Gone Girl Under a Feminist Lens

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. 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. 

The idea of punishing negligent men is a fantasy for many women, yet self-recognition in Gone Girl’s protagonist can be uncomfortable. Amy does not wear a veil of obscurity creating a disconnect between reality and fiction. Instead, she is terrifyingly real, often regarded as perhaps feeding into harmful stereotypes of ‘crazy’, vengeful women. 

This idea begs the question of who Gone Girl was truly made for. As a woman, it’s thrilling to watch Amy move from feeling inferior in her relationship, to a place of complete power and control. 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. 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. 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. If the film presents this harmful portrayal, then should it lose its feminist title?

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). However, the film more significantly poses the conflict of feminism vs. radical individualism, as such misogynism only exists in how events, systems or behaviours are perceived and interpreted. Amy is a powerful female lead, and a figure to find dangerous comfort and relatability in. 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. 

Displaying 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. 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. 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. With this being the only example of Amy’s direct consideration of other women in her position, the presence of feminism can become questionable. Amy is telling her own story, making minimal attempts to find solace in others. 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?

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. Her creation of Amy perhaps speaks greatly to the disguised yet active presence of feminism in Gone Girl, being that this lead could rarely, if ever, be considered a feminist herself. Amy is bad, in a traditional sense, but that shouldn’t blacklist the film from being considered a feminist tale. 

Looking once again at the newfound ‘Amy Dunne complex’, we realize that there exists an abundance of this fresh type of female character in media, defying the typical prototype of agreeable, pleasant women. Gone Girl’s lead is on the other hand wholly dynamic, channeling elements of both good and evil. She may not be representative of an entire gender’s worth of experiences, but that shouldn’t be a necessary quality when considering what makes a successful story about a powerful woman. Amy is a complete individual, with personal traits and quirks. Feminist films may not have to be empowering, but instead fantastical reflections of women’s whole selves - the darkest sides included.