There is no serial killer in David Fincher’s new film “Gone Girl”. But the situation in which Ben Affleck gets after the disappearance of his wife, is still fatal
From Hanns-Georg Rodek Hanns-Georg Rodek Biography and all articles of the author “artAuthorBoxPin”>
But it is not Fincher’s voice that the says, but the Ben Affleck. And it is again a Fincher-start, the us – as the furious ride through Edward Norton’s brain in “Fight Club” – with the first images indicates where the journey will go. In the deepest mystery to explore that you can make yourself, our best kept thinking
On the surface, Fincher provides us with a conventional mystery. Missing a wife. On the fifth anniversary of Nick (Ben Affleck) and Amy Dunne (Rosamund Pike), Nick leaves the house in the morning. When he comes back, the large glass table is smashed to the ground, and Amy is no longer to be found. Nick calls the police.
Fincher loves investigations of “Seven” on “Zodiac” to “blindness” because they offer him the chance, something quite another to identify as the culprit. It has the useful side effect of Fincher that he can evade pesky questions about relationships in his work. “With Ben Affleck is a bad game as driven by Michael Douglas in ‘The Game’?” “I can not answer, otherwise I would give away too much of the plot.”
How much there is to tell, given three million copies sold by Gillian Flynn’s novel “Gone Girl – The perfect victim” and five million of Stieg Larsson’s “Tattoo” remains an open question. Fincher points out that he had (with Flynn) streamlines the submission by two thirds and re-engineered the end. In the book and movie, it is a case without a body, and in the absence of a mysterious stranger, the suspicion directed against the husband -., Such as once in the case of the missing little Maddie against their parents
It is a substance that apparently made for the director who smeared the age of ten dolls his sister with ketchup and threw bridges on the highway (and Madonna strangle in a video clip using pantyhose and in a “House of Cards “episode Kevin Spacey was pushing the mistress before the train). “Somehow everyone believes author who writes a serial killer movie to have the script send me,” says Fincher -., Laughing
David Fincher is for Cinema what was Patricia Highsmith literature: It starts with a harmless idea that grows out of a monster. “In my demons stuck, you can not even imagine!” Fincher has once thrown an interviewer. “A joke!” he says, if one quotes the. “He’s just not understood.” And laughs – again
The monster in “Gone Girl” is, apparently, Nick Dunne.. His prejudice starts when he gets no tears at the press conference concluded with the appeal to potential witnesses in addition to a larger than life image of Amy, not a sob in her voice. The media hyenas are now starting to dig into this marriage, and what promotes their sorcerer hunting for days, does not meet the image of a loving couple. And Nick Dunne fits seamlessly into the gallery Fincherscher hero of Mark Zuckerberg to Lisbeth Salander, who would never think to woo our sympathy.
Flynn’s book has been maintained, with none of the protagonists could you identify yourself. The film takes this characterization for Amy, the beautiful, pampered, sophisticated New York luxury being who never had this working class types from the Midwest to marry. Rosamund Pike spread the beauty of a white frost as formerly Grace Kelly, plus joins an ugly trait that the censor would never have admitted to Kellys times. Ben Affleck has Fincher intended for the much more complex task, because you have him alternately to keep innocent (in the scenes from Nick’s point of view) and guilty (in the flashbacks of Amy’s diary).
But guilt and innocence are irrelevant for Fincher, the completely different interests. He was, for example in the call for “Star Wars 7″, but – as he says – for him it would have been the history of C-3PO and R2-D2, the owner of a hike as slaves to the next and study their quirks; no wonder that he was with Disney not agree who wants to sell mainly new creatures in the nursery.
“20,000 Leagues Under the Sea” he wanted to make , with Captain Nemo as Osama bin Laden guy who fought Western imperialism, and he should be a sympathy figure – apart from the means he employs. “David has the mindset of an Anarchist,” certified him once one of its producers. “He likes blasts systems in the air.” This Nemo-fuse did not want to put Hollywood. So Fincher is doing with “Gone Girl” now a journey into the heart of darkness of human coexistence, in the footsteps of Hitchcock’s “suspicion” and Verhoeven’s “Disastrous Affair”.
It is the second time for” delusion “that he can be granted a work from the shelves of bookstores station Fincher polish, promises to refine the metal to platinum. However, the goal of treatment remains unclear over long distances, for “Gone Girl” is transformed several times, of a murder thriller in a revenge fantasy and finally to the Grand Guignol puppet theater.
The constant all these molts is the institution of marriage, and Fincher splits it with clinical precision, a description that applies to all his subjects. He balances on the thin line between happiness and misery that have done many wedding movies; it illuminates the beautiful appearance, which is maintained outward, also has been already shown, though hardly with such absurd consequence as in “Gone Girl”.
In the deepest heart of marriage is in darkness but Fincher something else: the need to build not only a facade to the outside, but inside, the partner against whom one can confide everything supposedly. It is the realization that you will never know the whole truth about the significant other, and Fincher, cynical clear-sighted as always, goes one better: that it is better do not know the whole truth. If Hitchcock and Bergman had made a film together, would be something like “Gone Girl” come out. But they would have called him “scenes of a psycho.”
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