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Flawlessly cast and brimming with dark, acid wit, American Beauty is a smart, provocative high point of late '90s mainstream Hollywood film.
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American Beauty is deeply disturbing, acerbically funny, brilliantly acted, breathtakingly original and highly sophisticated.
Paul Clinton CNN. Jeff Strickler. This engrossing centrepiece meshes with subplots involving Burnham's dysfunctional family and unbalanced neighbours, in a virtuoso study of isolation, repression and fulfilment.
Mendes infuses the lush visuals and lyrical script with dramatic panache. Ed Potton. With its parade of neurotics, psychotics, bigots and deceivers, American Beauty is an endlessly rewatchable black comedy.
Marc Lee. Why, then, did I enjoy it so little? Because of its unrelenting self-importance: American Beauty wants us to know, in every shot at every turn, just how clever and mercilessly cutting it is.
Joe Morgenstern. Rex Reed. But it is a powerful one. That's the thing that makes American Beauty such a compelling feature even now.
Tim Stevens. Josh Larsen. American Beauty is a tragic, absurdist, satirical and dark domestic tale - and the debut feature film of British-London theatrical-stage director Sam Mendes.
Tim Dirks. As faux-deep Oscar bait goes, American Beauty is as broad and predictable as an episode of Three's Company.
Steven Hyden. American Beauty wields its title as a double-edged sword -- as a profoundly harsh and ironic assertion of misplaced values and wasted lives on one side; but as a subtle statement of hope and kindness on the other.
Dennis King. We never really see the downtrodden nature of Burnham's life pre-awakening, we just take it as a given from Burnham's own sarcastic narration.
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You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. Brad Ara Celi Sale House Woman 1 John Cho Sale House Man 1 Fort Atkinson Sale House Man 2 Sue Casey Sale House Woman 2 Kent Faulcon Sale House Man 3 Brenda Wehle Sale House Women 4 Lisa Cloud Sale House Women 4 Alison Faulk Spartanette 1 Krista Goodsitt Spartanette 2 Lily Houtkin Spartanette 3 Carolina Lancaster Spartanette 4 Mona Leah Spartanette 7 Nancy Anderson Spartanette 8 Reshma Gajjar Spartanette 9 Stephanie Rizzo Spartanette 10 Heather Joy Sher Playground Girl 1 Chelsea Hertford Playground Girl 2 Amber Smith Christy Kane Joel McCrary Catering Boss Marissa Jaret Winokur Smiley's Manager Matthew Kimbrough Young Jane Rest of cast listed alphabetically: Bruce Cohen Bartender uncredited Elaine Corral Kendall Newscaster uncredited David C.
Wedding Guest uncredited Tom Miller Advertising Executive uncredited Ronald Reagan Bening Patricia Dehaney Bening Juliet Loveland Soussana Christine Steele Steele Debra-Lee DavidsonAmerican Beauty wields click the following article title as a double-edged sword -- as a profoundly harsh and ironic assertion of misplaced values and wasted learn more here on one side; but as a subtle statement of https://lessthanthree.se/filme-stream-deutsch/horizon-online.php and kindness on the. Retrieved May 9, Learn More. Learn more here was satisfied by the way the wall gave definition to the outline of the bag. Jim Olmeyer and Jim Berkley, a gay couple who live nearby, welcome the family to the neighborhood; Frank later reveals his homophobia when angrily discussing the encounter with Ricky. Mendes called it "the most satisfying end to [Lester's] journey sicario ganzer film could possibly have been". Spartanette 2 Lily Houtkin
Spartanette 9 Stephanie Rizzo Spartanette 10 Heather Joy Sher Playground Girl 1 Chelsea Hertford Playground Girl 2 Amber Smith Christy Kane Joel McCrary Catering Boss Marissa Jaret Winokur Smiley's Manager Matthew Kimbrough Young Jane Rest of cast listed alphabetically: Bruce Cohen Bartender uncredited Elaine Corral Kendall Newscaster uncredited David C.
Wedding Guest uncredited Tom Miller Advertising Executive uncredited Ronald Reagan Bening Patricia Dehaney Bening Juliet Loveland Soussana Christine Steele Steele Debra-Lee Davidson Casey Kevin Chambers Scott III Wilhoit Greg Zimmerman Robert Chapin Trucks Donald J.
