"The Lost Lover" is a suspense novel by American female writer Gillian Flynn. This year, David Fincher’s film adaptation has strengthened the dark and thrilling qualities of the novel. The audio-visual elements have inherited a consistently high cold and concise style. From structure to detail, from scene to paragraph editing, everything is presented. A kind of "unusual chill".
The essence of this story is "two loves each other," and how the marriage that came together "made in heaven" turned into a series of interlocking horror cases. Husbands and wives, the media and the general public, bystanders and witnesses, all can’t stop acting, twisting into a twisted weird situation. After peeling the cocoon, the masks shattered one after another, revealing the original gloomy features-the old bloody ended in a new killing, the new performance replaced the old stage, and the performance can never end-the right to speak for brainwashing is always in control In the hands of that handful of people, the public continues to maintain a hypocritical sense of moral superiority.
Structurally, movies and novels are also the same. Half of the length is the life record of the man’s wife Nick’s disappearance, and the other half is the diary and real monologue of his wife Amy. Television programs, media interviews, public opinion, and the endless intervention of the collective unconscious, coupled with the plot and perspective of the second half of the flop, are all kinds of filthy and wonderful.
Amy is a ruthless character with a cold self, a control freak, and a good acting. Nick is an irresponsible, jovial, and selfish pseudo-good guy. The two were bound by fierce love, but fell into the quagmire of life all the way. Nick chooses to cheat and continues to be happy, while Amy's love and hatred relapses, and she wants to get rid of it and be happy. After being used by the media and the law to "kill with a knife", the man's always-loving disguise also collapsed, and the cowardice and hatred of the world broke out. It is worth mentioning that the performance of his wife Rosamond Parker’s femme fatale and precise, and Ben Affleck’s facial paralyzed face also gave the character a more meaningful sense of complexity.
This is a setting where the ultimate metamorphosis is tied to a junior scum. One is very scheming and meticulous in planning; the other is carefree and turbulent. The film abandons the complex psychological monologues of some characters, the redundancy of life scenes, and the detailed rendering of the female perspective. It becomes the concise and concise language of the lens and the cut of the sound and pictures, just like the style of the "Seven Deadly Sins" and "Zodiac". , And even inherited the black characteristics of "Double Compensation" and "Sunset Boulevard", coupled with Vinci's usual cold-eyed look at the camera language, showing the performance, deadness, and absurdity that everyone can't escape more or less in life.
Different from saying that marriage is a silent expression of "killing invisible", such as Sam Mendes’s "American Beauty" and "Road to Revolution", Polanski’s "Killing", and Kubrick’s "The Great "Opening Eyes", this film uses a suspense detective drama to show an externalized and deadly relationship between two people. However, the situation has repeatedly expanded and turned into a social irony that surveys the overall situation. From one person to many people, the lies and performances weave step by step, the sharp description of the co-location of men and women, social groups and the media, is as entangled as Rashomon.
This is an era in which performance personality can be fully displayed, and the Internet and the media have intensified this alienation and performance. An extreme case is the heroine Amy, who has been well versed in acting since she was a child. Life is a stage of falsification. She must be the winner of various role-plays, and even consider herself to be the God of the Old Testament, "Punishment" "(Actually framed and murdered) Existence that made her unhappy. Finally, with the help of the law, the media and the public's stupidity, she "executed" an old male partner, and allowed her husband Nick to "evolve" into a "strange species" that can "co-act on the same stage" with her.
Since then, the turmoil of life, the disillusionment of fantasy, the stagnation of daily life, the unsatisfactory reality, the inability to cheer, disappear into the invisible, she no longer has to face it alone as an individual, the interactive performance makes all this no longer exist, and the self is also distorted. And disappear. Such as the last line of Nick in novels and movies: "I am sorry for you. Every day you have to wake up and pretend to be you."-The birth of the fetus is imminent, so that these two people and even more lives will be bound in a morbid state. Fall into the hell of numb soul.
In fact, it is worth mentioning that David Fincher’s characters are generally better for one person. He never wanted to exaggerate loneliness. This is the normal state of eating and drinking water. He describes the relationship between people. On the surface, they are particularly harmonious, but behind the scenes are killings and secret stabbings. But everything is calm and well-measured. The real hot-hearted people under his lens, the more indifferent and unreasonable on the face. This is his temperament and aesthetics. Therefore, it is not difficult to see that in this film, the two people's whitewashing performance along the way is a fabricated story in line with popular aesthetics. Behind the stage is the creepy and deformed truth, and the creator's attitude in it is sneer.
After 150 minutes of a scene, it is full of disdain for human nature and the media, and disdain for the identity parasitic on the illusion of interactive relationship, and it can even be said that a kind of elite comes from the depths of the soul and structure. He has a "slightly malicious" insight and analysis of the world and people.
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