Gone Girl: Charm of Coldness Spoilers

From a film production standpoint, “Gone Girl” is absolutely stunning.

1. Casting and Performances

Many directors have said that "directing is 80% casting." This means that selecting the right cast for a film or play is one of the most important aspects of filmmaking. I used to disregard this saying, thinking that factors like cinematography and music were more essential. But after watching this film, I realized how crucial it truly is.

Undeniably, Ben Affleck still looks a bit stiff, but it suits Nick perfectly as a weak and idle bourgeois playboy. There was no sense of discomfort when a woman whispered "He is so hot" in the crowd while everyone lit candles for good luck. This unique character made people both hate him for his infidelity and like him because he sincerely apologized. These two scenarios make sense and strengthen social criticism because this is ultimately a society that values appearances. Just listening to some stories and having a good-looking face can make people entertain themselves.

In a sense, Ben Affleck's stiffness also contributes to Nick's role, making it seem fake when he "mourns" his wife's disappearance. It also emphasizes hypocrisy in marriage when he speaks the truth. It is truly a masterpiece of using facial expressionlessness.

Rosamund Pike's performance cannot be overlooked in this film. The actor herself is an accomplished graduate of the Oxford Literary Department, fitting well with Amy's higher education background as the character. Her unique calm demeanour and slightly masculine voice exude strength and confidence, showing she knows what she is doing even if it may seem twisted. This personality trait adds to the intrigue of her double-edged actions as there is a strong contrast between before and after.

Certain online critics have voiced concerns about the Desi scene, deeming it unnecessary for the book, especially considering its absence of violent and pornographic content. However, the primary creators have offered an explanation for this storyline. They suggest that in prison settings, individuals seeking to harm others often target the playground due to the heightened heart rate during strenuous exercise. Injuring the main vessel at such a moment can lead to near-instantaneous death, leaving little time for assistance. Amy's adept handling of this situation aligns well with her psychopathic personality, as she is portrayed as understanding this tactic.

2. Photography and Music

Films that heavily depend on plot might be less likely to be rewatched, whereas those with excellent cinematography, music, and other elements tend to be more rewatchable. In the case of "Gone Girl," both the film's photographer and composer have collaborated with director Federici on multiple occasions, contributing to the distinctive style of this seasoned filmmaker. The captivating scene in the trailer where the female lead sinks into water immediately grabbed my attention, and I am particularly impressed by the meticulous close-ups of her hair and face at the beginning and end of the film. The straightforward, precise, and cold photography employed in these scenes exudes a unique charm when projected on the big screen.

When "The Social Network" won awards for Best Original Score, many people couldn't understand why they were being recognized. Does it really have music? It may not have the strong presence of John Williams's orchestral pieces, but it still plays a crucial role in evoking emotions and setting the atmosphere. The score for the scene where Mark Zuckerberg gets blood all over his shirt is truly amazing, while other parts simply provide background music to enhance the mood, such as the music played during the revelation at the end of the first hour. The music does not go overboard, but it is well-suited and emotionally engaging.

A notable feature of "Gone Girl" is its reserved use of music, often introduced later in scenes, such as when Amy prepares breakfast for the affluent and attractive. Initially, the music subtly enhances emotions, almost going unnoticed. However, as Amy rushes to the window to feign victimhood, the accompanying music transitions seamlessly. The film avoids overpowering music that might cause discomfort, a contrast to examples like "War Horse," where emotional music signals that tears are imminent, which can be perceived as excessive. The unique modern style of the music in "Gone Girl" is cold and ruthless yet captivating. Importantly, it doesn't overshadow the story but actively complements it, a rare quality in filmmaking.

3. Editing

The editor is considered to be the closest partner of the director. Unlike the director who is on the set every day and has feelings for the material they shoot, editors have enough objectivity. If there are gorgeous tracking shots but they don't serve the story, they bravely cut them out.

The first hour of editing in "Gone Girl" features a distinctive "second-by-second cutting" approach, preventing viewers from immersing themselves too deeply in a particular mood. For instance, during the proposal scene where Nick presents the diamond ring and they share a kiss, the editing swiftly transitions back to reality, avoiding prolonged dwelling on their sweet moment. The film prioritizes the suspense unfolding in real life as the most crucial aspect. Similarly, in the scene where Nick throws Amy down, as he approaches her with guilt-ridden eyes, the editing rapidly shifts back to reality, not allowing the audience ample time for reflection. This "no nostalgia" editing style concentrates on the disappearance case and underscores the enigmatic nature of their relationship, effectively setting the tone while introducing key plot elements.

