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Als er sich auch noch in eine Freundin Mena Suvari seiner Tochter verguckt, schnappt er völlig über. Home Filme American Beauty.
Jetzt streamen:. Jetzt auf Amazon Video und 2 weiteren Anbietern anschauen. Lester Burnham befindet sich mitten in der Midlife-Crisis. Als Ehemann einer Karriere-besessenen Frau und Vater einer pubertierenden Tochter fühlt er sich schon lange nicht mehr besonders ernst genommen.
Aber auch in seinem Job ist er unglücklich. Er empfindet sein Leben in einer gutbürgerlichen Vorstadt-Siedlung als trostlos und unbefriedigend.
Die Ehe mit seiner hysterischen Frau Carolyn, die als Immobilien-Maklerin arbeitet, hat er schon lange aufgegeben. Und auch im Verhältnis zu seiner Tochter Jane fühlt er sich als Versager.
Sie wurde angeklagt die Ehefrau ihres Liebhabers angeschossen und lebensgefährlich verletzt zu haben. Sie bekannte sich schuldig und wurde zu 6 Jahren Gefängnis verurteilt.
Deine Bewertung. Vormerken Ignorieren Zur Liste Kommentieren. Schaue jetzt American Beauty. Mehr Infos: SD Englisch.
Kevin Spacey. Mena Suvari. Thora Birch. Annette Bening. The monotony of Lester's existence is established through his gray, nondescript workplace and characterless clothing.
He masturbates in the confines of his shower; [10] the shower stall evokes a jail cell and the shot is the first of many where Lester is confined behind bars or within frames, [8] [9] such as when he is reflected behind columns of numbers on a computer monitor, "confined [and] nearly crossed out".
Pennington argues that Lester's journey is the story's center. When Lester is caught masturbating by Carolyn, his angry retort about their lack of intimacy is the first time he says aloud what he thinks about her.
Mendes called it "the most satisfying end to [Lester's] journey there could possibly have been". With these final scenes, Mendes intended to show Lester at the conclusion of a "mythical quest".
After Lester gets a beer from the refrigerator, the camera pushes toward him, then stops facing a hallway down which he walks "to meet his fate". Mendes said that Ricky's staring into Lester's dead eyes is "the culmination of the theme" of the film: that beauty is found where it is least expected.
Professor Roy M. Anker argues that the film's thematic center is its direction to the audience to "look closer".
The opening combines an unfamiliar viewpoint of the Burnhams' neighborhood with Lester's narrated admission that this is the last day of his life, forcing audiences to consider their own mortality and the beauty around them.
If he's already dead, why bother with whatever it is he wishes to tell about his last year of being alive?
There is also the question of how Lester has died—or will die. Hall disagrees; she says by presenting an early resolution to the mystery, the film allows the audience to put it aside "to view the film and its philosophical issues".
Anker argues that "they are helpless in the face of the prettified economic and sexual stereotypes The film presents Ricky as its "visionary, He shows Jane what he considers the most beautiful thing he has filmed: a plastic bag, tossing in the wind in front of a wall.
He says capturing the moment was when he realized that there was "an entire life behind things"; he feels that "sometimes there's so much beauty in the world I feel like I can't take it On the cusp of having sex with Angela, he returns to himself after she admits her virginity.
Suddenly confronted with a child, he begins to treat her as a daughter; in doing so, Lester sees himself, Angela, and his family "for the poor and fragile but wondrous creatures they are".
He looks at a picture of his family in happier times, [35] and dies having had an epiphany that infuses him with "wonder, joy, and soul-shaking gratitude"—he has finally seen the world as it is.
According to Patti Bellantoni, colors are used symbolically throughout the film, [36] none more so than red, which is an important thematic signature that drives the story and "[defines] Lester's arc".
First seen in drab colors that reflect his passivity, Lester surrounds himself with red as he regains his individuality. In these scenes, the rose symbolizes Lester's desire for her.
Pennington argues that American Beauty defines its characters through their sexuality. Lester's attempts to relive his youth are a direct result of his lust for Angela, [11] and the state of his relationship with Carolyn is in part shown through their lack of sexual contact.
Also sexually frustrated, Carolyn has an affair that takes her from "cold perfectionist" to a more carefree soul who "[sings] happily along with" the music in her car.
Fitts reacts with disgust to meeting Jim and Jim; he asks, "How come these faggots always have to rub it in your face? How can they be so shameless?
Fitts' reaction is not homophobic, but an "anguished self-interrogation". Lester's transformation conveys "that he, and not the woman, has borne the brunt of [lack of being]" [nb 3] and he will not stand for being emasculated.
Although the film portrays the way Lester returns to that role positively, he does not become "the hypermasculine figure implicitly celebrated in films like Fight Club ".
