Amy Dunne Character Analysis
Disclaimer
This analysis will be of Amy’s character from both the book and the movie, although the 2014 movie adaption takes greater precedence with only some additional details and quotes included from the book as it does delve deeper into Amy’s psyche and add further characterization. Thus some traits may be accentuated further than they are in the movie, not being completely faithful to either story. It’s an analysis of Amy in her totality across mediums, of course being entirely my opinion. There are of course adaptational differences but I will not include the major ones from the books (ex. her relationship with Hillary Hand). This is an analysis focusing primarily on Amy’s neuroses she demonstrates and the childhood links to them, it doesn’t cover in-depth the events nor themes of Gone Girl.
Amy Elliott Dunne, the ever enigmatic protagonist of Gone Girl, one of the most iconic female villains in modern memory, and one of the paragons of the “good for her” trope in media, is frankly one of my favorite characters of all time. As such I have been dying to write a full analysis examining her neuroses and characterization. Beneath the cultural perception of just another “crazy psycho” for girls to claim “she did no wrong” or “she just like me fr!”, lies a fascinating character who is masterfully written and developed by Gillian Flynn. Not to mention perfectly portrayed by Rosamund Pike in the movie. Amy Dunne is a character with a deep, complex psychology that I will do my best to thoroughly explore in this analysis.
From Amy’s childhood we first see the emergence of a literal high ego ideal, Amazing Amy. Of course this is the children’s book series created by her parents with a fictionalized version of Amy being the eponymous protagonist. This was a version of herself that rectified her own personal failures. Amazing Amy became a prodigy at cello, when Amy quit at 10, Amazing Amy made varsity volleyball, Amy got cut freshman year. Even in the (at time) final book in the series, Amazing Amy got married, a task Amy had not yet done. The entire book series revolved around Amy always making the most virtuous, the most selfless, the most perfect decisions.
>”With me, regular, flawed, real Amy, jealous, as always, of the golden child.”
An interesting detail in the book that is omitted from the movie is Marybeth’s numerous miscarriages and stillbirths (which totaled 7). All of these girls were named Hope, until Amy was born. Amy expresses her jealousy towards them, as they were always seen as perfect without ever living; meanwhile Amy herself has to live life everyday knowing that she will never truly live up to the Hopes. That she has to try everyday to be the best she can be. Her very birth was mired in the expectation of a perfect child; given that she was practically a gift from the heavens to her parents.
This sets up Amy’s perfectionism, as the childhood experience of never living up to a projected ideal led her to want to be perfect (and as we’ll later see, the expectation that everyone else is too), to live life always through the gaze of another. Evidently this leads to a loss of one’s inner essence, one’s individuality and sense of self.
>“-I’d never really felt like a person, because I was always a product” (Book Quote)
Amy’s obsession with personas can be seen as emerging from this, as she adapts a personality depending on who she’s interacting with, as to always be the most appealing she can, she is Amazing Amy after all.
>”I’m not sure, exactly, how to be Dead Amy. I’m trying to figure out what that means for me, what I become for the next few months. Anyone, I suppose, except people I’ve already been: Amazing Amy. Preppy ’80s Girl. Ultimate-Frisbee Granola and Blushing Ingenue and Witty Hepburnian Sophisticate. Brainy Ironic Girl and Boho Babe (the latest version of Frisbee Granola). Cool Girl and Loved Wife and Unloved Wife and Vengeful Scorned Wife. Diary Amy.” (Book Quote)
This general attitude leads to people trying to impress her as she places herself as someone special and especially someone to keep around. Not to mention she’s incredibly pretty and alluring. Enticing both the characters and viewers of the film through her enchanting aura. However we’ll see this dramatically backfire in her relationship with Nick, just you wait!
However for now we can focus on the beginning of their relationship as well as what I believe to be Amy’s view on romance.
I believe that Amy has an impossibly high standard of love, one that stems from her perfectionism and general inability to let down her guise of being amazing. Not to mention how her parents were a perfect match, Amy even referring to them as soul-mates.