As a film adaptation of a novel, it's hard to imagine a film without using voiceovers to introduce some plot details. For the first hour, we were always in a God's-eye view watching the progress of the missing person case, and even Nick's adultery was visible. It should be quite objective, but Amy's very personal voiceover was also added. The switch between subjective and objective perspectives may be what makes us unable to stop watching. Amy's voiceover memories can actually be seen as a twisted "news report" because it manipulates our emotions as well.

The use of crosscutting between two scenarios to accelerate the plot and suspense is also very significant. For example, Nick solving the third clue and the police finding the diary used fast crosscutting, which can let the audience reach two small climaxes in anticipation at the same time, followed by a big climax where Amy tells the truth, making the first hour of the film end in sweat.

I like the editing of this film because of its rhythm control and various variations. Audiences are sensitive, which means they can also easily get bored. We are already familiar with this “flashback + notebook close-up + returning to reality crosscutting mode” in the first hour, and after the truth is revealed, this cutting pattern changes again, which is more dynamic.

On the other hand, this film cuts close-ups when it should cut close-ups, and mid-shots when it should cut mid-shots, very smoothly. The best editing is that kind of technique that lets you unconsciously realize there is a cut. Many films like to use establishing shots to present character relationships but ignore close-ups, but only close-ups can let the audience get close to the characters' hearts, This film's reasonable use of close-ups greatly enhances the portrayal of characters.

4. Story

I personally believe that the real drama started after I realized that everything was directed and performed by Amy herself, which happened an hour into the film. It was different from previous suspenseful films as it didn't rely on a big plot twist to satisfy the audience at the end. Therefore, it required delving deeper into various aspects.

If you reveal the twist at the end, the audience is too busy being amazed and doesn't have time to ponder. Amy's plans revealed a whole two hours of runtime, giving the audience enough time to contemplate marriage, media, and analyse the various causes contributing to the outcome.

This is a frustrating film because it doesn't give you a proper catharsis at the end. Was she brought to justice? No. Did he expose her? No. In the end, this marriage suffocates them like a cage, even more than at the beginning. At least then, they both complained about each other but still had the possibility of divorce. Now, they have to pretend to be harmonious and perform for others while hating each other, which is even more unbearable than death.

This ending is remarkably contradictory, presenting a structural neatness that offers a satisfying sense of closure to the audience, yet emotionally, it leaves them chilled and devoid of that satisfaction. The realization that the person beside you is a viper, coupled with the inability to escape a prison-like situation, forces the characters into a facade of happiness and laughter, living a life of hypocrisy and fear. For Nick, who was originally a gold digger and engaged in an extramarital affair, this may be a fate he deserves. It proves more intriguing than a life sentence or direct execution in prison. His marriage becomes an indefinite prison term, reminiscent of the marriage vows stating, "Only death will keep them apart."

The most interesting aspect of this film is that there is no "villain" in the entire film, the story itself is the big villain. Amy is both a victim and an offender, the media always focuses on the victim, giving them attention and sympathy. When we find out the truth about Nick, he becomes a victim again, so our emotions shift to him. In fact, marriage is not different, no one is entirely clean, everyone is both a victim and an offender.

The novel's strength lies in its specificity, offering detailed psychological descriptions that make the main characters feel authentic and believable. Some critics argue that the film lacks realism, questioning why the police didn't thoroughly investigate Amy's numerous inconsistencies. However, taking the story too seriously might result in a loss. While the narrative unfolds in a real societal context, it doesn't adhere to traditional notions of "realism," akin to works like "Fight Club." The concept of "The first rule of Fight Club is to not talk about Fight Club" stems from the idea that exposing our dark fantasies to sunlight could reveal their irrational aspects, leading to an awareness that everything begins with our selfishness and narcissism.

"Gone Girl" is destined to be "fake", but it doesn't matter. The audience can experience their own problems. There are many subtexts in this film, satire of the media, parody of truth, criticism of false happiness, despair of marriage. These insights are naturally given to the audience after watching the film.