THE SPOILER ZONE is a haven (on a different dimension, perhaps? Erm, doesn’t matter…) in which one can further discuss a film most elaborate and insightful as possible, in hoping that for a deeper understanding on said film. Here spoiler-y details not only allowed, but encouraged. So step out or proceed forewarned: spoilers ahead.
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I have called the curious specimen that is Amy Elliott Dunne a “Frankensteinian monstress,” which is not an unprecedented calling made to her. She is indeed the creation of multiple Victor Frankensteins—her perfectionist parents, her “average” husband and her life which, while only very mutely, has been generally dictated upon. And for this past the point of breaking she unleashes her wrath.
This is the most superficial reading I have of David Fincher’s adaptation of Gillian Flynn’s novel Gone Girl. Yet a bazillion of think-pieces cram the simplicity of this non-conformist character study with faux-feminist notions and how Amy is “symbolically” reclaiming power for all women in framing her husband for her faked murder. I say simply that Amy is whacked to the head, which is true. Correct me if I am wrong: feminism is about equality; it does not harbour rage and plot elaborate vengeance, does it?
Flynn’s script brims with self-knowing. It is written with cunning cleverness. My observation is that there is the exact anticipation of these piles after piles of op-eds about her novel’s adaptation (and even back from when her novel is published two years ago) that she depicts in a satirist fashion how women prowl over the idea of feminism which is often exaggerated to man-hate. “It is very meta,” as one character snickers, this play at perception of media and art.
In addition to support my notion that the film is not feminist—not to the extremes that the writings about it suggest, anyway—is that Fincher does not strike you a “full-on” feminist. The viral think-piece at Vox explains that Fincher may not be feminist but identifies with Amy because he is also meticulous, exacting and sort of a “micro-manager” who does not want to live in conformity. This is the only thing that I find agreeable about the piece. And that is exactly it: Amy is a creature who does not belong in captivity. She belongs to the wild. By figuratively encaging her you are threatening her primal nature. Nick Dunne has just done it past the point of Amy’s breaking; he was just asking for it.
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For what it is worth I propose this notion instead: Gone Girl, before anything else, is a film about parenthood. The characters in it seem to have fates predetermined by how they are raised by their parents. Nick grew up with a misogynist father and has since promised to be a better man, but then he could not escape it. At the very end of the film Amy is revealed to be pregnant—the fallout of today and tomorrow. Nick will not be a misogynist if he resents his wife but his spirit is broken nonetheless.
There are a lot of other points to surround our discussion for the film below. How does the media come into Amy and Nick’s ‘he-said, she-said’ charade? What of the typical marital crises resonate in the film? Share them in the comments below. Have fun!
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