Gone Girl


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Plot

来源: http://gillian-flynn.com/gone-girl/

[1] On a warm summer morning in North Carthage, Missouri, it is Nick and Amy Dunne’s fifth wedding anniversary. Presents are being wrapped and reservations are being made when Nick’s clever and beautiful wife disappears. Husband-of-the-Year Nick isn’t doing himself any favors with cringe-worthy daydreams about the slope and shape of his wife’s head, but passages from Amy's diary reveal the alpha-girl perfectionist could have put anyone dangerously on edge. Under mounting pressure from the police and the media—as well as Amy’s fiercely doting parents—the town golden boy parades an endless series of lies, deceits, and inappropriate behavior. Nick is oddly evasive, and he’s definitely bitter—but is he really a killer?

词汇和词组:

1) On a warm summer morning: 在一个夏日温暖的早晨。In the morning,在早上,但当morning前有修饰语的时候,介词用on
2) Fifth wedding anniversary /ˌænɪˈvɜːrsəri/:五周年结婚纪念日
3) Wrap /ræp/:包,裹,后面常加介词up搭配使用。
例:I have to wrap (up) all the presents before my girlfriend is home.
4) Reservation /ˌrezərˈveɪʃn/:预订。
例:It’s in tourism season, so you’d better make a reservation in advance.
5) Husband of the year: 年度丈夫。Something of the year, “年度….”。
例:word of the year,年度词汇。
6) Cringe-worthy /ˈkrɪndʒwɜːrði/:使人感到尴尬的/不安的。
例:It was a cringe-worthy performance from start to finish.
7) Slope /sloʊp/:斜面
8) Reveal /rɪˈviːl/:展现,揭示。
例:Details of the murder were revealed by the local paper.
9) On edge /edʒ/:紧张,急切。
例:She was always on edge before an interview.
10) Mounting /ˈmaʊntɪŋ/:不断增加的(尤其表现焦急压力)。
例:In the face of mounting pressure, the president decided to act.
11) Doting /ˈdoʊtɪŋ/:溺爱的。
例:The little boy was spoiled outrageously by his doting grandparents.
12) Oddly /ˈɑːdli/:奇怪地,怪异地。
例:She's been behaving very oddly lately.
13) Evasive /ɪˈveɪsɪv/:模棱两可的,回避的。
例:an evasive reply
14) Bitter /ˈbɪtər/:不满/怨恨的,令人痛苦难过的。
例:She is very bitter about losing her job.

Review

来源: http://www.rogerebert.com/reviews/gone-girl-2014

[1] "Gone Girl" is art and entertainment, a thriller and an issue, and an eerily assured audience picture. It is also a film that shifts emphasis and perspective so many times that you may feel as though you're watching five short movies strung together, each morphing into the next.

词汇和词组:

15)Eerily /ˈɪrəli/:怪诞的,奇异的
16)Shift /ʃɪft/:转变。
例:He shifted his gaze from the child to her.
17)As though:好像,仿佛。
例:It sounds as though you had a good time.
18)Morph /mɔːrf/ into:变化成…

[2] At first, "Gone Girl" seems to tell the story of a man who might or might not have killed somebody, and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people who believe in his innocence can't help wondering. His name is Nick Dunne (Ben Affleck). He's a college professor and a blocked writer. His dissatisfied wife Amy (Rosamund Pike) disappears one day, prompting local cops to open a missing persons case that becomes a murder investigation after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy's diary, read in voice-over by Amy and accompanied by flashbacks, hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway). Were things ever really all that sunny, though? If they weren't, which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives (Kim Dickens and Patrick Fugit, both outstanding) who investigate Amy's case? Can we trust what Amy tells us, via her diary? Is one of the spouses lying? Are they both lying? If so, to what end?

词汇和词组:

19)Alienate /ˈeɪliəneɪt/:使疏远,离间。
例:His comments have alienated a lot of young voters.
20)A blocked writer:一个写不出来东西(失去灵感)的作家
21)Prompt /prɑːmpt/:促使,激起。Prompt sb to do sth,促使某人做某事
22)Snippet /ˈsnɪpɪt/:片段。
23)Flashback /ˈflæʃbæk/:(电影中的)回闪镜头,(往事的)回忆。
例:War veterans suffering from nightmares and flashbacks。
24)Irreconcilable /ɪˈrekənsaɪləbl/:相反的,不可调和的。
例:This view is irreconcilable with common sense.
25)Rancor /ˈræŋkər/:怨恨,敌意。
例:There was rancor in his voice.
26)Homicide /ˈhɑːmɪsaɪd/ detective /dɪˈtektɪv/:凶杀案警探
27)Outstanding /aʊtˈstændɪŋ/:杰出的;未付的,未完成的。
例:She has outstanding debts of over $500.

