Gone Girl is a fine thriller, elevated no end by Rosamund Pike’s great performance which in most other years might well have been awarded an Oscar- she’s that good. On the face of it, the premise of the film is fairly simple- revolving around the mysterious disappearance of Amy Elliott-Dunne (Rosamund Pike) and her husband Nick (Ben Affleck) who increasingly begins to fall under suspicion of her possible murder. There is of course an inevitable twist but surprisingly this comes mid-way through the film, from which point the film almost becomes another film entirely. Its a good film but due to its nature its one I can’t discuss freely without heading into spoiler-territory.
The only point I can really make is regarding the film’s soundtrack by Trent Reznor and Atticus Ross. David Fincher has seemingly become infatuated with ambient soundscapes in his movies (the pair having scored his last three movies now) and while it might serve Fincher’s purpose, I suspect you could run this film minus any of its music score and not notice any difference at all. Its that kind of score. Which is all well and good, but I prefer music that’s almost a character in the film; scores like Poledouris’ Conan The Barbarian or Hermann’s Vertigo or even, for a more recent example, Zimmer’s Interstellar. Music that is an integral part of the film and its sense of character- Reznor’s score here is more of a drone with the odd bit of tune hidden away in its mix, and is pretty much redundant. It is what it is. But the fact that Fincher seems to be more in favour of this style when his earlier films had such great scores as Goldenthal’s Alien 3 or Shore’s Seven or the Dust Brother’s Fight Club… well its rather disheartening.
And really that’s my biggest beef with Gone Girl- Fincher himself. This is the guy after all, who directed Alien 3, the unfairly-maligned result of a troubled production that is a beautifully-shot elegy on death, moody and stark with great performances, wonderful music, great photography and sets…. its a great failure. Its got balls, and is easily the most interesting of all the sequels to Alien. This is the guy who directed Seven, as brutally dark a film as you’ll ever see, a fascinating thriller that’s pretty much the definitive serial-killer movie. Again, great score, great performances, beautifully shot, a film, again, with balls. And then of course we have Fight Club, one of the boldest, mind-bogglingly ballsy movies to come out of Hollywood, ever. The very least you could say of these movies is that Fincher was pushing the envelope, and proving himself something of a maverick director. If Alien 3 failed, it wasn’t really down to Fincher, and the workprint version at least hints at what might have been had the suits left him alone. His next two films were great, classic films.
I’m not going to suggest that his subsequent movies weren’t any good, I’m a big fan of Zodiac in particular, but Fincher seems to be settling down to a routine of thrillers that are competently made but nowhere near as bold as his early films. He seems to be mirroring the career-trajectory of Ridley Scott, whose own best films can easily be argued to be his first three, from which he himself settled into often pedestrian fare.
Gone Girl is a good film, but I have the feeing it would be just as good a film with anyone else directing it. Fincher should be making films only he could make. He should be making a Dune or Rendezvous With Rama or his own Unforgiven, by which I mean a genre film that turns things on its head and says something new. I don’t think his last few films have, and though I’d like to think his future projects will, at the moment that’s getting a little dubious. The promise of a Fincher film used to excite me, but that’s worn off now, sadly.