>”They have no harsh edges with each other, no spiny conflicts, they ride through life like conjoined jellyfish—expanding and contracting instinctively, filling each other’s spaces liquidly. Making it look easy, the soul-mate thing.” (Book Quote)
In her childhood it’s implied that she was into romance novels, specifically Jane Austen’s Pride and Prejudice, which obviously contributes to the idealization of romance, of a literal scripted love.
>”You were an alienated teen and only Elizabeth Bennet understood you”
I think this little quote is incredibly indicative; it establishes a sense of alienation, of Amy never quite fitting in and blending with others.
>”So many lessons and opportunities and advantages, and they never taught me how to be happy. I remember always being baffled by other children. I would be at a birthday party and watch the other kids giggling and making faces, and I would try to do that too, but I wouldn’t understand why. I would sit there with the tight elastic thread of the birthday hat parting the pudge of my underchin, with the grainy frosting of the cake bluing my teeth, and I would try to figure out why it was fun.” (Book Quote)
Back to the topic of romance, through these stories it allowed her to imagine her perfect romance: if Amy could find that one person that truly understood her, beyond the illusion, that then would constitute a perfect union of love. She does deep down (whether consciously or not) want to be loved for who she is; not the idealized, palatable, literal marketed version of herself. Thus she holds trust as a premium, expecting that if she does the Herculean task of unspooling and revealing herself to another, that the other person would love her no matter what.
>”Can you imagine, finally showing your true self to your spouse, your soul mate, and having him not like you?” (Book Quote)
However all of this culminates in an impossibly high standard of a lover, of a practically divine mythical love; where one loves totally and absolutely. Of course where this neurosis is most demonstrated is in Nick and Amy’s relationship.
Amy comments that after meeting Nick she finally felt like a person as he brought out a side of herself that hadn’t been seen, in her own words “a lightness and an ease”, something that Amy enjoyed. In her eyes they had the perfect relationship in the beginning, Nick was her compliment with the witty banter, with their inside jokes, and charm.
However this doesn’t just vanquish her childhood neuroses, through her desire to be seen as perfect, she modifies herself to be a “cool girl” for Nick, complying endlessly to standards to maintain this perception.
>” When I met Nick Dunne, I knew he wanted a cool girl and for him, I’ll admit, I was willing to try.”
Amy essentially became Nick’s image of a perfect girl, witty, fun, and most of all easy-going and forgiving.
Yet one cannot live forever in images and ideas; and as such, the real, true Amy emerged. The Amy that cares too much, that’s hard to get along with, that is a controlling perfectionist. She also tests Nick through the treasure hunts, weaving in little details about their relationship as to challenge Nick and hope that he remembers the things they do together as deeply as she does. Combined with the 2008 recession and declining health of Nick’s mother (the consequences of which will be explored later). As well as Nick’s growing dissatisfaction in the relationship (evidenced by his worsening performances in the treasure hunts, the cheating, using her for sex and ignoring her otherwise, etc). The illusion both Nick and Amy were living in crumbled; they couldn’t possibly sustain their relationship as they were both striving to fulfill reciprocating images for the other.
One of the biggest parts of her character is Amy’s elitism and entitlement, in which she thinks of herself as someone superior, someone that deserves to be loved absolutely for who she is, although only to people she considers worthy.
>”She’s easy to like. I’ve never understood why that’s considered a compliment—that just anyone could like you.” (Book Quote)
Once again this stems from her childhood, in a seemingly contradictory way, she also sees herself as special for being the one that survived from her mother’s attempts, as well as the fact that her birth was so tumultuous that she would be an only child. From this also stems her entitlement for love.
Amy actively looks down upon women she considers “average”, whom she sees as coming from mediocrity and continuously perpetuating that in their lives. She scoffs at them with her wealthy parents and NYC background until her marriage with Nick crumbles. Only then does she realize that she’s become the very woman she would previously disdain. A woman with a failing marriage, the loss of her previous wealth following the recession, and moving to a failed development in Missouri (What the hell’s in Missouri?) for Nick’s mother.