[3] The film raises these questions and others, and it answers nearly all of them, often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be. As directed by David Fincher ("Se7en," "Zodiac") and as adapted by Gillian Flynn from her bestselling potboiler, "Gone Girl" suggests one of those overheated, fairly comic-bookish "R"-rated thrillers that were everywhere in the late '80s and early '90s. Like those sorts of pictures, "Gone Girl" is dependent upon reversals of expectation and point-of-view. As soon as you get a handle on what it is, it becomes something else, then something else again. Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn't read Flynn's book. That's why I'm being so vague.

词汇和词组:

28)Boldface:黑体字/粗体字
29)All-caps:所有字母大写
30)Subtle /ˈsʌtl/:难以观察的,含蓄的,隐晦的。
例:There are subtle differences between the two versions.
31)Potboiler /ˈpɑːtbɔɪlər/:为了挣快钱粗制滥造的作品(书或电影)。
32)Overheated /ˌoʊvərˈhiːtɪd/:过热的,过于兴奋的。(文中的意思指时下流行的,大家都在讨论的)
33)Reversal /rɪˈvɜːrsl/:颠倒,彻底反向。the reversal of a decision,决议的颠覆(反向)。
34)Vague /veɪɡ/:含糊的,不明确的。
例:They had only a vague idea where the place was.

[4] Suffice to say that its explicit sex and violence and one-damn-thing-after-another, to-hell-with-realism plotting put it in the "Basic Instinct"/"Fatal Attraction"/"Presumed Innocent" wheelhouse. It is a metafictionally-minded version of a bloody domestic melodrama that actually uses the word "meta" (in a scene where Nick and the cops discuss his bar, which is named The Bar). It ties much of its mystery plot to an anniversary scavenger hunt with clues enclosed in numbered envelopes marked "clue." Key scenes revolve around public statements that are in some sense performances, and that are evaluated by onlookers in terms of their believability.

词汇和词组:

35)Suffice /səˈfaɪs/ (it) to say (that): 无需多说,只要说…就够了。
例:I won’t go into all the details. Suffice it to say that the whole event was a complete disaster.
36)Explicit /ɪkˈsplɪsɪt/:明确的,清楚的。
例:He gave me very explicit directions on how to get there.
37)Presumed /prɪˈzuːmd/:假定的,推测的。
38)Scavenger /ˈskævɪndʒər/ hunt:寻物游戏。
39)Onlooker /ˈɑːnlʊkər/:旁观者

[5] And yet it never crosses the line and becomes too much a deconstruction or parody. It's a plot-obsessed picture that's determined to stay one step ahead of the audience at all times, and cheats when it feels it has to. It is a perfect example of a sub-genre that the great critic Anne Billson has labeled "the preposterous thriller," in which "characters and their behavior bear no relation not just to life as we know it, but to any sort of properly structured fiction we may have hitherto encountered."

词汇和词组:

40)Deconstruction /ˌdiːkənˈstrʌkʃn/:解构,拆析(文学评论用语,指找出文中自身逻辑矛盾或自我拆解因素,从而摧毁文本在人们心目中的传统构建。本文中指“Gone Girl”并不是想去自我分析下定义作总结。)
41)Parody /ˈpærədi/:滑稽/拙劣的模仿。
例:The show included a parody on Hollywood action movies.
42)Sub-genre /ˈʒɑːnrə/:次类别。Sub-子的/次的,genre,类别/文体。
43)Label /ˈleɪbl/:(贴)标签。
例:The washing instructions are on the label.
44)Preposterous /prɪˈpɑːstərəs/:荒谬绝伦的。
例:The whole idea sounds quite preposterous!
45)Hitherto /ˌhɪðərˈtuː/:迄今,至今。
46)Encounter /ɪnˈkaʊntər/:遇见/遇到。
例:We encountered a number of difficulties in the first week.

[6] Many classic and near-classic films can be slotted into this sub-genre. One of them is Alfred Hitchcock's "Vertigo," a film in which the bad guy's scheme makes no sense if you think about it for longer than thirty seconds and that, in any event, would have unraveled had even the smallest part of it not gone precisely as envisioned. (How did Gavin and imposter-Maddie get out of the bell tower, anyway, without being seen by anybody, including Scottie? Was there a second stairwell?) After "Gone Girl" I overheard a couple listing all the dropped plot threads and narrative holes big enough to hide aircraft carriers in. This isn't the sort of movie that can withstand that kind of scrutiny. You might as well say, "That part in my dream where the penguin told me where to dig for the treasure seemed unrealistic."

