Review of Gillian Flynn's Gone Girl- Banality of evil makes it commonplace

The novel scores as a very contemporary  depiction of the dynamics of  relationships in modern world. Gone Girl may have a very sick relationship as it's centerpiece but Ms Flynn manages to strike a universal note with these demented characters. Finding echo of everyday turmoils and conflicts in such a diseased milieu is hugely disconcerting. This novel may put off quite a few readers as Gillian Flynn makes us inhabit these twisted minds in a dizzying tandem of  chapters made intimate by first person voice. The reader may feel alarmed by easy identification with many aspects of thinking of the sociopaths. For example, Amy's grouse with the concept of 'cool girl' May find many nodding in agreement when she writes""Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl."  or when Nick waxes eloquent about his lack of control over what image he is projecting    "People love talking, and I have never been a huge talker. I carry on an inner monologue, but the words often don't reach my lips.” Banality of evil makes is easy to find startling resemblance in most mundane of the moments.

Gillian Flynn demonstrates  a dexterous hand at psychological profiling and characters remain at the desired degree of likability-under full command of the author. She can make the reader fall in love with character in one chapter and create intense hatred in the next. Furthermore, she can go nuanced and successfully conveys the machination deployed by the character to be likable or despicable. She also benefits from the useful gift of keeping many plot balls in the air while keeping the reader clued in with the basic tension of the story. All this with tight accessible prose and painterly depiction. She creates word pictures that conveys with dazzling clarity the basic point of the author about a very complex feeling. 

Review of The Wolf of Wall Street: Oscar Worthy Stripper Stampede

Watching a Scorsese movie always lends itself to pleasurable memories. Wolf of the Wall Street starts with DiCaprio's character moving into his lair (in this case his stock broking firm) reminding Scorsese lovers of Mean Street’s entry of Harvey Keitel where camera follows him as he glides through his club milking presumed and real applause. Music, adoration and sense of entitlement of the recipient of all the attention creates an alchemy which makes the viewer smile with amusement and concentrate in awe at the same time. Similarly, the film has marching bands and ‘stripper stampede’ to entertain the employees. Here we see the continuation of a hallowed tradition started by one Charles Foster Kane in 1941 ‘Citizen Kane’ to enthuse his newspaper staff.

Many critics have found funny tone of Wolf of the Wall Street a novelty in Scorsese movie.  The auteur has been grittily funny throughout his distinguished career. Anyone who has followed Scorsese in Mean Street, Casino, After Hours and, somewhat atypical, Hugo will feel sufficiently Scorseseque in the funny moments that  Wolf of the Wall Street creates. One can’t suppress a smile on  the memory of Harvey Keitel, De Niro and friends discussing the meaning of ‘mook’ before getting into cat fight that was to be broken by cops and end in round of drinks among the participants. Here also we find many moments of this humorous cacophony.

Dizzying breezy sequences with showy editing that create a tempo leading to bravura crescendo are old Scorsese trademarks. His characters are great at verbosity (barring tongue tied Taxi Driver). Speeches are bombastic with rustic bravado – quite unlike Woody Allen’s talkathons of confused intellectuality. Though both, I must admit, have their own pleasures. The enjoyable momentum created by oration on benefits of drugs, debauchery and greed among the Decaprio’s charater and his thuggish associates led by madcap Jonah Hill are in the same league as you would find in Casino, Good Fellas and, again, in Mean Street. I find many similarities in mediation on qualuudes and the Butcher explaining the ways of stabbing pig in Gangs of New York.  Both take the story or the experience of the movie forward.

Trajectory of rise of a small time pusher to obscene level of success replete with mind numbing excesses and eventual downfall is an almost as established as a sub genre.  This is the basic cliché of the Wolf of Wall Street too. What is different this time is that Scorsese stayed away from the business of providing full closure. He kept the perspective resolutely neutral and kept the camera in voyeur mode.  Even the excess was not meant to caricature or demean a life style. He is more concerned with conveying the unbridled joy of the excess. He transfers the high notes of carnivalsque debauchery in full measure without making a parody of it- quite a feat.

This is film-making which is self consciously high strung –energy, tension and joy communicated in clearest possible notes. Clarity dazzles but grabs you to notice the effort and genius that has gone into the spectacle.  Scorsese is loved for his flourishes, he is worshipped for sustaining those flourishes with impeccable film making.