She – Gone Girl

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“Where perception is, there also are pain and pleasure.
And where these are, there of necessity, is desire” [Aristotle]

Two things about Gone Girl before going in to enjoy this movie. Firstly, a young woman who goes missing in a small town and her husband was suspected. The second, nothing is really what it might seem to be. That last point can mean many things. Just because spoiling the plot of this film seems sacrilegious, this essay not say much about the story except its intentions to reveal a certain existential, truth about couples : “How no one can ever truly know the other, a trap that pair could either fall into or transcend?”. After five years of marriage, Nick can’t seem to maintain the convincing face of a lover, make him guilty. Plot twists are revealed with a heightened sense of self-awareness come across as almost comical. But these instances are just plot elements that invite viewer to examine how human beings relate to one another. Gone Girl wants to mess with perception, from one scene to the next. Even the film’s title harbors a double meaning.

No matter what anyone says or how they behave, no one outside that person can ever truly and honestly understand others. These are not characters in a traditional sense of movies asking you to sympathize with. They invite to relate in an incriminating way. Ben Affleck famously suffered some flak last year when, during his Oscar acceptance speech, he called marriage “work” while giving credit to his wife, the actress Jennifer Garner. In Gone Girl, Amy writes in diary, “Everyone told us and told us, marriage is hard work”, underlining the last two words. The film is rich with popular news media, which is well known to pick and choose what missing persons story to follow. They’re also shown little mercy like the superficial voracious recycling machine, Gone Girl presents it on “beyond truth” level of course. Facts only get in the way of assumptions, expectations and bias. Who needs the truth what lies beneath which complicates perception? People just need heroes and villains. That media power and sympathy for persecuted wives used and practically played very well by the couple as a partner-in-crime. On one hand, this song choice seems bluntly ironic. This trailer features song “She” covered by Richard Butler. A romantic ballad was written and performed by Charles Aznavour in 1974 for TV series, “The Seven Faces of Women”. It was made popular again by Elvis Costello in 1999 for the movie “Notting Hill”. That’s as sweet as it gets. And yes, the lyrics are about a mercurial woman. But ultimately now, that wistful affection seems directly at odds with images of Ben Affleck declaring he’s not a murderer at this sick movie, which also brilliant.9eShe merupakan hasil kerja apik antara penulis lirik dgn si pemusik juga penyanyinya. Herbert Kretzmer sbg penulis Les Miserables, dapat pesanan lagu tentang kecantikan wanita nan abadi untuk serial TV, The Seven Faces of Women. Iapun memanggil Charles Aznavour, sahabatnya dari Paris. “Untuk urusan perempuan, siapa sih yg bisa ngalahin orang Perancis?”. Aznavour antusias, langsung senandung jadi lagu lantas terbang ke London buat rekaman. Tekadnya hanya dua. Pertama, kapan lagi bikin dan rekaman lagu British, sekalian menjajah Inggris. Kedua, harus ada teladan bagus lewat lagu yg hanya cocok dinyanyikan kaum lelaki tentang perempuan, bukan sebaliknya. Secara pamor, She mendunia oleh vokal Elvis Costello untuk film romantis Notting Hill. Kini hadir rada psikopat di film Gone Girl membalut modus keji pasangan berkedok drama rumah tangga, di balik paras sang istri belagak teraniaya. Sorry jika spoiler, toh Gone Girl gak tayang di bioskop Indonesia, mungkin dianggap gak laku. (nDy)

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