词汇和词组:

47)Be slotted /ˈslɑːtɪd/ into:把…放/插进窄缝/空。文中指很多经典和接近经典的电影都可以归到这一类。
48)Scheme /skiːm/:方案,诡计,密谋。
例:Under the new scheme only successful schools will be given extra funding.
49)Unravel /ʌnˈrævl/:解开,阐明。A complicated relationship that is difficult to unravel. 一个复杂的难解开的关系。
50)Envision /ɪnˈvɪʒn/:想象,展望。
例:They envision an equal society, free of poverty and disease.
51)Imposter /ɪmˈpɑːstər/:冒名顶替者。
52)Aircraft carrier /ˌerkræft ˈkæriər/:航空母舰
53)Withstand /wɪðˈstænd/:忍受,承受。
例:The materials used have to be able to withstand high temperatures.
54)Scrutiny /ˈskruːtəni/:谨慎仔细审阅。
例:Her argument doesn’t really stand up to scrutiny.
55)Might as well:倒不如,不妨。
例:The weather was so bad we might (just) as well have stayed at home.

[7] What of "Gone Girl" as a parable of gender relations, one that eventually takes an ugly misogynist turn? I've heard these charges leveled, and they have merit. You'll understand what I mean once you've seen the movie. At the same time, though, as we evaluate those complaints, we owe it to Flynn, Fincher and everyone involved to take into account what sort of film this is, what mode it's operating in, and how transparent it is about what it's doing, how it's doing it, and why. "Gone Girl" is a nightmare of love gone cold and a relationship gone south, coupled with an elaborate revenge fantasy that both exploits and reclaims sexist images and assumptions. It's also a film about a psychopath who turns an ordinary life into chaos. Like a lot of Hitchcock—and like certain domestic nightmares by such filmmakers as Brian De Palma and Luis Bunuel—each scene in the movie refers, however obliquely, to real fears, real emotions and real configurations of love or friendship. But at the same time, not a single frame is meant to be taken literally, as a documentary-like account of how people are, or should be, or shouldn't be. It's working through primordial feelings in the manner of a blues song, a pulp thriller, a film noir, or a horror picture.

词汇和词组:

56)What of….:对于…你怎么看
57)Parable /ˈpærəbl/:寓言
58)Misogynist /mɪˈsɑːdʒɪnɪst/:憎恨女人的男人。
59)Merit /ˈmerɪt/:优点,长处/称道之处。
例:I began to question the merits of these new technologies.
60)Owe /oʊ/:欠(钱);把…归功于。
例:He owes his success to hard work.
61)Transparent /trænsˈpærənt/:透明的,容易理解的。
例:I’ve covered the photographs with transparent plastic sheets.
62)Go south:变坏
63)Elaborate /ɪˈlæbərət/:详尽的,复杂的。elaborate designs. 精密的设计。
64)Psychopath /ˈsaɪkəpæθ/:精神病患者。
65)Chaos /ˈkeɪɑːs/:混乱。
例:The house was in chaos after the party.
66)Configuration /kənˌfɪɡjəˈreɪʃn/:结构,布局。
67)Account /əˈkaʊnt/:账户;描述。
例:She gave the police a full account of the incident.
68)Primordial /praɪˈmɔːrdiəl/:原始的,最初的。例:
69)In the manner of:以…的方式
70)Pulp /pʌlp/:低俗的,庸俗的
71)Film noir /ˌfɪlm ˈnwɑːr/:黑色电影

[8] These modes all trade in stereotypical views of the essences of masculinity and femininity. All are politically incorrect by definition. All seem to have had at least some bearing on "Gone Girl." The movie is sick joke, a fable and a lament. It's "He done her wrong" and "She done him wrong." It's "Men are spineless pigs" and "Hell hath no fury like a woman scorned." If you make blanket assumptions about what men and women are capable of, and the circumstances under with they're capable of it, this film will confirm them. "Your chin," Amy tells Nick in a flashback, "it's quite villainous." He covers it up with his finger, but now that she's pointed it out, you can't not stare at it.