I truly believe this, combined with Nick’s infidelity, and most importantly the loss of her idyllic love culminated in the iconic Gone Girl plan.
>”Nick took and took from me until I no longer existed, that’s murder. Let the punishment fit the crime”.
Nick took Amy’s identity, her sense of self that she so generously revealed to him and rejected her. Implying that she would only be loved if played the role of the “cool girl”; stripping her of who she really was, losing herself in yet another persona. Although Amy admits she doesn’t really have a personality and lives through personas, she still has a semblance of self that she holds dear.
>”-made me realize that there was a Real Amy in there, and she was so much better, more interesting and complicated and challenging, than Cool Amy”. (Book Quote)
Worse yet, Nick had cheated on her with a “newer, younger, bouncer Cool Girl”, leaving Amy in the dust, surely damaging her pride.
But Amy truly fell in love with her idealized version of Nick, believing that she was responsible for shaping that version of Nick. That she deserved that man in his entirety, of course what gets Amy to come back to Nick is the Sharon Scheiber interview, in which he promises to make up with Amy in just the way that makes her think that Nick is the one person who gets her. He makes the little references to their inside jokes (2 fingers on the chin when they’re not bullshitting the other) and a reference to the end of the treasure hunt (always a contentious issue in their relationship). She’s reminded of who he was, that he was once perfect for her, who else could know how to appeal to her heart in just the right way? With the same passion and conviction she reverses the judgment on Nick, clawing her way back to him. She does so in an especially brutal manner, slashing Desi’s throat with a boxcutter right after he climaxes. Putting aside my enormous personal bias against Desi, he was technically an innocent man, taking a great risk in sheltering Amy. However it’s clear that Amy sees him as merely an asset and something to be disposed of once he serves his value, as another prop in her ever evolving masterplan; she did string him along for years through their letter correspondences. He was just another casualty in Amy’s search for idyllic love. She comes back dramatically, literally falling into Nick’s arms while still covered in Desi’s blood like a dress; fabricating an elaborate story about a love obsessed former boyfriend kidnapping and violating her. Despite the glaring holes in her whole story (If Amy’s marriage was as bad as she made it out to be, why did she go back to Nick so easily? How did she get access to a knife and kill him so seamlessly? Why didn’t Amy do anything when she discovered the stuff in Margo’s shed? etc), law enforcement, media, and the public all fully believe it, infatuated with the persona and narrative that Amy’s created for herself. In the end she traps Nick into the marriage and eventually, the family. The last shot of the film is a haunting recall to the beginning shot of the film, as Amy has both revealed and secured herself to be the master of the narrative, finally obtaining her perfect love, no matter what the cost may have been.
Conclusion
Through a constant demand in Amy’s childhood emerges a need for perfection, simultaneously bringing about a sense of superiority and entitlement. The use of personas and façades facilitate this, painting Amy as the most amazing cool girl for whomever she’s performing for, to feed her need to be seen as perfect and desirable. Yet there emerges a psychological detachment from others; as the need to perform inevitably leads to an internal hollowness. However underneath all these layers there also lies the true Amy who has the deep unconscious desire of wanting to be loved absolutely, to have a perfect union of love where she can reveal herself fully and be loved for who she is truly.
>disclaimer for tumblr lol, this is not me trying to claim Amy was innocent I am fully aware that she’s a terribly entitled and narcissistic person but she can still be complex and have relatable desires & be a person even if she’s massively fucked up!!
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Is Chef alive? Like please tell me that man is still out there living his best life.
chef is...Alive.
but i wouldn't say he's living his best life, no.