Hausmann concludes that Lester's behavior toward Angela is "a misguided but nearly necessary step toward his becoming a father again". Hausmann says the film "explicitly affirms the importance of upholding the prohibition against incest"; [44] a recurring theme of Ball's work is his comparison of the taboos against incest and homosexuality.
Fitts is so ashamed of his homosexuality that it drives him to murder Lester. Fitts' repression is exhibited through the almost sexualized discipline with which he controls Ricky.
Fitts represents Ball's father, [49] whose repressed homosexual desires led to his own unhappiness. Fitts to delay revealing him as homosexual, which Munt reads as a possible "deferment of Ball's own patriarchal-incest fantasies".
American Beauty follows a traditional narrative structure, only deviating with the displaced opening scene of Jane and Ricky from the middle of the story.
Although the plot spans one year, the film is narrated by Lester at the moment of his death. Jacqueline Furby says that the plot "occupies Each image is broadly similar, with minor differences in object placement and body language that reflect the changed dynamic brought on by Lester's new-found assertiveness.
Ricky films Jane from his bedroom window as she removes her bra, and the image is reversed later for a similarly "voyeuristic and exhibitionist" scene in which Jane films Ricky at a vulnerable moment.
Lester's fantasies are emphasized by slow- and repetitive-motion shots; [56] Mendes uses double-and-triple cutbacks in several sequences, [15] [57] and the score alters to make the audience aware that it is entering a fantasy.
While the cheerleaders perform their half-time routine to " On Broadway ", Lester becomes increasingly fixated on Angela.
Time slows to represent his "voyeuristic hypnosis" and Lester begins to fantasize that Angela's performance is for him alone.
This nondiegetic score is important to creating the narrative stasis in the sequence; [60] it conveys a moment for Lester that is stretched to an indeterminate length.
The effect is one that Stan Link likens to "vertical time", described by the composer and music theorist Jonathan Kramer as music that imparts "a single present stretched out into an enormous duration, a potentially infinite 'now' that nonetheless feels like an instant".
The sequence ends with the sudden reintroduction of "On Broadway" and teleological time. According to Drew Miller of Stylus , the soundtrack "[gives] unconscious voice" to the characters' psyches and complements the subtext.
The most obvious use of pop music "accompanies and gives context to" Lester's attempts to recapture his youth; reminiscent of how the counterculture of the s combated American repression through music and drugs, Lester begins to smoke cannabis and listen to rock music.
Miller argues that although some may be over familiar, there is a parodic element at work, "making good on [the film's] encouragement that viewers look closer".
Toward the end of the film, Thomas Newman 's score features more prominently, creating "a disturbing tempo" that matches the tension of the visuals.
At first appropriate, its tone clashes as the seduction stops. The lyrics, which speak of "castles burning", can be seen as a metaphor for Lester's view of Angela—"the rosy, fantasy-driven exterior of the 'American Beauty ' "—as it burns away to reveal "the timid, small-breasted girl who, like his wife, has willfully developed a false public self".
In , Alan Ball resolved to move into the film industry after several frustrating years writing for the television sitcoms Grace Under Fire and Cybill.
He joined the United Talent Agency , where his representative, Andrew Cannava, suggested he write a spec script to "reintroduce [himself] to the town as a screenwriter".
Ball pitched three ideas to Cannava: two conventional romantic comedies and American Beauty , [nb 6] [63] which he had originally conceived as a play in the early s.
He channeled his anger and frustration at having to accede to network demands on that show—and during his tenures on Grace Under Fire and Cybill —into writing American Beauty.
Ball did not expect to sell the script, believing it would act as more of a calling card, but American Beauty drew interest from several production bodies.
Jinks and Cohen involved Ball throughout the film's development, including casting and director selection. The producers met with about twenty interested directors, [74] several of whom were considered A-list at the time.
Ball was not keen on the more well-known directors because he believed their involvement would increase the budget and lead DreamWorks to become "nervous about the content".
Beth Swofford of the Creative Artists Agency arranged meetings for Mendes with studio figures in Los Angeles to see if film direction was a possibility.
Mendes found that he still had to convince DreamWorks' production executives to let him direct. Ball felt that Mendes liked to look under the story's surface, a talent he felt would be a good fit with the themes of American Beauty.
Ball was partly inspired by two encounters he had in the early s. In about —92, Ball saw a plastic bag blowing in the wind outside the World Trade Center.
He watched the bag for ten minutes, saying later that it provoked an "unexpected emotional response". Ball produced around 40 pages, [64] but stopped when he realized it would work better as a film.
All the main characters appeared in this version, but Carolyn did not feature strongly; Jim and Jim instead had much larger roles.
Ball based Lester's story on aspects of his own life. Fitts, a man who "gave up his chance to be himself". He said the juxtaposition produced a starker contrast, giving each trait more impact than if they appeared alone.
