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| Rosamund Pike: the slow burner poised to move into the big time | Rosamund Pike: the slow burner poised to move into the big time |
| (about 1 hour later) | |
| Film stardom is a volatile business and also an inescapably public one. There is endless speculation about rising and falling stock, who’s up and who’s down, who’s promising and who’s past it. | Film stardom is a volatile business and also an inescapably public one. There is endless speculation about rising and falling stock, who’s up and who’s down, who’s promising and who’s past it. |
| As actors see themselves as artists, they understandably reject the idea that they are also commodities. It’s the work, darling, always the work. But there are moments when the hyperbolic prominence of the work is such that it amounts to a kind of personal IPO, a direct declaration to the market: buy me. And that moment has arrived for Rosamund Pike. | As actors see themselves as artists, they understandably reject the idea that they are also commodities. It’s the work, darling, always the work. But there are moments when the hyperbolic prominence of the work is such that it amounts to a kind of personal IPO, a direct declaration to the market: buy me. And that moment has arrived for Rosamund Pike. |
| With her co-starring role in David Fincher’s adaptation of the bestselling thriller Gone Girl, Pike is strapped into the driving seat of a speeding, honking, all-lights-flashing Hollywood juggernaut. Gillian Flynn’s novel was virulently popular and her antiheroine makes for the sort of zeitgeist-hot part that in the past would have been earmarked for Nicole Kidman or Kate Winslet, respected actresses with major box-office portfolios. | With her co-starring role in David Fincher’s adaptation of the bestselling thriller Gone Girl, Pike is strapped into the driving seat of a speeding, honking, all-lights-flashing Hollywood juggernaut. Gillian Flynn’s novel was virulently popular and her antiheroine makes for the sort of zeitgeist-hot part that in the past would have been earmarked for Nicole Kidman or Kate Winslet, respected actresses with major box-office portfolios. |
| Having made an eye-catching debut as a Bond girl in 2002’s Die Another Day, Pike has enjoyed a perfectly decent career, occasionally playing opposite the likes of Johnny Depp, Ryan Gosling and Tom Cruise. But no one expected her to land one of the most coveted film roles of recent years – Natalie Portman, Charlize Theron and Emily Blunt were said to be in the running – least of all, it seems, Pike herself. | |
| When asked in interviews what made her feel that she could get to the complex core of Amy Elliott-Dunne, an enviably cool wife whose disappearance reveals a surprising hidden character, Pike has deferred to Fincher, noting that he detected in her a “dark side”. | |
| “He sees things you may not want anyone to see,” she said. “Now I have to prove him right – I have to show the world that I’m as dark as he thinks I am.” | |
| But, known for her luminous beauty and an aristocratically composed manner, Pike obviously had to work hard to locate that inner darkness. As Fincher told Vogue: “I do remember a good six months into the movie, I was walking on to the set and I overheard her speaking with Ben [Affleck] after this particularly diabolical scene and her asking him, ‘What do you think David saw in me? What made him think he’d want me for this?’” | But, known for her luminous beauty and an aristocratically composed manner, Pike obviously had to work hard to locate that inner darkness. As Fincher told Vogue: “I do remember a good six months into the movie, I was walking on to the set and I overheard her speaking with Ben [Affleck] after this particularly diabolical scene and her asking him, ‘What do you think David saw in me? What made him think he’d want me for this?’” |
| Fincher himself says he was looking for an “orchid”, someone who did that “only child thing”. He was in no doubt that she had the carriage to play a kind of Carolyn Bessette-Kennedy archetype, all coolly controlled power. The question was whether she could play “a desperate narcissist”. | Fincher himself says he was looking for an “orchid”, someone who did that “only child thing”. He was in no doubt that she had the carriage to play a kind of Carolyn Bessette-Kennedy archetype, all coolly controlled power. The question was whether she could play “a desperate narcissist”. |
| As it turns out, Pike is an only child of protective parents. The daughter of two opera singers, she was brought up in London in a rarified world of classical music and the certain knowledge that she wanted to perform. | As it turns out, Pike is an only child of protective parents. The daughter of two opera singers, she was brought up in London in a rarified world of classical music and the certain knowledge that she wanted to perform. |
| A fine cellist, her real interest lay on the stage and, having been packed off to Badminton boarding school in Bristol, she joined the National Youth Theatre. Her first big break was landing the part of Juliet in the NYT’s production of Romeo and Juliet when she was 17. But it caused a bout of anxiety about her lack of life experience. | A fine cellist, her real interest lay on the stage and, having been packed off to Badminton boarding school in Bristol, she joined the National Youth Theatre. Her first big break was landing the part of Juliet in the NYT’s production of Romeo and Juliet when she was 17. But it caused a bout of anxiety about her lack of life experience. |
| It was pointed out to Pike by a fellow student that, unlike Juliet, she’d never been in love and she began to fear that her intellect might outshine her emotions. “I remember being deeply worried,” she later recalled, “that because I got good A-levels I wouldn’t be any good as Juliet.” | It was pointed out to Pike by a fellow student that, unlike Juliet, she’d never been in love and she began to fear that her intellect might outshine her emotions. “I remember being deeply worried,” she later recalled, “that because I got good A-levels I wouldn’t be any good as Juliet.” |