( sigh...tw for sexual assault, coercion and violence )
so basically, when stan figured out that e.t. tenorman was cartman, which, an anon asked if if stan knows e is cartman...yes, he does.
and all too well.
his music savant boy synesthesia went crazy when cartman started talking the first time they reunited and he couldn't place why this man he'd never met before sounded oddly familliar and why...
his voice sounded like the worst sound in the world.
but he didn't need to wait long for his answer, because right before their first big band meeting ended and all the music/marketing execs, scott, jimmy and kenny left the room, cartman caught stan by his shirt front, yanked him violently towards him and whispered...
"hello, shannon." ;)
AAAAAAAAAAAAAAAAAAAAAAA FUCK YOU!!!!
so basically cartman is black-mailing ravenstan into being complaint and doing whatever he wants and honestly, more than telling people that raven is stan...e knows that stan doesn't care about himself, he doesn't care about getting hurt/what happens to him...but that the way to hurt him...
is by hurting other people.
specifically the people he cares about.
so when ravenstan tries to back out of the band bc fuck this, who cares if it's his dream, it's not worth this...it's fucking not.
so stan is like "what. do. you. want."
and cartman is like..."what i've always wanted, of course..."
"your compliance, your undying devotion..."
"your body."
AAAAAAAAAAAA I HATE YOU I HAAATE YOU
i want to Scream, oh my GOOOOD!!!!! FUCK YOU
and then he's basically like "here's the deal, sh@n..."
( he misgenders stan a lot by the way...please die )
"either you give me what i want, whatever i want, whenever i want or else everyone around you, all the stupid, silly little people you love...will suffer for your spite and disobedience. is that clear?"
and stan just rolls his eyes like "fuck you, cartman. you're all talk; that's all you've ever been. all bark no bite, you fucking purse perro."
and cartman is like..."oh?" takes his phone out, dials a number & says
"do it."
and about ten minutes later, kenny calls him and is like
"stan??? S-STAN??? ARE YOU THERE???"
"DAD HAS BEEN SHOT."
AAAAAAAAAAAAAAAAAAAA FUCKFUCKFUFKC
and stan is crying and screaming like "oh my god, oh my god, fuckfuckfuck!!!!! is-is he okay...ken, is he--is he--"
glaring at cartman, ready to lunge, shocked, horrified...
Disgusted.
and ken replies "no...no he's...he's alive. it was just his shoulder, but, oh my god, stan--holy FUCK. we have--we have to go see him, stan!!"
and stan wants to tell them it's this PINCHE PENDEJO CARTMAN who terrorized him his whole childhood, but cartman just shakes his head and mouthes 'no' then lifts his finger to say 'shh' and then takes that same finger and runs it across his throat as if to say...
'talk and i'll kill him.'
so stan's face crumples bc he's Helpless and he has no choice, so he just chokes back a sob and is like 'no, we can't. we have this record deal. we have to sign the contract tomorrow. it's—it’s important."
and kenny is aghast like "mORE IMPORTANT THAN DAD ALMOST DYING??? STAN!!! WHAT ARE YOU EVEN SAYING, FUCK THAT WE HAVE TO SEE DAD, WE HAVE TO--"
and stan just goes "We’re. Not. Going." and hangs up.
cartman snickers and smirks and stan's face's so mad and sad. he wants to scream like this is so fkn horrible this is his worst nightmare
...then chef calls him.
dad.
the only dad he's ever known.
and cartman just smiles and goes
"tell him you hate him and you never want to see him again."
and stan is shaking his head, he's practically pleading, shouting
"nonoNONONO!!! anything. pl-please don't make me do this, p-ple--"
but cartman simply commands
"or else."
so chef on the phone is like "h-hey, blue. look, i'm okay, i'm okay. don't cry, i know how you are kid. i'm gonna be alright, it's gonna take more than some dumb bullet to put your old man in the ground. the whole thing was so odd...? they think it was...a stray bullet. crossfire. gang stuff. you know how it is out here. but it just 'minded me of how short life can be, how fast things can go. so don't worry. and i know...i know i was cross with you and ken for leaving. i know i said it was a useless dream and you two would come home all heartbroken with your tails between your legs...but you're making a real name for yourself! well, a fake one, i suppose, hah. but i just wanted to say...that i'm real proud of you, kiddo. and i--i miss you.
