Kevin Schaefer

Associate Features Editor

Gone Girl opens and closes with the same image: Viewers see a surrealist close-up of central character Amy Dunne (Rosamund Pike), coupled with a voiceover by her husband Nick (Ben Affleck). By the time the film reaches its conclusion, this shot takes on an entirely different meaning, one that will leave audiences both puzzled and amazed. 

Adding to director David Fincher’s already impressive thriller resume, Gone Girl follows the story of this troubled couple and the mystery surrounding Amy’s sudden disappearance. 

As an investigation commences, the evidence points to Nick as the most likely suspect. What’s more is that both Fincher and screenwriter Gillian Flynn keep audiences guessing the entire time, so the movie twists and turns and rises above the conventions of a typical crime drama plot. 

Perhaps the best aspect of this film lies in its non-chronological storytelling from the perspectives of both Nick and Amy. While the present action deals with Nick’s dealing with the media and their efforts to find him guilty, these scenes are contrasted with flashbacks showcasing the history of his relationship with Amy. 

This sort of literary approach makes sense, given that Flynn not only wrote the script but also the novel, which the movie is based on. It works as it defies a lot of the clichés associated with this genre—car chases, shootouts, one-dimensional characters—and the film also contains elements of surrealism and ambiguity throughout.  

Although Affleck gives a strong performance—one that is worthy of comparison to his previous work in The Town and Argo—Pike no doubt steals the show as the troubled wife whom Nick describes as “complicated.” Her character gives new meaning to the term femme fatale, as she is able to continually change viewers’ perception of her. Amy’s manipulative, abused, neglected, intelligent, clever nature makes her altogether impossible to unravel. 

Furthermore, the film contains other strong female roles. The Detective Rhonda Boney (Kim Dickens) reminded me of Frances McDormand’s character in Fargo with her commanding presence and strong mindedness, not to mention the mid-western accent they each possess. There’s also an interesting dynamic between Nick and his sister, Margo (Carrie Coon), who’s one of the first to learn about her brother’s secrets. 

Fincher no doubt masters suspense, as evidenced by earlier films of his such as Zodiac and The Girl with the Dragon Tattoo. Even his film The Social Network keeps viewers on the edge of their seats. 

Fincher displays a knack for finding good stories to tell and a respect for the source material on which his films are based, while also creating memorable cinematic experiences. The opening montage alone establishes the film’s dark and complex tone through its juxtaposition of seemingly unrelated images. 

However, this also points to the only real flaw in the film: its sheer ridiculousness. As I mentioned earlier, Amy’s character is impossible to fully understand. Although this aspect draws audiences into the narrative, it also leads to implausible story elements as well as plot holes. 

Then again, that might very well have been what Fincher and Flynn had in mind all along. Either way, the final product is undeniably entertaining. 

Gone Girl manages to stick with both hardcore cinephiles wwand casual moviegoers alike. This thriller captures audiences’ attention throughout its two-and-a-half-hour runtime, which demands multiple viewings.