Gone Girl felt like a return to form for David Fincher, and I mean that in an entirely positive way. Sometimes return to form might imply a deficit on the part of the creator/auteur, but in this case I refer to Finchers return to the thriller genre he tends to show great understanding of, such as in Zodiac and Seven. His absence has in no way been due to lack of talent on his part, as his work with The Social Network and tvs House of Cards has been more than solid. Gone Girls pacing and process of revelation amid twists, turns, and manipulation would grant you forgiveness for forgetting that the film runs nearly two and a half hours, as nearly every scene and moment of dialogue feels purposeful and valuable in explaining the characters and films mystery to us. Said pacing and tone is subtly but oh so importantly augmented by Trent Reznor and Atticus Ross haunting score of synth and occasional strings and minimalist percussive beats that occasionally swell to the risk of explosion. Ben Affleck gives us a performance as a man teetering on the knife edge of anger and despair that risks implosion on either side as he investigates the disappearance of his wife, as portrayed by Rosamund Pike. Afflecks character borders on sinking into aggressive madness as the film develops, and all tides seemingly threaten to consume him. Pikes performance is varied and tense in such a manner that the films tension and mystery during her absence in various scenes is heightened all the more as we see things unravel towards the conclusion. I could easily see an Oscar nomination arising for her due to this role. Neil Patrick Harris and Tyler Perry deliver engaging supportive roles along with Carrie Coon and Kim Dickens. This is certainly a thriller but in more the slow-burn kind of way. We arent hit an onslaught of revelations, actions, or tension. Rather, the tension develops itself organically and dynamically just on the edge of our minds, almost becoming a separate character in the film. What I felt most prominently in the film is manipulated as a viewer, and I say that as a compliment. We have a natural tendency at times to side with various characters as a story develops, often seeking to identify a clear-cut antagonist and protagonist that we can easily demonize and champion. While I felt my mind and thought process gravitating towards these relatively natural conceptualizations, by the films end I realized I had been unknowingly and subversively driven out of this process by the films own machinations and manipulation of its characters. I could in no way cleanly or easily designate the characters archetypes, despite the dissonance my mind experienced in trying to naturally do so. Gone Girl is easily a firm contender for Oscar acknowledgement between Finchers direction, Reznor and Ross score, Pikes acting prowess, and the structure and delivery of the film as a whole. Welcome back, David.
Posted on: Sat, 25 Oct 2014 23:56:00 +0000
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