| She needn’t have worried. The role got her an agent, and her A-levels got her to Oxford, where she studied English. But halfway through her degree, she decided to quit and go to drama school. Strangely, perhaps, no drama school wanted her and, with tail between legs, she returned to get a 2:1. | She needn’t have worried. The role got her an agent, and her A-levels got her to Oxford, where she studied English. But halfway through her degree, she decided to quit and go to drama school. Strangely, perhaps, no drama school wanted her and, with tail between legs, she returned to get a 2:1. |
| Although she claims she was prepared to get a job in Waterstones, the truth is she effectively wafted into showbusiness, cast as Miranda Frost in Die Another Day almost before the ink had dried on her finals. It says something of her orchid-like childhood that she said that at the time she had never seen a Bond film. | Although she claims she was prepared to get a job in Waterstones, the truth is she effectively wafted into showbusiness, cast as Miranda Frost in Die Another Day almost before the ink had dried on her finals. It says something of her orchid-like childhood that she said that at the time she had never seen a Bond film. |
| Professionally, it was a huge boost, but, psychologically, she found playing the part of the desirable Frost a little confusing. She realised that at an impressionable age it provided a false sense of self, which she struggled to equate with her real self. As a result, she worried about “being caught out in some way or not being right” and became nervous about public attention. | Professionally, it was a huge boost, but, psychologically, she found playing the part of the desirable Frost a little confusing. She realised that at an impressionable age it provided a false sense of self, which she struggled to equate with her real self. As a result, she worried about “being caught out in some way or not being right” and became nervous about public attention. |
| Not that she exactly hid herself away. Instead, she gained rave reviews for, among other things, appearing naked on stage and simulating an orgasm in Terry Johnson’s Hitchcock Blonde. | Not that she exactly hid herself away. Instead, she gained rave reviews for, among other things, appearing naked on stage and simulating an orgasm in Terry Johnson’s Hitchcock Blonde. |
| Pike wouldn’t be the first young actress in the spotlight to wonder about her true identity. What made things more difficult for someone who was a naturally reserved personality was that on two occasions she found her private life seeping out awkwardly into the realm of magazine gossip. | Pike wouldn’t be the first young actress in the spotlight to wonder about her true identity. What made things more difficult for someone who was a naturally reserved personality was that on two occasions she found her private life seeping out awkwardly into the realm of magazine gossip. |
| At university and for a while afterwards, she went out with the actor Simon Woods, who later turned out to be gay, having begun a relationship with Burberry’s creative director, Christopher Bailey. Then her four-year relationship with the film director Joe Wright came to an abrupt end, when he finished it soon after save-the-date cards had been sent out announcing their marriage. | At university and for a while afterwards, she went out with the actor Simon Woods, who later turned out to be gay, having begun a relationship with Burberry’s creative director, Christopher Bailey. Then her four-year relationship with the film director Joe Wright came to an abrupt end, when he finished it soon after save-the-date cards had been sent out announcing their marriage. |
| Neither event should reflect on Pike, but she was involuntarily cast in the role of romantic victim. For a period in her early 30s, it seemed as if a public explanation of her singleness was expected. As the journalist Lynn Barber commented in an interview with her: “It slightly suggests that she is not very good at ‘reading’ men, perhaps because she is, as she admits, a great romantic.” | Neither event should reflect on Pike, but she was involuntarily cast in the role of romantic victim. For a period in her early 30s, it seemed as if a public explanation of her singleness was expected. As the journalist Lynn Barber commented in an interview with her: “It slightly suggests that she is not very good at ‘reading’ men, perhaps because she is, as she admits, a great romantic.” |
| She is now pregnant for a second time; she already has a son with her boyfriend, Robie Uniacke. Like Woods, he’s an old Etonian, but with five children and a string of former wives and girlfriends, he’s unlikely to be springing from any closet. A former heroin addict who is 18 years her senior, he may have helped unleash not her darker side but perhaps a more mischievous one. | She is now pregnant for a second time; she already has a son with her boyfriend, Robie Uniacke. Like Woods, he’s an old Etonian, but with five children and a string of former wives and girlfriends, he’s unlikely to be springing from any closet. A former heroin addict who is 18 years her senior, he may have helped unleash not her darker side but perhaps a more mischievous one. |
| But then perhaps Pike is a slow burn, someone who reveals aspects of her character over a long time. No one, after all, was quite prepared for the immaculate sense of comedy she brought to her depiction of the ravishingly beautiful and superbly dim Helen in An Education. | But then perhaps Pike is a slow burn, someone who reveals aspects of her character over a long time. No one, after all, was quite prepared for the immaculate sense of comedy she brought to her depiction of the ravishingly beautiful and superbly dim Helen in An Education. |