i love you, stanley."
and stan's just listening, crying wordlessly, clutching his phone so hard that his knuckles go white and all he wants to do is tell his dad he loves him and he's sorry, he's so fucking sorry, this is all his fault, this is all his fucking fault like always, for dreaming to big and being oblivious and a fuck up and getting everyone wrapped up in his mess
but he can't...so in a deadpan with his eyes shut, all he says is
"i hate you."
and chef's like "haha, real funny, stan. but if you're tryna hurt my heart to distract me from my shoulde--"
and stan just interrupts him in the same terse, robotic voice.
choking back sobs and screams, shaking so hard he can't see.
"listen to me. i never...i never want to speak to you again. ken...ken feels the same. don't call me. or them. don't call here ever again. ever. don't try and reach out, don't look for us. things are different now."
and chef is so confused and sad and scared like he literally just got shot and somehow this is worse...this is so much work. so with his heart breaking in his voice, he says...
"is that...is that really want you want, son?"
and stan just goes...
"it's..."
and he can barely say it, holy fuck. but he does and it's
"what i want."
but that's not all.
oh, no, my friends.
because it's time for the big finish.
the stan finale.
ravenstan grits his teeth, tears and blood in his mouth, then says
"and i'm not your son.
you're not...
...you're not my real dad.
never have, never will be.
goodbye."
and clicks off and FUCK. it's not true, it's all a fucking lie. but he needed to say something that hurt so badly that his dad wouldn't call him again...something so excruciating that it would end it all.
and cartman just gives him a round of applause while stan is sneering and seething and sobbing because he just had to do the second worst thing he's ever done in his life and cartman is...
clapping and cheering.
it's sick.
and cartman's like "bravo. that was quite the performance, marsh. you're quite the little actress, aren't you?"
AAAAAAAAAAAA I'M SO MAD!!! DIEDIEDIIIIE
this is all part of a very horrible flashback chapter way in the future and i will say that it ends...with cartman telling him to do something, the awful sound of his belt unbuckling...
and stan's knees hitting the floor.
I'M SICK!!!!! AAAA!!! and it's so horrible because it's his whole life, it's his dad all over again ( yes, i'm disgusted ) and him threatening to punish shelley and sharon if he doesn't comply, it's all the horrible men at ruffians, their horrible, hungry hands and mouths and stares all over him so he could sing on fridays. and now it's being indebted to cartman, being trapped again, forced to do disgusting shit. Again.
one bird cage to the next...who cares if it's golden, right?
but yeah, the boys get signed, everyone is super excited and stan's like yay...yippee...this is so fun. kenny, ofc, thinks that chef just cut ties, decided he doesn't support their dreams and that's that. also the other boys slowly get coerced by cartman in different ways...i will say that kenny is super addicted to coke and cartman is basically using that to control them and keep them disillusioned and devoted.
one last thing is that during marj's party in the cd manwhorsion during my second favorite chapter, cartman is talking to kyle and the blondies haus and is like 'i see you've met my songbird...pretty isn't she? well trained too. sings whenever i ask, isn't that right, raven?'
and idk his hand is like halfway up raven's shirt and raven is just laughing and nodding looking so ready to die, downing his drink.
and once he gets away, raven is bolting for the door and kyle's super concerned like 'hey...are you okay? that guy...i don't like the way that guy was talking to you." super protective crush mode jersey activate.
and stan's just like "don't, kyle. it's fine. i-i'm fine...."
and kyle is like "you don't--you don't look fine, raven...you look..."
and stan, who never raises his voice is like
"I SAID LEAVE. IT. ALONE. JERSEY.”
and storms out.....aaaaaaaaaa fuck we're in hell.
anyways! cheers! mazel! enjoy your horrible, deplorable, hurt no comfort lore that makes me want to literally Krill Myself.
-uncle nina, who is going to murder rm!cartman w/ my bare hands
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