Observations on 'Gone Girl'


I had a great time watching Gone Girl this afternoon at Seattle's Sundance Theaters in the U-District. A few stray observations, in advance of the our /Filmcast review (which I'll update this post with when it goes live in a few days):

  • Overall, I really enjoyed the film, but it's definitely one that I'm still considering and turning over in my head. It is so perfect in its depiction of the media being gripped by missing white woman syndrome that it doesn't even feel like satire (which might have been the intention). 
  • My friend/colleague Peter Sciretta points out (and I agree) that this film is primarily about media and public perception. Society is engineered to expect people to behave in certain ways when they are in the spotlight. Any deviation from that expectation is met with righteous, irrational anger. Why do we engage in these behaviors? For us, cable news has made real-life into a television show. We invest emotionally in these character arcs just like we would for The Sopranos, forgetting that actual lives are at stake and that these people will exist long after the spotlight has departed them. Gone Girl holds up a mirror to us and asks: Is this kind of thing productive? Is it fair? 
  • The film complicates the concept of modern marriage in America. Sure, marriage can be fun and meaningful, but if you think about it, it's also kind of insane: you join in a bond and partnership that you will only break in the event of one of your death, no matter how much the other person changes, or no matter how horrible they become/behave. And you become so emotionally invested in this person that you are willing to do unthinkable things for them. You may be willing to kill for them. That is kind of nuts, and I like how Gone Girl explores that dynamic.
  • This movie twists and turns in ways that I did not expect. It's not an exaggeration to say it becomes several different types of movies during its 150-minute runtime.
  • On that note, it was refreshing to me how Fincher chose to end the film. That's all I can say without spoiling anything.
  • Fincher remains a master craftsman and his attention to detail is on full display here. I'm particularly impressed by the work of Set Decorator Douglas Mowat and Cinematographer Jeff Cronenweth, who are able to create some a pretty intense, effective juxtapositions of quaint suburban life and its seedy underbelly.
  • There are several sequences make great use of the close-up. Sometimes the close-ups come so fast and furious that you barely can register what is being shown before we're off to the next thing. Love the details that the filmmakers are able to bring out of each scene and location. 
  • This film probably has the shortest opening credits sequences out of any David Fincher film, but the way it's done feels very purposeful. Can't say any more than that for now. 
  • This is far from my favorite Fincher film (that's probably still Se7en), but there were definitely several moments in it when many elements of the film lock into place and create an exhilarating thrill of discovery. Nice work by Fincher and Editor Kirk Baxter in crafting these. 
  • Trent Reznor and Atticus Ross do scoring duties again and acquit themselves well. The score is really understated this time, but still quite effective. 
  • Tyler Perry is great in this movie. Great. Seriously. Probably my favorite character in the film.

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