词汇和词组:

72)Stereotypical/ˌsteriəˈtɪpɪkl/:模式化的,刻板的。the stereotypical image of feminine behavior. 刻板的女性行为印象。
73)Masculinity/ˌmæskjuˈlɪnəti/:男子汉气概
74)Femininity/ˌfeməˈnɪnəti/:温柔,女子本性
75)Fable/ˈfeɪbl/:寓言,虚构的故事
76)Lament/ləˈment/:悲叹,挽歌
77)Hell hath /hæθ/ no fury /ˈfjʊri/ like a woman scorned /skɔːrnd/:千万不要得罪女人
78)Blanket /ˈblæŋkɪt/:毯子;全面的/适用所有的。Blanket statement/rule/ban. 全面(适用于所有人或所有情况)的陈述/规定/禁令
79)Be capable /ˈkeɪpəbl/ of:有能力做
例:He's quite capable of lying to get out of trouble.
80)Villainous /ˈvɪlənəs/:邪恶的/犯罪的。A villainous dictator.一个邪恶的独裁者
81)Now that:既然,由于。
例:Now that I live only a few blocks from work, I walk to work and enjoy it.

[9] The most intriguing thing about "Gone Girl" is how droll it is. For long stretches, Fincher's gliding widescreen camerawork, immaculate compositions and sickly, desaturated colors fuse with Trent Reznor and Atticus Ross's creepy-optimistic synthesized score to create a perverse big-screen version of one of those TV comedies built around a pathetically unobservant lump of a husband and his hypercontrolling, slightly shrewish wife. For most of its running time, "Gone Girl" is "Everybody Loves Accused Wife-Murderer Raymond," sprinkled with colorful-verging-on-wacky supporting players (including Tyler Perry as a Johnnie Cochran-like defense attorney and Neil Patrick Harris as a former flame of Amy's who's still obsessed with her). Then it takes a right turn, and a left turn, and flips upside down.

词汇和词组:

82)Intriguing /ɪnˈtriː.ɡɪŋ/:(因为奇特/神秘而)非常迷人的/有趣的。
例:She has a really intriguing personality.
83)Stretch /stretʃ/:伸张;一片地域;一段时间。
例:She doesn’t leave the house for long stretches of time.
84)Immaculate /ɪˈmækjələt/:非常整洁,精确的。
例:The suit he was wearing was immaculate.
85)Desaturated /ˌdɪˈsætʃ.ər.eɪ.t̬ɪd/:稀释的,不饱和的
86)Fuse/fjuːz/ with:和…融合。
例:The bottom of the candle is fused with its holder.
89)Synthesized/ˈsɪnθəsaɪzd/ score/skɔːr/:合成(电影)配乐
90)Perverse/pərˈvɜːrs/:一意孤行的,不合情理的。
例:Do you really mean that or are you just being deliberately perverse?
91)Pathetically/pəˈθetɪkli/:可怜地,可悲地。
例:He cried pathetically.
92)Unobservant/ˌʌnəbˈzɝː.vənt/:不被注意到的
93)Lump/lʌmp/:块,块状。文中指这一对夫妻。
94)Shrewish/ˈʃruːɪʃ/:泼妇一样的,脾气暴躁的
95)Be sprinkled/ˈsprɪŋkld/ with:零星分布(伴随着)。
例:Unfortunately, the text is sprinkled with errors.
96)Verge/vɜːrdʒ/ on:接近,濒临。A fury that verged on madness. 一种近乎疯狂的暴怒。
97)Wacky/ˈwæki/:疯疯癫癫的,古怪的。wacky ideas,古怪的想法。
98)Be obsessed/əbˈsest/ with:痴迷于。
例:She's completely obsessed with him.

[10] I'm not saying the film is genuinely clever throughout (though it is always fiendishly manipulative) or that every twist is defensible (a few are stupid). I'm saying that "Gone Girl" is what it is, that it knows what it is, and that it works. You know how well it's working when you hear how audiences laugh at it, and with it. Their laughter evolves as the film does. They laugh tentatively at first, then with an enthusiasm that gives way to a full-throated, "I endorse this madness!" gusto during the final half-hour, when the story spirals into DePalma-style expressionism and the picture becomes a maelstrom of blood, tears and other bodily fluids. There are allusions to the O.J. Simpson case, "Macbeth" and "Medea," and the ending is less an ending than a punchline that's all the more amusing for feeling so deflated.

