A ticking-time-bomb insomniac and a slippery soap salesman channel primal male aggression into a shocking new form of therapy. Their concept catches on, with underground "fight clubs" forming in every town, until an eccentric gets in the way and ignites an out-of-control spiral toward oblivion. Written by
The scene involving the destruction of the corporate artwork (where the huge ball crashes into the coffee shop) was the most troublesome scene to shoot in the whole film. Initially, director David Fincher had wanted to the scene to feature an entirely CG ball on live plates, but visual effects supervisor Kevin Tod Haug convinced him to try shooting it as a live special effect instead. As such, special effects coordinator Cliff Wenger was placed in charge of the scene. Problems began to arise when Wenger discovered that the flooring at the location could only take 250 pounds per square foot. As such, a lightweight ball (100 pounds) had to be built to ensure no damage was caused. However, because the ball was so light, it didn't react the way a heavy ball would; for example, when the ball rolls down the steps, it bounced, when it rolled through the water it left no wake, and when it rolls through the pool, rather than sinking and rolling along the surface, it floated. As well as that, the ball couldn't gather enough speed. In the end, Wenger was reduced to having two special effects people running alongside, pulling the ball on wires and trying to hold it down so it didn't float on the surface of the water. There were also problems shooting the scene where the ball crashes through the front of the coffee shop. Wenger had only a 40 foot run up to the front of the shop, but because the ball was 8 feet high, and the ceiling of the area in which they were shooting was 10 feet, it meant the ramp could only rise 2 feet off the ground, leaving virtually no room for the ball to gather momentum prior to smashing into the glass. As such, when the ball would hit the café, it would smash the glass in the front of the shop and then just roll back out instead of crashing on into the counter. In the end, digital effects company Toybox was given the entire scene with orders to do a major cleanup on the live footage. For the rolling shots, they removed the bounces, added furniture which the ball violently knocks out of its way, added pavement cracks in the wake of the ball, added flickering lights, added additional splashes and a wake as the ball moves through the water, and added a digital camera shake. For the café shots, they completed the destruction of the counter, added flying glass and furniture, added flickering lights, and again, added digital vibration to the camera. In the end, although the majority of the actual scene is live photography, almost all of the minor effects in the shots are completely digital. See more »
After the scene in the bathroom where Tyler threatens the police chief, as the waiters are emerging into the parking lot, you see Bob's (Meat Loaf) pants fall down, briefly revealing the body suit he was wearing. See more »
[Tyler points a gun into the Narrator's mouth]
People are always asking me if I know Tyler Durden.
Three minutes. This is it - ground zero. Would you like to say a few words to mark the occasion?
...i... ann... iinn... ff... nnyin...
With a gun barrel between your teeth, you speak only in vowels.
[Tyler removes the gun from the Narrator's mouth]
I can't think of anything.
For a second I totally forgot about Tyler's whole controlled demolition thing ...
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The three police officers that try to cut off the narrator's testicles are credited as Officer Andrew, Officer Kevin and Officer Walker. Andrew Kevin Walker is the screenwriter who wrote Se7en (1995) and 8MM (1999). He also worked uncredited on David Fincher's The Game (1997) and on one of the drafts of Fight Club (1999). However, his contribution to the Fight Club script was not enough to warrant a credit by current WGA rules. Director David Fincher named the officers Andrew, Kevin and Walker, as a way of surreptitiously giving Walker a credit. See more »
When I first saw the previews for this movie, it had me interested. A movie about guys who fight - it didn't seem to deep, but I thought it would provide entertainment. I had heard buzz about, a few of my friends raved about it for a few days, and I was convinced. I should see this movie. I went to my local video store and picked up the last remaining DVD. I popped it in, sat in amazement until the last credit rolled, and then watched it again. And again. And again.
This movie is dark and disturbing, however, it is equally smart and stylistic. I found it hard to watch at points, but I couldn't turn my eyes away. Fight Club makes many bold statements against the modern consumer-driven society, and produces Norton's best performance and Pitt's second best (12 Monkeys).
Norton plays an average-Joe who is living a dead-end life. He needs something to change his life. Tyler and Marla will take care of this, and that is all I want to give away. Other comments will tell you more, but I suggest you let it all sink in while watching. As for it's ending, it doesn't rival 'The Sixth Sense' - it blows it away. One of the best movie endings I've seen. Even better if you're a Pixies fan.
As for it being important, don't worry. You will be hearing about this movie. When 'A Clockwork Orange' came out, it was met with mixed reviews, deemed too dark and violent, and is now considered a classic. These two movies share quite a bit in common - both were based on great books. If you haven't read either, get to it. Politicians will use this movie as a demonstration of careless and consequenceless violence in movies, and as a perfect example of what today's youth are being influenced by.
Watch this movie, and watch it again with some of your more intelligent friends. 10 out of 10.
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