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 producers considered both Matt Damon and Sean Penn for the role of The Narrator, but director David Fincher wanted Edward Norton, having been impressed by Norton's performance in The People vs. Larry Flynt. At the same time, Norton had either been offered or was a final contender for three other major leading roles: in The Talented Mr. Ripley, Man on the Moon, and Runaway Jury (a project which ultimately fell apart). Norton eventually accepted the role in Fight Club. He and Jim Carrey did so well in auditions for the Andy Kaufman role in Man on the Moon that director Milos Forman told Universal he could not choose between them and the studio would have to make the final choice; they chose Carrey because he was a bigger box-office draw than Norton. Matt Damon took the lead role in The Talented Mr. Ripley, and Runaway Jury was put on hold for years until being revived with John Cusack as the lead. See more »
In the scene depicting Tyler cutting out various news clippings about the exploits of Fight Club/Project Mayhem none of the articles relate in any way to the headlines. 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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Just as the closing credits are about to start, a flash-frame-shot of a penis appears on the screen. See more »
Fight Club is one of the most unique films I have ever seen. In addition to presenting a rather fresh take on life, FC also presents its material in a fresh way. My main interest in the film is in that, in my opinion, it does not present characters for us to think about. Rather, it presents actions for us to think about. I will say that I cannot recall *ever* having been "asked" by a film to both suspend my disbelief the way this film asks in its third act AND at the same time come to terms with an understanding that there is no room--or need--for disbelief.
Perhaps these comments will not make sense to the average movie goer who will dismiss this film--and, unfortunately, its premise--as another hollywood flick filled with gratuitous violence. I'd go as far as to say that this film is not about violence. It is about choices. It is about activity. It is about lethargy. It is about waking up and realizing that at some point in the past we've gone to the toilet and thrown up our dreams without even realizing that society has stuck its fingers down our throat.
I would argue that anyone caught, at some point in their lives, between a rock and a hard place--anyone who has reached bottom on a mental level--anyone who has uttered to themselves "Wait, this isn't right. I would not do/say/feel what it is that I just did/said/felt... I do not like this. I must change before I am forever stuck being the person that I am not." These people, they will know what I'm talking about. These people will not only recognize the similarities between Edward Norton's character and themselves--they will be uncomfortably familiar with him. These people will appreciate Fight Club for what it is: a wake up call that we are not alone.
As David Berman once said: "I'm afraid I've got more in common with who I was than who I am becoming." If this sentence makes any sense to you, go see Fight Club. You won't regret it.
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