David Fincher

Ever since Alfred Hitchcock’s decline and death, any number of filmmakers have queued up to become the recognized heir to the Master of Suspense. Francois Truffaut’s The Bride Wore Black, Brian De Palma’s Obsession, M. Night Shyamalan’s Signs all the Master’s fingerprints.

Yet Fincher’s Gone Girl, which twists many Hitchcock themes into a double-helix of tension and release, appears to have The Master’s DNA. Here’s a piece I wrote for Yahoo! Films. Care to talk about the Hitchcock elements — thematic, cinematographic, editing and aural — in Fincher’s work?