‘Gone Girl’ is a gripping film. Quite the farce. Its duplicitous characters act out their attraction and pain in a community that bases its raw emotional responses on the fickle and self-serving concerns of the media.
Yet when I exited the film I wanted to say to the other cinema goers ‘But I love being married’, as an act of affirmation of the trust I feel towards my wife even though the characters in the film generalise their agony to all those who are married. I wanted to rebel against its ‘farcical realism’.
The film could be seen as a parable on the dangers of trust.
Perhaps Ben Afflick plays both an ironic Christ and a deceitful Hamlet. It was Harold Bloom who claimed that Hamlet is the new Christ of literature. The West has replaced, in some of its literature, the man who acts out of sacrifice and love with the man who ponders his own fraught circumstance and then acts with equivocation and occasional senseless violence.
It is questionable if Afflick ever really ever loved his wife. Love itself is questioned as even being possible. There is lust, and insecurity and obsession. But does anyone love? Perhaps the twins do. Perhaps the policewoman. Any ultimate devotion Afflick has to his wife is proof that he has no virtue, no moral courage. It is in this that he is an ironic Christ. All he can do is ponder moral questions, and make vain and soul-sapping attempts at resolutions. It is in this that he is a deceitful Hamlet
And Rosamund Pike’s character leaves no justice, or even vengeance, to God. The pain she feels, she inflicts. She is victim and perpetrator, victim and perpetrator.
And as I watched the film, and found its narrative strength drawing me into it, enjoying its twists and moral pain, I found that I could not conclude that it was just a sophisticated narrative of the sins of the world. Yes, it delves deep into the ‘heart of darkness’ in both genders. It evangelises a misogyny and misandry at the centre of the human heart. It smears away any pretense that the viewers might have that they can act with love of their own accord. It is a mirror to our own equivocation.
Is there therefore no redemption?
I note that if there was no artistic memory of the Christ that Afflick’s character is not, or no sense that love is possible (possible even in the sad milieu of their lives), then it loses its dramatic tension as a film.
Love remains extant.
And there is hope that the director thinks so too. I think again about the sister and the policewoman. Even the Defense Attorney. The policewoman is true to her vocation. The sister is true to her brother. The Attorney, whilst ostensibly chasing the dollar, believes in uncovering the truth. These are acts invoking justice and altruism.
Ironically, even in the heart of darkness, the idea that ‘God is love’ can’t be undone. It is out of the bottle.
And yes, despite my desire to rebel as I exited, I enjoyed the film.