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A dramedy that won the Best Picture Oscar for 1999. It was the break-out film for writer Alan Ball (Six Feet Under, True Blood) and director Sam Mendes. Chris Cooper also got his launch here, and there was great hype for a while about the younger actors, though unfortunately they haven't amounted to all that much since. Finally, Kevin Spacey won his second Oscar here.Notable for being a dark, cynical, and dead-funny look at modern suburbia, possibly encouraging the later trend of arty/angsty, relatively-obscure dramas getting all the Best Picture nods. It's also notable for juggling a ton of characters, successfully, where most films top out at three or four.As to the plot, the opening narration tells it all:
"...Of course, I don't know that yet. And, in a way, I'm dead already."
The characters in the film:
Lester Burnham (Kevin Spacey), a Henpecked Husband and personality-less advertising-magazine wage slave who feels trapped in a shallow and meaningless life. He is the film's Posthumous Narrator and main character, and the story concerns his efforts to find happiness. "Both my wife and daughter think I'm this gigantic loser... and they're right."
Carolyn Burnham (Annette Bening), his wife, head of a real-estate firm and a Stepford Smiler of alarming caliber. "My company sells an image. It's part of my job to live that image."
Jane Burnham (Thora Birch), their daughter of sixteen years. "Janie's a pretty typical teenager: angry, insecure, confused. I wish I could tell her that's all going to pass... but I don't want to lie to her." She resents the way her father has begun to withdraw from her, and, in the very first scene of the movie, takes someone up on an offer to murder him.
Angela Hayes (Mena Suvari), who is on the cheerleading team with Jane and quickly becomes the object of Lester's fantasies, causing him to start an intensive work-out regimen in an attempt to seduce her. She acts more worldly and experienced than Jane, and isn't afraid to use her body to advantage: "If people I don't even know look at me and want to fuck me, it means... I really have a shot at being a model!"
Ricky Fitts (Wes Bentley), the new next-door neighbor to the Burnhams and Jane's eventual love interest. He is a weird combination of Stalker with a Crush, Cloudcuckoolander and Shrouded in Myth (in regards to where he was before he moved here), and sees more clearly than anyone else in the cast. He is an experienced dealer of marijuana, becoming Lester's supplier, and carries a video camera everywhere to record interesting moments out of his life. "I didn't mean to scare you. I just think you're interesting."
Buddy Kane (Peter Gallagher), Carolyn's main business rival, the self-styled "King of Real Estate." He's powerful, success-minded, has enormously charismatic eyebrows, and appeals to her Stepford Smiler instincts: "In order to be successful, one must project an image of success at all times." Eventually, the two of them start an affair. He also introduces Carolyn to the shooting range, where she picks up a Smith & Wesson once owned by a man named Chekhov...
Barbara Fitts (Allison Janney), the colonel's silent, disjointed wife. She doesn't get many scenes, but Janney uses even her character's silence to communicate that there are some severe repression problems going on here.
Jim Berkley (Sam Robards) and Jim Olmeyer (Scott Bakula), a gay couple who are the Burnhams' next-door neighbors on the other side. Bakula has joked that these are the most normal people in the film — and the thing is, he's right. They help Lester develop his new work-out regimen.
Almost none of these characters are who they appear to be. The Burnhams evolve, spiraling in and out of happiness as the film progresses, while others are simply turned around on a single Wham Line.
This film provides examples of:
A-Cup Angst: Jane is looking up breast augmentation on the internet early in the movie. Subverted in that it turns out she is actually well-endowed, but her insecurity comes from the fact that one of her breasts is a little larger than the other.
Adopt the Dog: Lester holds back from taking the girl of his dreams, when he finds out that she's a virgin.
All Guys Want Cheerleaders: Played straight with Lester's attraction to Angela, and subverted by Ricky's attitude towards her. Double subverted then since Jane is also a cheerleader (although not a stereotypically blonde one).
Burger Fool: Lester becomes one voluntarily and, unlike his co-workers, seems to enjoy it.
Camera Fiend: Angela thinks Ricky is this but he films Jane because he thinks she's interesting, and stops when she asks him to. The scene where Jane strips off for him on camera points this out as, while she is topless, Ricky is pointing the camera at her eyes because of her expression.
Casting Couch: Angela boasts of sleeping with a photographer to enhance her modeling career. Turns out she was lying.
The Cheerleader: While Angela does fit the archetype, Jane is also a cheerleader. Carolyn mentions how dedicated she is to her routines as well.
