normal circumstance (alcoholism).

But let me save Fincher’s soul after I’ve picked it apart. The acting in this film is phenomenal. Rosamund Pike and Tyler Perry (yes, that Tyler Perry) steal this show, and interestingly enough for completely opposite reasons. Pike is incredible because she signals you to be uncomfortable right from the get go with the way she purposefully offers stilted dialogue delivery. The idea of making her read her lines to Affleck as if she was reading straight off of her character’s journal was inspired because you automatically sense something between the two isn’t normal or real despite their initial passionate love. Tyler Perry on the other hand is perfectly cast, and his character is the most likable… this is rather cheeky because Perry’s Madea character is one of the most infuriating people on the cinema screen. It’s very refreshing to see Perry play someone who maintains the enthusiasm with a completely laid-back unassuming attitude. I like to call these kinds of characters the “Gandalf characters” because when they show up, you’re always assured things are going to go right.

What Fincher succeeds with in his actors counters his lack of exploration of Flynn’s novel, but it should never replace it. The most important thing to remember about Gone Girl is that it is a story of marriage above everything else, and psychology, regardless of how haywire it becomes, is still rooted to the issue of being with someone else for the rest of your life and the mental fortitude that takes. In this sense, I wished Fincher thought about these things instead of lacing together a sleek and polished product to latch onto a novel’s coattails, but it’s still a movie worth watching… even though it’s not really a movie worth remembering.

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