This was originally published in the University Daily Kansan on Oct. 6, 2014.
On the surface, “Gone Girl” is a mystery thriller about the search for Amy Dunne (Rosamund Pike) after she disappears on her fifth wedding anniversary. The case brings a firestorm of media attention, especially once her husband Nick Dunne (Ben Affleck) is suspected of killing her.
But the movie’s really about what’s hidden underneath the surface — the ugliness of people’s true selves, and the show they put on to convince everyone else they’re living normal and happy existences. This is specifically applied to marriage.
Amy’s journal entries give us insight into her relationship with Nick and her side of the story. We see a blissful courtship and the first several years of marriage in New York City, but that marriage evolves into an increasingly toxic beast, following economic troubles and their move to Nick’s small Missouri hometown. These scenes feel distinctly like memories instead of objective flashbacks. They are straight to the point, inherently emotional and enhanced through Amy’s narration of her effectively written prose.
They come piece by piece, interspersed between the deepening search for Amy. The search includes community efforts, the investigation of the detective (Kim Dickens) and the police officer (Patrick Fugit) heading the case. Nick tries to figure everything out with his only confidante, his twin sister (Carrie Coon).
Then, about an hour in, the first layer of “Gone Girl” peels back in a jaw-dropping twist that changes the direction of the film’s gears from an enthralling mystery to a rivetingly, ingeniously plotted thriller. By the chilling end, it has changed into a satire about the politics of marriage and relationships — one guaranteed to spark conversation.
Kansas City, Mo., native and Kansas alumna Gillian Flynn adapted her best seller into the brilliantly paced screenplay, which retains the sprawling feel of a lengthy and extensively detailed novel, packed with frequent surprises and well-developed characters even on the supporting level. Her commentary about marriages prickles with raw honesty and cuts deep with razor wire sharpness, while also eliciting thorny laughs. Flynn’s take on Fox News-type analysts eating the characters alive in a case like this is cleverly funny too, while showing how easily the public opinion can be swayed.
Audience perceptions of Nick and Amy constantly shift, the way the public’s perceptions of famous figures or those under national scrutiny change when a shocking scandal comes to light or when they say something inspiring or offensive. Both of them have secrets we discover, and Nick particularly has trouble balancing his offhand charm against smarm, not acting how the media expects an innocent man with a missing wife to act.
Affleck has never fit a role so well. Nick’s situation recalls the early years of Affleck’s career, when he showed some initial promise but then slid into dramatic dullness and relied on his sweet-talking allure to sustain him. Affleck nails the put-upon incredulity and emotional distance, while still remaining likable as we learn he’s not such a good guy.
Even more surprising is Pike, a revelation here that should make her a star. She’s so sweet and smart, and once her hidden side is dug up, she embodies that difference so deeply she puts viewers in an entrancing state of astonishment. The whole film hinges on completely believing her performance, and she pulls viewers to the edge of their seats.
And yet, masterful director David Fincher is the one perfecting every little detail that ultimately makes “Gone Girl” the kind of movie that leaves a deep, deep impact on the psyche and enraptures as an enormously entertaining experience. Every shot draws the viewer in closer to the story, the nuance is always felt, the visual storytelling and editing captivate with gripping control and when something crazy happens, it’s felt viscerally.
The score by Trent Reznor and Atticus Ross adds to that power, playing calm and ambiently most of the time with an undercurrent of something upsetting, rising to strength to capture the mood in important moments. It doesn’t stand out as much as their work on Fincher’s previous two films, but it fits just right with this story.
“Gone Girl” shocks with its twists and thrills, with its stylish and engaging storytelling, but what it really has to say will get under viewers’ skin and keep them talking — especially couples — long after they’re gone from the theater.
Four out of Four Stars
Alex Lamb Movie Man 