词汇和词组:

99)Fiendishly/ˈfiːndɪʃli/:极其地,恶魔似的。fiendishly clever/complicated 非常聪明/复杂
100)Manipulative/məˈnɪpjəleɪtɪv/:操纵的,善于控制他人的。
例:He’s extremely manipulative, so don’t let him persuade you.
101)Twist/twɪst/:扭曲;(形势/事态的)曲折。An unexpected twist意想不到的转折
102)Defensible/dɪˈfensəbl/:可防御的,合理的/说得过去的。
例:There is no defensible basis for this argument.
103)Tentatively/ˈtentətɪvli/:暂时地,实验性地。
例:They have tentatively agreed to our proposal.
104)Endorse/ɪnˈdɔːrs/:认可,支持。
例:I wholeheartedly endorse his remarks.
105)Gusto /ˈɡʌstoʊ/:with gusto,精力充沛的,热忱的
106)Spiral/ˈspaɪrəl/ into:转入(旋转着进入)
107)Maelstrom/ˈmeɪlstrɑːm/:(情绪)极度混乱状态/失控状态a maelstrom of conflicting emotions 各种冲突情绪交集的混乱状态
108)Allusion/əˈluːʒn/:暗示,提及。后常与介词to连用。
例:His statement was seen as an allusion to the recent drug-related killings.
109)Punchline/ˈpʌntʃlaɪn/:结尾警句,点睛之笔。
例:He forgot the punchline and the joke fell flat.
110)All the more:格外地,愈加地
111)Deflated/dɪˈfleɪtɪd/:泄气的,没有气念的

[11] That it's hard to tell whether Fincher has an opinion on anything he's showing us or is just sadistically bemused, like an evil child tormenting insects, somehow adds to the movie's dark vibrancy. This director is a misanthrope, no question. But misanthropes can be entertaining, and "Gone Girl" is that—not just in the scenes where women see through men and other women with furious contempt, but in throwaway moments, such as when an unseen man yells "Louder!" at the beleaguered Nick during a press conference, and when the film shows tourists gathered in front of Nick's bar, taking selfies. This is a sick film, and often brilliant.

词汇和词组:

112)Sadistically/səˈdɪstɪkli/:虐待地,受虐地
113)Bemused/bɪˈmjuːzd/:茫然的,困惑的。
例:Sarah looked totally bemused.
114)Torment/ˈtɔːrment/:折磨,使痛苦。
例:She suffered years of mental torment after her son's death.
115)Vibrancy/ˈvaɪbrənsi/:震动,活力。
116)Misanthrope/ˈmɪsənθroʊp/:不与人来往者,厌恶人类的的人。
117)Contempt/kənˈtempt/:蔑视,轻视,鄙视。
例:He felt nothing but contempt for her.
118)Throwaway/ˈθroʊəweɪ/:不经意间的,随意的。
例:That was just a throwaway comment.
119)Beleaguered/bɪˈliːɡərd/:饱受批评的,被围困的。
例:The beleaguered party leader was forced to resign.

重点难点句子:

  1. Husband-of-the-Year Nick isn’t doing himself any favors with cringe-worthy daydreams about the slope and shape of his wife’s head, but passages from Amy's diary reveal the alpha-girl perfectionist could have put anyone dangerously on edge.
    年度丈夫Nick并没有让自己沉浸在关于他妻子头的形状和斜面令人毛骨悚然的白日梦里,但从Amy的日记里的讯息可以表明一个“别人家”姑娘能够让任何人都处在危险的焦急中。

  2. "Gone Girl" is art and entertainment, a thriller and an issue, and an eerily assured audience picture. It is also a film that shifts emphasis and perspective so many times that you may feel as though you're watching five short movies strung together, each morphing into the next.
    《消失的爱人》是一个艺术品和娱乐品,也是一部惊悚剧和反映问题且能够保证观影人数的电影。它是一部数次变换重心和视角的电影,就好像你看了5个连在一起的短片一样,每一个都连接着下一个。

  3. Amy and Nick seemed like a happy couple. The snippets from Amy's diary, read in voice-over by Amy and accompanied by flashbacks, hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway).
    Amy和Nick看起来是一对幸福的夫妻。Amy的日记里的片段由Amy配音加上回忆的影像,暗示了他们这对夫妻之间的不同,但又看起来不是不可调解的矛盾(至少最开始不是)。