Chivalrous Pervert: Lester's obsession over Angela is pretty squick-inducing, but when he actually has a chance to fulfill his fantasy he stops once he realizes that for all her bravado Angela is still an inexperienced little girl.
Hurricane of Euphemisms: When Carolyn catches Lester masturbating: "Oh, all right! So shoot me, I was whacking off! That's right, I was choking the bishop, chafing the carrot, you know, saying "hi" to my monster!"
If You Can Read This: There's a sign in Lester's cubicle at work that simply reads "Look Closer." This was just something the set designer just felt like decorating the set with. Director Sam Mendes noticed this after seeing the footage in the editing room, and the phrase "Look Closer" would eventually become the movie's tagline.
Imagine Spot: You'll never hear "Broadway" the same way again.
Informed Ability: Ricky says Jane is interesting, as opposed to Angela who is boring and "totally ordinary", though while onscreen, Angela's character, an aspiring model, is much more day-seizing and dynamic (or at least her stories are) than Jane who mostly just complains about her parents or serves as an audience/conversation partner for Ricky.
I Want My Beloved to Be Happy: Played with regarding Lester's attitude toward Carolyn's affair with Buddy. Lester ultimately seems rather indifferent to the affair itself, and wasn't so much happy for his wife finding happiness with someone else as he was delighted at being able to experience a bit of schadenfreude at seeing his wife, who had adopted a superior-than-thou attitude towards him and pretty much everyone throughout the movie (at least in public) being brought down a peg or two in a rather publicly humiliating fashion through being exposed as an adulteress in front of him and everyone he worked with.
Lester: You don't get to tell me what to do ever again.
Knight Templar: Col. Fitts, who subjects his own son to urinalysis drug screening.
Letting Her Hair Down: When Jane shows Ricky her breasts, she lets her hair down first. She is also shown with her hair down when she and Ricky have their intimate scene.
Loads and Loads of Characters: Lester Burnham, Caroline Burnham, Jane Burnham, Colonel Frank Fitts, Barbara Fitts, Ricky Fitts, Angela Hayes, Buddy Kane, Jim Olmeyer, and Jim Berkley. No, none of these are just filler characters—each of them plays a crucial role in the plot, or in someone else's characterization.
Loners Are Freaks: Ricky Fitts. Ironically, he is probably the most normal person in the movie.
Also an Ironic Meaningful Name: Ricky does not fit. It's not a coincidence that the movie starts when his family moves in next door.
Ricky's backstory is that he had a fit (flying into a rage and attacking another kid) that landed him in a mental hospital, and his father had a fit when he though Ricky was servicing Lester.
Madonna-Whore Complex: Presented straight initially with Jane as the Madonna and Angela as the Whore. Subverted as the movie goes on, where Jane embraces her sexuality and it's revealed Angela is still a virgin.
I had always heard your entire life flashes in front of your eyes the second before you die. First of all, that one second isn't a second at all, it stretches on forever, like an ocean of time. For me, it was lying on my back at Boy Scout camp, watching falling stars. And yellow leaves, from the maple trees, that lined our street. Or my grandmother's hands, and the way her skin seemed like paper. And the first time I saw my cousin Tony's brand new Firebird. And Janie... and Janie... and... Carolyn.
Nightmare Fetishist: Ricky's obsession with "beauty" extends to gazing with fascinated detachment at Lester's corpse lying in a pool of blood.
Nipple and Dimed: It is an R-rated movie. Subverted by Birch's topless scene, however, which emphasizes her vulnerability over her sexuality. More so with the other eventual nipples on display.
Power Hair: One of Carolyn Burnham's numerous ways of "projecting an image of success at all times." Notably in flashbacks to her younger days - where Lester describes her as happy - her hair is longer.
Rule of Symbolism: Mother of... The first shot of Lester at work he's reflected on a computer monitor. The text looks like jail bars. That's just ONE example. The film is ripe for Media classes.
Sexless Marriage: Lester and Carolyn. As Lester says it: "This hasn't been a marriage, for years, but you were happy as long as I kept my mouth shut. Well guess what, I've changed! And the new me whacks off when he feels horny, because you're obviously not gonna help me out in that department!"
What Could Have Been: The screenwriter, Alan Ball, originally wrote American Beauty for the stage, and in early drafts of the script, there was a prologue and epilogue in which Ricky and Jane are framed for and convicted of Lester's murder.
Chevy Chase and Jeff Daniels were two initial choices for the role of Lester.
Would Hurt a Child: Both Jane and Ricky get hit by their parents in the same scene with the other watching. Carolyn slaps Jane in a moment of rage while Colonel Fitts barges into Ricky's room to hit him for opening his private cabinet.