Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
Lester and Carolyn Burnham are, on the outside, a perfect husband and wife in a perfect house in a perfect neighborhood. But inside, Lester is slipping deeper and deeper into a hopeless depression. He finally snaps when he becomes infatuated with one of his daughter's friends. Meanwhile, his daughter Jane is developing a happy friendship with a shy boy-next-door named Ricky, who lives with an abusive father. Written by
Jessie Skinner <firstname.lastname@example.org>
This and "The Silence of the Lambs"(1991) are the only best picture winners in the '90s to not be a period piece See more »
The "Nazi" plate is an obvious fake. It looks like the art department applied a swastika decal from a plastic model airplane kit to an unmarked plate of non-German origin. German porcelain of the era was extensively marked: hero "nazi" plate lacks manufacturer/factory mark, city mark, date of manufacture and the stylized Art Deco Third Reich "Eagle" acceptance mark (eagle clutching a wreath in its talons which surrounds the swastika). There are thousands of surviving authentic pieces from original period services floating around with correct markings, examples from major German porcelain makers including Rosenthal are readily available. See more »
I need a father who's a role model, not some horny geek-boy who's gonna spray his shorts whenever I bring a girlfriend home from school. What a lame-o. Someone really should just put him out of his misery.
Want me to kill him for you?
Yeah. Would you?
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thanks to all at the Donmar Warehouse in London and Dr. Bill and Alice See more »
"American Beauty" is tour de force cinema. Sam Mendes' brilliant debut feature depicts a web of characters who yearn for their own 'American Dream' - yet, in the end, only one character truly attains it.
Having seen "Happiness" only recently, I could not help but draw comparisons: both films centre around a microcosm of society in which the people, in their own unique way, all strive to be successful or simply 'happy'. But here the similarities end: the characters in "Happiness" undergo a self-realisation process through which they become increasingly aware of their meaningless existence, and go on to wallow in their own depravity. "Happiness" shows no signs of redemption; whereas in "American Beauty" the audience is offered a sense of hope, of salvation, though the characters must endure a similar fate, or more accurately, they must endure the way of life in which they are trapped.
The pivotal character upon which this theme centres, is the father Lester, played impeccably by Kevin Spacey. He is presented to us as a bit of a loser who plays the subjugated figure in the home and at work. He appears resigned to an unhappy life in which he is treated badly by his wife and daughter and his boss at work. Seemingly beyond redemption, Lester transforms from being a loser.
Mendes portrays this transformation admirably well: he shows Lester on his 'path to enlightenment' pushed up against a grim background of suburbanite existence. These early scenes are well balanced, forming a steady rhythm of TV commercial-like vignettes which prove very comical, if at times unsettling. As Lester reflects in the film: "My life is like a commercial". And how this rings true: like in "Happiness", all the characters hide underneath this veneer of normality and respectability, yet they are all revealed to be nothing but the opposite: depressed, depraved and desperate.
Lester's wife, played by Annette Benning, is the most success-driven character in the story which renders her the most hopeless in the film's tone of moral conviction. "In order to be successful in life one must project the appearance of success" is the maxim she adopts from the 'king' of real estate, Buddy King. It is a phrase which resonates throughout the film: for Benning's pawn, life is all about keeping-up appearances. This is where Lester differs from her: his emancipation is enabled by him discarding the constraints of 'normal life' and following what his heart desires.
Lester is the catalyst in this narrative in which the ancillary characters either follow suit (as does his daughter and Ricky) or pay the price (as does his wife and the Colonel). The irony inherent in this film, and it grows with resonance as the film draws to a conclusion, is that the only character who truly becomes free must sacrifice everything in order to achieve it. Yet it is through his sacrifice that he is able to afford the surviving characters a glimpse of hope in life.
This film left me gasping for air: its hyper-realism conveys, at the same time, a portrait of the suburban comedy, a jolting-shock of realisation, and a cathartic sense of hope. Mendes depicts a certain people who, to varying degrees, all strive for a certain 'American Dream', yet so few actually attain it. Though whilst one may have difficulty with tagging this film with the 'feel good' label, the beauty of "American Beauty" is that it sits half-way between a desperate cry for help and a reassuring sense of happiness and fulfilment and that is cinema at its best.
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