In the chilling psychological thriller The Gift, directed by and starring Joel Edgerton, the seemingly simple act of gift-giving takes a sinister turn. As the film progresses, the gifts become increasingly unsettling, culminating in a final “gift” that leaves audiences questioning everything. The film’s ending is designed to be ambiguous and disturbing, prompting viewers to dissect the true meaning behind Gordo’s (Edgerton) actions and the devastating impact on Simon (Jason Bateman) and Robyn (Rebecca Hall). To truly understand the unsettling nature of The Gift‘s conclusion, we need to delve into the layers of manipulation, doubt, and revenge that Edgerton masterfully crafts.
Unpacking Gordo’s “Gift”: Seeds of Doubt and Marital Discord
Gordo’s initial gifts, like the wine and the koi fish, are strange and intrusive, but they are merely precursors to his real “gift”: the insidious doubt he plants between Simon and Robyn. This doubt acts as a wedge, slowly driving them apart and forcing Robyn to question the man she thought she knew. She uncovers Simon’s dark past as a high school bully, learning about the cruel act he committed against Gordo that irrevocably altered Gordo’s life trajectory. Further unsettling Robyn is Simon’s present-day ruthlessness, evident in his unethical climb up the corporate ladder.
Joel Edgerton in The Gift movie
However, the film’s portrayal of Robyn’s reaction to these revelations feels somewhat unconvincing. The script struggles to establish a believable foundation for her supposed naiveté regarding Simon’s character flaws. There’s a disconnect between the film’s attempt to paint Robyn as fragile and confused, and the audience’s expectation of a more nuanced and perceptive character. This somewhat stereotypical depiction of Robyn becomes a point of contention in understanding the film’s overall message.
The Ultimate “Gift”: A Calculated Act of Psychological Warfare
The most disturbing element of The Gift‘s ending revolves around Gordo’s final, devastating “present.” Hidden amongst baby gifts, Simon discovers a video. This video depicts Gordo looming over an unconscious Robyn, whom he incapacitated by drugging her drink. The implication is chillingly clear: Gordo suggests a possible sexual assault and, consequently, casts doubt on the paternity of Robyn’s newborn child. This is the crux of Gordo’s revenge. He aims to dismantle Simon’s life by attacking what Simon seemingly values most: his wife and family, his “property.”
The film pivots from hinting at Simon’s potential culpability to firmly establishing Gordo as the antagonist. The true “tragedy,” as the film presents it, unfolds in the maternity ward. Simon’s distress at the mere possibility that the baby might not be his, and the horrifying implication of Robyn’s potential rape, becomes the focal point of the film’s climax. The intended “horror” and Gordo’s ultimate payback is not Robyn’s potential trauma, but Simon’s agonizing uncertainty and the violation of his perceived ownership over his wife and child. The film seems to suggest that Simon’s past bullying has earned him this torment, a twisted form of comeuppance where his deepest fears are weaponized against him.
Robyn’s Unawareness: A Troubling Narrative Choice
A particularly unsettling aspect of The Gift‘s ending is Robyn’s complete and utter obliviousness to the possibility of her own assault. She remains blissfully unaware of the cloud of doubt and potential violation hanging over her and her newborn. The film presents this ignorance not as a flaw in the narrative but almost as a desired outcome.
However, the original article posits a crucial point: the plausibility of Robyn’s complete unawareness is highly questionable. The article argues that the physical realities of sexual assault, particularly one intended to cause pregnancy, would likely leave Robyn with undeniable physical evidence. The film, however, seems to disregard this reality, leaning into the ambiguity for dramatic effect and to maximize Simon’s psychological distress.
The film’s deliberate ambiguity surrounding the paternity and the assault is crucial to its intended impact. The ending’s “punch” hinges on this very uncertainty. The disaster for Simon isn’t portrayed as being ignorant about female biology, but rather as being trapped in a state of perpetual doubt, never truly knowing if his “property” has been violated. The film operates on the disturbing premise that this uncertainty, this potential violation of Simon’s possession, is the ultimate horror.
A Clueless Perspective? The Film’s Blind Spot
Ultimately, The Gift leaves a lingering sense of unease, not just because of its twisted plot, but also due to its problematic handling of Robyn’s character and the focus on Simon’s suffering. The film seems to reflect a fundamental cluelessness about women, their experiences, and the complexities of trauma. By prioritizing Simon’s distress over Robyn’s potential violation and portraying her unawareness as almost desirable, The Gift inadvertently reveals a disturbing perspective, one that prioritizes male anxiety over female experience and potentially reinforces harmful patriarchal notions of women as property. The ending, while designed to be a shocking twist, ultimately leaves a sour taste, prompting reflection on the film’s underlying messages and its potentially skewed perspective on gender dynamics and trauma.
