Film review: Gone Girl Dial M for…

MANILA, Philippines - With novelist Gillian Flynn herself working on the screenplay of her 2012 bestseller Gone Girl, it would raise hopes that the elements that made the mystery-thriller such a vicious delight to read would be retained in the David Fincher film. The non-linear narrative creating a slow and delightful reveal, the black humor, the shifting narrator perspective and the shafts of cynicism and irony; all of these would contribute to seeing this send-up of “the perfect marriage” successfully make the transition to the big screen. And we have Rosamund Pike and Ben Affleck taking on the roles of Amy and Nick Dunne, Missouri’s “Barbie and Ken,” come back from NYC to lick their wounds of unemployment.

Well, fans of the book can rest easy, as the major elements of the book’s success have found their way to the film; while those who never read the book will be enthralled by the unfolding that has been modified for the film transition. Intact is the delicious and entertaining cynicism (not so much the comedy), as the screenplay skewers the pervasive influence of media coverage, and how the medium manipulates, and can likewise be manipulated for one’s own end. The dishonesty in relationships is given its share in the spotlight; and one can’t fault how the mystery and unraveling of Amy’s disappearance is handled.

While Ben does a great job underplaying the role of Nick, special mention has to go to Rosamund and her breakthough portrayal of Amy — it’s a great example of how a disturbed mind can still seem rational and operate under the guise of normalcy in this world. Tyler Perry as Nick’s attorney is the scene-stealer of the film, engaging as an egotistical, yet practical, media-savvy and cynical lawyer. If there is a weakness, it would be how the film could have done with some brisker editing, how the second half has some belabored, repetitive aspects — this especially holds for the film’s coda. True to his name and film history, David is no “flincher” when giving us the more visceral passages of the novel. Whether dealing with sex, violence or his co-mingling of the two, David reminds us of the work he did with film adaptations such as Fight Club and The Girl with the Dragon Tattoo.

Unlike Social Network or Benjamin Button though, I don’t think the film will figure in the Oscars podium come March of next year. It’s a film that delivers a strong impact; but seems to miss an element or two in potentially taking home a statuette. What it will elicit and provoke is a hot discussion about marriage, love and revenge.