| There is no getting away from her soap-ad skin porcelain features. As she once acknowledged, she’s probably never going to play a junkie. But if there is another quality that blows under many of her roles it’s a kind of ethereal detachment. | There is no getting away from her soap-ad skin porcelain features. As she once acknowledged, she’s probably never going to play a junkie. But if there is another quality that blows under many of her roles it’s a kind of ethereal detachment. |
| Sometimes, it can suggest innocence, other times intelligence or, in the case of Helen, a magnificent obtuseness. But it seems to be encoded in her bone structure, the sense that anyone that soothingly prepossessing isn’t fully engaged with the mundane realities of this world. | Sometimes, it can suggest innocence, other times intelligence or, in the case of Helen, a magnificent obtuseness. But it seems to be encoded in her bone structure, the sense that anyone that soothingly prepossessing isn’t fully engaged with the mundane realities of this world. |
| Presumably that’s what Fincher wanted too. The issue is whether she can come back down to earth with a convincing bang. Because the story involves unreliable narrators, it necessitates acting within acting, jackknife character changes, and melodramatic shifts of register. Some critics have not been entirely persuaded. The New Yorker’s Anthony Lane thought that, despite Pike’s best efforts, her Amy “sticks out like a cartoon in a newsreel”, whereas the Guardian’s Peter Bradshaw applauded her “fascinatingly poised performance”. | Presumably that’s what Fincher wanted too. The issue is whether she can come back down to earth with a convincing bang. Because the story involves unreliable narrators, it necessitates acting within acting, jackknife character changes, and melodramatic shifts of register. Some critics have not been entirely persuaded. The New Yorker’s Anthony Lane thought that, despite Pike’s best efforts, her Amy “sticks out like a cartoon in a newsreel”, whereas the Guardian’s Peter Bradshaw applauded her “fascinatingly poised performance”. |
| However, this is one of those occasions when the only verdict that matters is that of the audience. Pike has racked up enough pleasing notices, but with above-the-title stardom it’s a different game. | However, this is one of those occasions when the only verdict that matters is that of the audience. Pike has racked up enough pleasing notices, but with above-the-title stardom it’s a different game. |
| Along with Ben Affleck, she has to drive the film, take it all the way into the hearts and minds of watching millions. What’s striking about the cinema is how few people there are who possess the screen presence to do that. | Along with Ben Affleck, she has to drive the film, take it all the way into the hearts and minds of watching millions. What’s striking about the cinema is how few people there are who possess the screen presence to do that. |
| If Pike brings it off, she will establish herself among the blue-chip company of the A-listers. If she fails, then she may not get another chance. Hollywood can be a ruthless trading pit. Success may open all doors. But miss the opportunity and you’re gone, girl. | |
| THE PIKE FILE | THE PIKE FILE |
| Born 27 January 1979 in Hammersmith, London, to the opera singers Caroline and Julian Pike. As a young child, she travelled around Europe with her parents as they performed. | Born 27 January 1979 in Hammersmith, London, to the opera singers Caroline and Julian Pike. As a young child, she travelled around Europe with her parents as they performed. |
| Best of times Right now is pretty good. She’s pregnant with her second child and starring in the biggest film of her career. | Best of times Right now is pretty good. She’s pregnant with her second child and starring in the biggest film of her career. |
| Worst of times The public humiliation when Joe Wright ended their engagement after they had announced their wedding has dwarfed any setbacks in her professional career. As she said at the time: “I don’t think you ever get over something like that, do you?” | Worst of times The public humiliation when Joe Wright ended their engagement after they had announced their wedding has dwarfed any setbacks in her professional career. As she said at the time: “I don’t think you ever get over something like that, do you?” |
| What she says “Ambition has become such an ugly word, hasn’t it? But when you look up the definition, ambition is to achieve distinction in your chosen field and most of us would own up to that, wouldn’t we? | What she says “Ambition has become such an ugly word, hasn’t it? But when you look up the definition, ambition is to achieve distinction in your chosen field and most of us would own up to that, wouldn’t we? |
| “So I’ve just decided to be a little bit less frightened and a bit less ‘Please like me and please give me a job’, and a bit more ‘This is my opinion and this is what I want to do’.” | “So I’ve just decided to be a little bit less frightened and a bit less ‘Please like me and please give me a job’, and a bit more ‘This is my opinion and this is what I want to do’.” |
| What they say: “Amy [the role she plays in Gone Girl] has many sides to her and Rosamund was able to really show one emotion to the next. It’s a pretty thrilling and frightening talent.” | What they say: “Amy [the role she plays in Gone Girl] has many sides to her and Rosamund was able to really show one emotion to the next. It’s a pretty thrilling and frightening talent.” |
| Director David Fincher | Director David Fincher |
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