Gillian Flynn - author of both the original novel and adapted screenplay - has discussed appointing the use of feminism in her media as a tool to approach gender through multifaceted avenues. However, when the other women presented in the film, such as Nick’s sister Margo and fellow motel-dweller Greta, offer little-to-no sympathy to Amy, can she even be expected to grant compassion to others? Amy is telling her own story, making minimal attempts to find solace in others. With this being the only example of Amy’s direct consideration of other women in her position, the presence of feminism can become questionable.
#COOL GIRL MONOLOGUE FREE#
Here, commenting on how women only exist as counterparts to their romantic partners, she begins to, (for the first and only time), generalize her experiences while she breaks free from them. In fact, the closest the audience gets to observing Amy showing a collective sense of empowerment is at the midpoint, defined by her ‘cool girl’ monologue. However, looking beyond its dictionary definition, feminism, as a historical and evolving movement, evokes an idea of the unconditional uplifting of other women, yet the film’s leading femme fatale actively defies this concept.ĭisplaying no sense of community, Amy takes companionship in other women only to put them down and reap the benefits, whether that be building Nick’s false motive, or using urine to fake a pregnancy. Amy is a powerful female lead, and a figure to find dangerous comfort and relatability in. radical individualism, as such misogynism only exists in how events, systems or behaviours are perceived and interpreted. However, the film more significantly poses the conflict of feminism vs. This argument of misogynism over feminism in Gone Girl truly isn’t unfounded, especially considering Amy’s rapid weaponization of female-targeted crimes, (namely, rape and kidnapping). If the film presents this harmful portrayal, then should it lose its feminist title? By presenting Amy as the villain through Nick Dunne’s point of view, (that is, through the male gaze), many men have taken the Nick and Amy story as one that perpetuates false fear over the extremes to which their female counterparts may go. Despite earning its place in the fictional “good for her '' cinematic universe, for some, Gone Girl may cross a line when considering Amy’s misandrist tendencies. It’s not exactly an empowering work most people wouldn’t frame others, while murdering to do so, yet it is a tightly-knit revenge fantasy that speaks to a certain crowd. As a woman, it’s thrilling to watch Amy move from feeling inferior in her relationship, to a place of complete power and control. This idea begs the question of who Gone Girl was truly made for. Instead, she is terrifyingly real, often regarded as perhaps feeding into harmful stereotypes of ‘crazy’, vengeful women.
Amy does not wear a veil of obscurity creating a disconnect between reality and fiction.
The idea of punishing negligent men is a fantasy for many women, yet self-recognition in Gone Girl’s protagonist can be uncomfortable. However, the film distinctly challenges the constraints of this genre - even since creating what’s been dubbed the ‘Amy Dunne complex’ of sinister female leads.
Which stories are welcomed when considering what makes a feminist film? Are we gratified through inspiring images of female superheroes, princesses making their own way in the world, or perhaps more everyday, relatable coming-of-age stories? Gone Girl immediately stirred up controversy post-release, due to being perceived as exemplifying misogynism rather than feminism.
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