Love is blind. So is hatred. There’s no denying the beauty of romance. But when the flowers begin to die and the moon rises high in the night, slowly we start to see the ugly side of love: the lies, the selfishness, the need to control. Thing is, sometimes we want to remain blind to these things, so we dress it up to maintain the fiction of our lives. Director David Fincher understands this perhaps even better than most relationship counselors do. Gone Girl is a frighteningly accurate depiction of a love that’s self-sustaining in its self-destruction, a film that captures what it means for two people to truly deserve each other, where both are out to tear each other’s throats. It’s a film about marriage. Continue reading
With Gone Girl finally hitting theaters this weekend, director David Fincher has been making the press rounds, something quite unlike of him to do. Then again, when you’re adapting Gillian Flynn’s bestseller, it’s hard to stay out of the limelight. Fincher usually tries to avoid over-exposure, but his directorial methods are very well known. His reputation precedes him, and with good reason. Whereas most directors settle for a few takes per scene, Fincher aims above and beyond, shooting as many takes as he needs. While this sounds obscene on the surface, I’d like to dig a little deeper into his process to show why he’s the hardest-working and the most misunderstood director in the business.
You know her name. Lisbeth Salander, a.k.a. The Girl with the Dragon Tattoo, has captured the hearts and minds of readers all over the world. 65 million of them to be exact, and counting. She has been widely touted as one of fiction’s most fascinating heroines to have emerged in a long time, and those who have read the books could hardly disagree. With every great book lies a movie. In this case, there are two. One was made rightfully in Sweden. The other was directed by the great David Fincher. So how does the English adaptation stack up against its Swedish predecessor? I am so glad you asked.