In the script that was sent to prospective actors and directors, Lester and Angela had sex; [89] by the time of shooting, Ball had rewritten the scene to the final version.
He convinced Ball by indicating that in Greek mythology , the hero "has a moment of epiphany before Fitts' service in the Marines, a sequence that unequivocally established his homosexual leanings.
In love with another Marine, Col. Fitts sees the man die and comes to believe that he is being punished for the "sin" of being gay.
Ball removed the sequence because it did not fit the structure of the rest of the film—Col. Fitts was the only character to have a flashback [93] —and because it removed the element of surprise from Col.
Fitts' later pass at Lester. Fitts, though all that remained in later drafts was subtext. Ball remained involved throughout production; [74] he had signed a television show development deal, so had to get permission from his producers to take a year off to be close to American Beauty.
Fitts [95] —were excised in post-production ; [65] the writer later felt the scenes were unnecessary, saying they were a reflection of his "anger and cynicism" at the time of writing see " Editing ".
The shooting script features a scene in Angela's car in which Ricky and Jane talk about death and beauty; the scene differed from earlier versions, which set it as a "big scene on a freeway" [96] in which the three witness a car crash and see a dead body.
And if you're careful, you can look right back. They said it's not important. I said, 'You're out of your fucking mind. It's one of the most important scenes in the movie!
If any one line is the heart and soul of this movie, that is the line. Mendes had Spacey and Bening in mind for the leads from the beginning, but DreamWorks executives were unenthusiastic.
Mendes did not want a big star "weighing the film down"; he felt Spacey was the right choice based on his performances in the films The Usual Suspects and Seven , and 's Glengarry Glen Ross.
I usually wade in dark, sort of treacherous waters. This is a man living one step at a time, playing by his instincts.
This is actually much closer to me, to what I am, than those other parts. Spacey loosely based Lester's early "schlubby" deportment on Walter Matthau.
Mendes felt it evoked Lester's—and the film's—loneliness. You'd go to church and see how people present themselves on the outside, and then be inside their house and see the difference.
Child labor representatives accompanied Birch's parents on set during the filming of the nude scene. He told her, "Your character is in there somewhere.
Mendes insisted on two weeks of cast rehearsals, although the sessions were not as formal as he was used to in the theater, and the actors could not be present at every one.
Principal photography lasted about 50 days [] from December 14, , [] to February Production designer Naomi Shohan likened the locale to Evanston, Illinois , but said, "it's not about a place, it's about an archetype.
The milieu was pretty much Anywhere, USA—upwardly mobile suburbia. Shohan said, "All of them are very strained, and their lives are constructs.
The production selected two adjacent properties on the Warner backlot's "Blondie Street" for the Burnham and Fitts' homes.
Fitts—watching from Ricky's bedroom—mistakenly assumes that Lester is paying Ricky for sex. The production deliberately minimized the use of red, as it was an important thematic signature elsewhere.
The Burnhams' home uses cool blues, while the Fitts' is kept in a "depressed military palette". Mendes' dominating visual style was deliberate and composed, with a minimalist design that provided "a sparse, almost surreal feeling—a bright, crisp, hard edged, near Magritte -like take on American suburbia"; Mendes constantly directed his set dressers to empty the frame.
He made Lester's fantasy scenes "more fluid and graceful", [18] and Mendes made minimal use of steadicams , feeling that stable shots generated more tension.
For example, when Mendes used a slow push in to the Burnhams' dinner table, he held the shot because his training as a theater director taught him the importance of putting distance between the characters.
He wanted to keep the tension in the scene, so he only cut away when Jane left the table. Fitts beats Ricky. Mendes said the camera provided the scene with a "kinetic He also went hand-held for the excerpts of Ricky's camcorder footage.
The scene took four takes; two by the second unit did not satisfy Mendes, so he shot the scene himself. He felt his first take lacked grace, but for the last attempt, he changed the location to the front of a brick wall and added leaves on the ground.
Mendes was satisfied by the way the wall gave definition to the outline of the bag. Mendes said, "That happened three or four times, and they are all in the movie.
He said, "I started with a wrong scene, actually, a comedy scene. It was all my fault. Mendes encouraged some improvisation; for example, when Lester masturbates in bed beside Carolyn, the director asked Spacey to improvise several euphemisms for the act in each take.
Mendes said, "I wanted that not just because it was funny I wanted it to seem like he was blurting it out of his mouth without thinking.
Most of the rose petals in Lester's fantasies were added in post-production, [57] although some were real and had the wires holding them digitally removed.
To position the camera, a hole had to be cut in the ceiling, through which the steam escaped; it was instead added digitally.
Mendes and an assistant edited the film for ten days between the appointments. American Beauty. Dream Works. Top Forstaden bliver aldrig den samme igen efter 'American Beauty'.
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