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Lester BurnhamÆs wife Carolyn hates him, his daughter Jane regards him with contempt, and his boss is positioning him for the ax--th e typical suburban nightmare. When youÆve got nothing to lose, you might as well risk everything. Provoked by forbidden passio ns, Lester decides to make a few changes in his life that are less mid-life crisis than adolescence reborn. The freer he gets, the h appier he gets, which is even more maddening to his wife and daughter. But Lester Burnham is about to learn that the ultimate freedo m comes at the ultimate price.
From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerising confidence and acuity epitomised by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose mid-life awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave. It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short-list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbour (Wes Bentley) transforms both Lester and Jane with his canny influence. Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylised pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he has also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the colour of roses--and of blood. --Sam Sutherland --This text refers to an out of print or unavailable edition of this title.
Watched this ages ago and fancied a re-run - it was just as good 2nd time roundPublished 24 days ago by tracey wilkinson
This film released was a living contraddiction: very well received, oscar-winning, a big box office success, but people did not realized the real beauty of it (and I guess most... Read morePublished 28 days ago by Elleppi
Very good film about the controversial American ways of life.Published 2 months ago by Fabrizio Scisci