Gone, but Not Forgotten

Rating: 10/10 (4 October 2014)

This film is highly recommended.
Did he or didn't he? That is the question. The majority of the world's population already know that answer as they have already read Gillian Flynn's best-seller, Gone Girl. I, on the other hand, fall into a small minority and can see David Fincher's screen adaptation of this popular mystery novel with no preconceived notions or bias. So you may ask, was I able to solve the crime? Were the twists and convoluted plot satisfying? Did I like the film? My response to that is...
Nick Dunne (Ben Affleck) is the primary suspect in his wife Amy's (Rosamund Pike) disappearance. Both appear to be the Great American Couple: beautiful, wealthy, happy, and in love. But those facades chip away to show a more troubling relationship, one filled with lies, secrets, and torment.
Gone Girl is cleverly structured so that we view the mystery from two opposing points of view. Using the Rashoman effect, we follow Nick's narrative as its contrasts Amy's viewpoint via her diary. One never knows the actual truth as more complications arise in the investigation.
Fincher's focuses on the media circus as it bellows out of proportion and paints Nick as the main culprit. His take on sensationalism in our society and our abject need for unethical journalism is akin to other great films on that same subject (Billy Wider's Ace in the Hole, Steven Spielberg's The Sugarland Express, Sydney Pollack's Absence of Malice, and Sidney Lumet's Network). More than just a murder mystery, the film debates larger issues such as the propagandizing of 24/7 network news coverage, our corrupt legal system, the absurd world of celebrity gossip, the perceived notion of puritanical family values, and the dysfunction of marriage itself. That's a lot to cover, plus adding the personal mystery to the mix, and his direction is so effortlessly and efficiently in control. This is a terrific film on so many levels and much credit must go to this director who manages to create a modern classic crime thriller.
Also impressive is the screenplay by the original author, Ms. Flynn. Terse and focused, it defines its characters beautifully and deliberately confuses the moviegoer with its intricate plotting while still making logical sense, a rare feat these days. Whenever one's interest begins to flag, and it isn't often, a sudden plot twist arises or the film backtracks its focus on Nick or Amy's dueling contradictory versions of the crime scene. This is skillful filmmaking, both in the film's visual look and its complex plot structure. At times, some of the characters do seem like plot devices that are there with the sole purpose of moving along the action. But the film is so well acted that one doesn't really mind the artful manipulation involved in the storytelling.
The acting is absolute perfection. Affleck continues to excel as an actor. He uses his rugged good looks and charming persona to his advantage in this role and can play the vulnerable or wicked card at a moment's notice too. It's a nuanced and totally believable portrait of a man whose guilt or innocence is in question. Ms. Pike is also in full control as the put-upon spouse or the scheming harpy, depending on the version that is on display. Solid support comes from a marvelous ensemble with a particular shout-out to Carrie Coons as Nick's loyal twin sister, Neil Patrick Harris as an odd loner and stalker type, Kim Dickens as the stalwart detective, and Tyler Perry as Tanner Bolt, Nick's unscrupulous lawyer. Also, production values are top notch throughout, especially the masterful editing by Kirk Baxter and an atmospheric score by Trent Reznor and Atticus Ross that builds tension beautifully.
Everything is in the right place and nothing is missing in Gone Girl. It is one of this year's best films. GRADE: A-
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