  4. As directed by David Fincher ("Se7en," "Zodiac") and as adapted by Gillian Flynn from her bestselling potboiler, "Gone Girl" suggests one of those overheated, fairly comic-bookish "R"-rated thrillers that were everywhere in the late '80s and early '90s. Like those sorts of pictures, "Gone Girl" is dependent upon reversals of expectation and point-of-view.
    由执导过《七宗罪》和《十二宫杀手》的导演大卫-芬奇操刀,改编自Gillian Flynn的一部畅销但质量平庸的小说,《消失的爱人》展现出的是一部反应热门的无文字的漫画书且R级的惊悚片,这种片子上世纪80年代末90年代初都烂大街。和这类影片相似,《消失的爱人》也是依靠着剧情和视角的反转。

  5. Suffice to say that its explicit sex and violence and one-damn-thing-after-another, to-hell-with-realism plotting put it in the "Basic Instinct"/"Fatal Attraction"/"Presumed Innocent" wheelhouse. It is a metafictionally-minded version of a bloody domestic melodrama that actually uses the word "meta" (in a scene where Nick and the cops discuss his bar, which is named The Bar).
    无需多言,只用讲一点就够了——它露骨的性爱和暴力镜头,以及一个破事儿接着一个破事儿还有那种现实到死的剧情就足以把它列入到《本能》《致命吸引》和《无罪的罪人》这类影片之中。它是一部超现实的烧脑血腥的家庭内部糗事剧,必须得用“超”(一方面是特别/格外的,另一方面不同寻常)。(其中有一幕,Nick和警察在聊他的酒吧,这个酒吧的名字就叫“酒吧”)。

  6. It is a perfect example of a sub-genre that the great critic Anne Billson has labeled "the preposterous thriller," in which "characters and their behavior bear no relation not just to life as we know it, but to any sort of properly structured fiction we may have hitherto encountered."
    它是这种由伟大的评论家Anne Billson定义的“荒诞惊悚片”这一次类别中的典型例子,这种类型的电影中的角色和行为不是说在我们对生活的认知上的毫无关联,哪怕是放在我们到目前遇见过的所有非现实的各种剧里,都是毫无关联的。

  7. One of them is Alfred Hitchcock's "Vertigo," a film in which the bad guy's scheme makes no sense if you think about it for longer than thirty seconds and that, in any event, would have unraveled had even the smallest part of it not gone precisely as envisioned.
    其中一个就是希区柯克的《迷魂记》,如果你能稍微想那么30秒,你就发现电影中的坏人的诡计毫无道理,而且,在任何一种情况下,电影所展现出来的是,哪怕是很小的一个部分都不会按照观影者的想象去展开的。

  8. What of "Gone Girl" as a parable of gender relations, one that eventually takes an ugly misogynist turn? I've heard these charges leveled, and they have merit.
    对于这么一部像是性别关系寓言且最后落脚在一个极度憎恨女人的男人结局电影,你怎么理解呢?我听到过一些这样的批评,它们有一定的道理。

  9. "Gone Girl" is a nightmare of love gone cold and a relationship gone south, coupled with an elaborate revenge fantasy that both exploits and reclaims sexist images and assumptions. It's also a film about a psychopath who turns an ordinary life into chaos.
    《消失的爱人》就是一个爱情冷了关系坏了,并且附带着缜密的复仇幻想的噩梦,这个噩梦里充满(exploit and reclaim,开发利用和再利用)了各种性爱的影子和猜测。

  10. If you make blanket assumptions about what men and women are capable of, and the circumstances under which they're capable of it, this film will confirm them.
    如果你做一个全面的猜测,男人和女人会做什么和他们在什么情况下会去做这样一种猜测,影片都会为你证实的。

  11. The most intriguing thing about "Gone Girl" is how droll it is. For long stretches, Fincher's gliding widescreen camerawork, immaculate compositions and sickly, desaturated colors fuse with Trent Reznor and Atticus Ross's creepy-optimistic synthesized score to create a perverse big-screen version of one of those TV comedies built around a pathetically unobservant lump of a husband and his hypercontrolling, slightly shrewish wife.
    《消失的爱人》最吸引人的就是它是多么的离奇有趣儿。在影片的很长一段时间里,芬奇用滑动的宽荧幕镜头/整齐的构图和奇怪的不饱和的色调,融合了由Trent Reznor和Atticus Ross制作的诡异又高情绪的合成电影配乐,去营造一个怪异让人无语的巨幕版电视喜剧——由丈夫和一个极有控制欲还有点脾气暴躁的妻子组成,可悲地没人注意到的这么一对儿来饰演这么一个巨幕版的电视喜剧。

