Perception lies in the eye of the beholder. But once a thought solidifies in your mind, you perceive what you desire to see. Oppose your thought to others. So, envision a woman who played the role of a good daughter, a perfect wife, and an exceptional homemaker, yet she engaged in infidelity and her husband overlooks her. Whose side are you on? Who could possibly commit a murder, the cheater husband or the gone girl? 

DAVID FLINHCER AND HIS GENIUS IN GONE GIRL

David Flincher is a mastermind and a genius director. Here he aimed to discover the realms of masculinity and the extremes of the spectrum through his lens. He intends to do the same thing through gone girl. Except for this time, it’s about the extremes of femininity and the extent of feminine rage.  To watch the IMDb rating for the movie:- https://www.imdb.com/title/tt2267998/

The narrative portrays Amy, the protagonist, as a blank canvas. One who molds themselves into the shades people prefer. A classic people-pleaser. The constant comparison with the perfect Amy character fueled much of her perfectionist alter ego, pitting her against it. So, she would mold herself as the “cool girl” for Nick. But the canvas holds a lot of dimensions. The act of aiming to be perfect often is a trade-off between uncovering their emotions. Hence bottling up all their realness and emotions just for them to burst at the slightest inflection. This is what drives the character to commit actions she deems deserving and worthy. So, it is now upon you, the viewer, to analyze the blankness of the canvas, to decide whether to see the glass half full or half empty.

VILLIAN OR THE ANTI-HERO

Often in this debate of perception, the discussion of villain and anti-hero arises. A villain who reeks of immorality and sin. A sadist feeling no emotions of compassion but here comes the anti-hero. A picture of a tortured artist. One who was forced to commit transgressions not because they enjoy the evil scenery of being vile to humans. But because they hold their purpose higher than their acumen in society. Amy, in this context, doesn’t come across as a villain who engages in crimes of passion. But as a protagonist who lacks heroic character.

The genius of David Flincher lies also where he shows the illusion of marriage. The wife, the altruistic of the pair, the cool girl, the one that moves for him, cooks for him, hooks with him, looks after him, and the husband, the one in charge, the one that makes everyone around them adapt just for their comfortability but even after being pampered by the wife manages to go around her back and cheat on her with a newer, cooler girl. The power balance is off the charts. The patriarchy domineering above everyone’s head like a thunderstorm on a rainy day. 

THE ANTICIPATION

So, what does our anti-hero do to turn the patriarchy on her side? How does she embark and conquer the vengeance of his infidelity? How does she let him face the consequences of her feminine rage? Well, she plays takes out her blank canvas and paints a fitting image, a bloody painting and a perfect one. She plans an absolutely ballistic plan to literally unalive herself for him to pay for his mistakes. 

She previously played the part of being the “cool girl” in her act to have Nick. Now, she pivots her way, her methods, and her show. She plays the part of an expecting mother, a supportive wife, and an inviting neighbor, one who was silently suffering from her husband’s infidelity. Then once things go according to her plans and she wants to go back to her husband, she turns around her canvas and then paints an image of a helpless victim and a rape victim.

So, the people in her surrounding unaware of her devious plan sympathize with her. We as the viewer as puzzled about whether to hate the villain or root for the ani-hero. 

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