“Gone Girl”: Film review

“Gone Girl” is a sort of modern-day version of Ford Madox Ford’s incredible 1915 ‘literary impressionist’/post-modernist novel “The Good Soldier,” in which a series of non-chronological flashbacks takes you from the beautiful marriage of the lead character for whom the reader instantly sympathizes, only to discover through the unraveling narrative that truth itself is dangerously elusive and by constantly dropping the floor out from under you the novel begins to erode your trust in your judgment of where to place your sympathies and finally in the very concept of truth itself.
Ford’s book came back strongly to me as I watched “Gone Girl,” which uses a similar device to gradually reveal deeper layers within each character, slowly dissolving each bedrock of truth, each ‘fact,’ until you are left wondering if you’ve actually seen the full story by the end of the movie.


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