  12. They laugh tentatively at first, then with an enthusiasm that gives way to a full-throated, "I endorse this madness!" gusto during the final half-hour, when the story spirals into DePalma-style expressionism and the picture becomes a maelstrom of blood, tears and other bodily fluids. There are allusions to the O.J. Simpson case, "Macbeth" and "Medea," and the ending is less an ending than a punchline that's all the more amusing for feeling so deflated.
    他们最开始就是试探性的笑,最后的半个小时里就变成了“我就喜欢这种疯狂”的兴奋的呼喊而出的激情,也就是在这个时候,故事就变成了DePalma式的叙事风格,而且电影也变成了一种有血有泪有各种各样的人体液体的这么一个感情混沌状态。影片中影射到了辛普森案件,而且结尾,与其说是结尾,倒不如说是一个点睛之笔,让整个过程都压抑的观众会心一笑。

  13. "Gone Girl" is that—not just in the scenes where women see through men and other women with furious contempt, but in throwaway moments, such as when an unseen man yells "Louder!" at the beleaguered Nick during a press conference, and when the film shows tourists gathered in front of Nick's bar, taking selfies. This is a sick film, and often brilliant.
    《消失的爱人》不是刻意的在哪一幕去表现女人这么看男人或者女人是怎么鄙视男人,而是在不经意间体现出来的,比如说饱受批评的Nick在记者招待会上,有一个声音突然蹦出来“大点儿声儿”,还有就是好多游客到Nick的酒吧前面去自拍。这确实是一部很变态的电影,但好电影不都这样么?

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Plot

来源: http://gillian-flynn.com/gone-girl/

[1] On a warm summer morning in North Carthage, Missouri, it is Nick and Amy Dunne’s fifth wedding anniversary. Presents are being wrapped and reservations are being made when Nick’s clever and beautiful wife disappears. Husband-of-the-Year Nick isn’t doing himself any favors with cringe-worthy daydreams about the slope and shape of his wife’s head, but passages from Amy's diary reveal the alpha-girl perfectionist could have put anyone dangerously on edge. Under mounting pressure from the police and the media—as well as Amy’s fiercely doting parents—the town golden boy parades an endless series of lies, deceits, and inappropriate behavior. Nick is oddly evasive, and he’s definitely bitter—but is he really a killer?

Review

来源: http://www.rogerebert.com/reviews/gone-girl-2014

[1] "Gone Girl" is art and entertainment, a thriller and an issue, and an eerily assured audience picture. It is also a film that shifts emphasis and perspective so many times that you may feel as though you're watching five short movies strung together, each morphing into the next.

[2] At first, "Gone Girl" seems to tell the story of a man who might or might not have killed somebody, and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people who believe in his innocence can't help wondering. His name is Nick Dunne (Ben Affleck). He's a college professor and a blocked writer. His dissatisfied wife Amy (Rosamund Pike) disappears one day, prompting local cops to open a missing persons case that becomes a murder investigation after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy's diary, read in voice-over by Amy and accompanied by flashbacks, hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway). Were things ever really all that sunny, though? If they weren't, which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives (Kim Dickens and Patrick Fugit, both outstanding) who investigate Amy's case? Can we trust what Amy tells us, via her diary? Is one of the spouses lying? Are they both lying? If so, to what end?

[3] The film raises these questions and others, and it answers nearly all of them, often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be. As directed by David Fincher ("Se7en," "Zodiac") and as adapted by Gillian Flynn from her bestselling potboiler, "Gone Girl" suggests one of those overheated, fairly comic-bookish "R"-rated thrillers that were everywhere in the late '80s and early '90s. Like those sorts of pictures, "Gone Girl" is dependent upon reversals of expectation and point-of-view. As soon as you get a handle on what it is, it becomes something else, then something else again. Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn't read Flynn's book. That's why I'm being so vague.

[4] Suffice to say that its explicit sex and violence and one-damn-thing-after-another, to-hell-with-realism plotting put it in the "Basic Instinct"/"Fatal Attraction"/"Presumed Innocent" wheelhouse. It is a metafictionally-minded version of a bloody domestic melodrama that actually uses the word "meta" (in a scene where Nick and the cops discuss his bar, which is named The Bar). It ties much of its mystery plot to an anniversary scavenger hunt with clues enclosed in numbered envelopes marked "clue." Key scenes revolve around public statements that are in some sense performances, and that are evaluated by onlookers in terms of their believability.

[5] And yet it never crosses the line and becomes too much a deconstruction or parody. It's a plot-obsessed picture that's determined to stay one step ahead of the audience at all times, and cheats when it feels it has to. It is a perfect example of a sub-genre that the great critic Anne Billson has labeled "the preposterous thriller," in which "characters and their behavior bear no relation not just to life as we know it, but to any sort of properly structured fiction we may have hitherto encountered."

[6] Many classic and near-classic films can be slotted into this sub-genre. One of them is Alfred Hitchcock's "Vertigo," a film in which the bad guy's scheme makes no sense if you think about it for longer than thirty seconds and that, in any event, would have unraveled had even the smallest part of it not gone precisely as envisioned. (How did Gavin and imposter-Maddie get out of the bell tower, anyway, without being seen by anybody, including Scottie? Was there a second stairwell?) After "Gone Girl" I overheard a couple listing all the dropped plot threads and narrative holes big enough to hide aircraft carriers in. This isn't the sort of movie that can withstand that kind of scrutiny. You might as well say, "That part in my dream where the penguin told me where to dig for the treasure seemed unrealistic."

[7] What of "Gone Girl" as a parable of gender relations, one that eventually takes an ugly misogynist turn? I've heard these charges leveled, and they have merit. You'll understand what I mean once you've seen the movie. At the same time, though, as we evaluate those complaints, we owe it to Flynn, Fincher and everyone involved to take into account what sort of film this is, what mode it's operating in, and how transparent it is about what it's doing, how it's doing it, and why. "Gone Girl" is a nightmare of love gone cold and a relationship gone south, coupled with an elaborate revenge fantasy that both exploits and reclaims sexist images and assumptions. It's also a film about a psychopath who turns an ordinary life into chaos. Like a lot of Hitchcock—and like certain domestic nightmares by such filmmakers as Brian De Palma and Luis Bunuel—each scene in the movie refers, however obliquely, to real fears, real emotions and real configurations of love or friendship. But at the same time, not a single frame is meant to be taken literally, as a documentary-like account of how people are, or should be, or shouldn't be. It's working through primordial feelings in the manner of a blues song, a pulp thriller, a film noir, or a horror picture.

[8] These modes all trade in stereotypical views of the essences of masculinity and femininity. All are politically incorrect by definition. All seem to have had at least some bearing on "Gone Girl." The movie is sick joke, a fable and a lament. It's "He done her wrong" and "She done him wrong." It's "Men are spineless pigs" and "Hell hath no fury like a woman scorned." If you make blanket assumptions about what men and women are capable of, and the circumstances under with they're capable of it, this film will confirm them. "Your chin," Amy tells Nick in a flashback, "it's quite villainous." He covers it up with his finger, but now that she's pointed it out, you can't not stare at it.

[9] The most intriguing thing about "Gone Girl" is how droll it is. For long stretches, Fincher's gliding widescreen camerawork, immaculate compositions and sickly, desaturated colors fuse with Trent Reznor and Atticus Ross's creepy-optimistic synthesized score to create a perverse big-screen version of one of those TV comedies built around a pathetically unobservant lump of a husband and his hypercontrolling, slightly shrewish wife. For most of its running time, "Gone Girl" is "Everybody Loves Accused Wife-Murderer Raymond," sprinkled with colorful-verging-on-wacky supporting players (including Tyler Perry as a Johnnie Cochran-like defense attorney and Neil Patrick Harris as a former flame of Amy's who's still obsessed with her). Then it takes a right turn, and a left turn, and flips upside down.

[10] I'm not saying the film is genuinely clever throughout (though it is always fiendishly manipulative) or that every twist is defensible (a few are stupid). I'm saying that "Gone Girl" is what it is, that it knows what it is, and that it works. You know how well it's working when you hear how audiences laugh at it, and with it. Their laughter evolves as the film does. They laugh tentatively at first, then with an enthusiasm that gives way to a full-throated, "I endorse this madness!" gusto during the final half-hour, when the story spirals into DePalma-style expressionism and the picture becomes a maelstrom of blood, tears and other bodily fluids. There are allusions to the O.J. Simpson case, "Macbeth" and "Medea," and the ending is less an ending than a punchline that's all the more amusing for feeling so deflated.

[11] That it's hard to tell whether Fincher has an opinion on anything he's showing us or is just sadistically bemused, like an evil child tormenting insects, somehow adds to the movie's dark vibrancy. This director is a misanthrope, no question. But misanthropes can be entertaining, and "Gone Girl" is that—not just in the scenes where women see through men and other women with furious contempt, but in throwaway moments, such as when an unseen man yells "Louder!" at the beleaguered Nick during a press conference, and when the film shows tourists gathered in front of Nick's bar, taking selfies. This is a sick film, and often brilliant.

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