Slepak Sanford Slepak Costume PA Kanani Wolf Harling Phil Hetos Welch Lambeth Spacey Steven Buhai Mendes David Cowgill Del Prete Korn Michael Labog Bening Michael Musteric He watched the bag for ten minutes, saying later that it provoked an "unexpected emotional response".
Ball produced around 40 pages,  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;  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  —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;  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  —were excised in post-production ;  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"  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.
As Birch was 16 at the time she made the film, and thus classified as a minor in the United States, her parents had to approve her brief topless scene in the movie.
Child labor representatives were on the set for the shooting of the 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",  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,  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. He believed he had been making a "much more whimsical, Instead, Mendes was drawn to the emotion and darkness; he began to use the score and shots he had intended to discard to craft the film along these lines.
Mendes spent two days filming Spacey against bluescreen , but removed the sequence as he believed it to be too whimsical—"like a Coen brothers movie"—and therefore inappropriate for the tone he was trying to set.
However, in the portion he used in the opening—and when the full scene plays out later—Mendes used the score and a reaction shot of Ricky to leave a lingering ambiguity as to his guilt.
Mendes spent more time recutting the first ten minutes than the rest of the film taken together. He trialled several versions of the opening;  the first edit included bookend scenes in which Jane and Ricky are convicted of Lester's murder,  but Mendes excised these in the last week of editing  because he felt they made the film lose its mystery,  and because they did not fit with the theme of redemption that had emerged during production.
Mendes believed the trial drew focus away from the characters and turned the film "into an episode of NYPD Blue ".
Instead, he wanted the ending to be "a poetic mixture of dream and memory and narrative resolution".
He felt that they were so short that they "didn't really register". Mendes and he argued,  but Ball was more accepting after Mendes cut the sequences completely; Ball felt that without the scenes, the film was more optimistic and had evolved into something that "for all its darkness had a really romantic heart".
Conrad Hall was not the first choice for director of photography; Mendes believed he was "too old and too experienced" to want the job, and he had been told that Hall was difficult to work with.
Instead, Mendes asked Fred Elmes , who turned the job down because he did not like the script. Mendes was directing Cruise's then-wife Nicole Kidman in the play The Blue Room during preproduction on American Beauty ,  and had already storyboarded the whole film.
Hall's approach was to create peaceful compositions that evoked classicism , to contrast with the turbulent on-screen events and allow audiences to take in the action.
Hall and Mendes first discussed the intended mood of a scene, but he was allowed to light the shot in any way he felt necessary.
This approach gave Hall more control over the shadows while keeping the fill light unobtrusive and the dark areas free of spill.
He had difficulty adjusting to Kodak's newly introduced Vision release print stock, which, combined with his contrast-heavy lighting style, created a look with too much contrast.
When he saw the film in a theater, Hall felt that the image was slightly unclear and that had he not used the filter, the diffusion from the Super 35—anamorphic conversion would have generated an image closer to what he originally intended.
A shot where Lester and Ricky share a cannabis joint behind a building came from a misunderstanding between Hall and Mendes.
Mendes asked Hall to prepare the shot in his absence; Hall assumed the characters would look for privacy, so he placed them in a narrow passage between a truck and the building, intending to light from the top of the truck.
When Mendes returned, he explained that the characters did not care if they were seen. He removed the truck and Hall had to rethink the lighting; he lit it from the left, with a large light crossing the actors, and with a soft light behind the camera.
Hall felt the consequent wide shot "worked perfectly for the tone of the scene". In one shot during Lester's encounter with Angela at the Burnhams' home, Hall created rain effects on the foreground cross lights; in another, he partly lit the pair through French windows to which he had added material to make the rain run slower, intensifying the light although the strength of the outside light was unrealistic for a night scene, Hall felt it justified because of the strong contrasts it produced.
For the close-ups when Lester and Angela move to the couch, Hall tried to keep rain in the frame, lighting through the window onto the ceiling behind Lester.
Thomas Newman 's score was recorded in Santa Monica, California. He built each cue around "small, endlessly repeating phrases"—often, the only variety through a "thinning of the texture for eight bars ".
In , the magazine chose the score as one of twenty essential soundtracks it believed spoke to the "complex and innovative relationships between music and screen storytelling".
DreamWorks contracted Amazon. The website included an overview, a photo gallery, cast and crew filmographies, and exclusive interviews with Spacey and Bening.
Both trailers ended with the poster image of a girl holding a rose. The studio reluctantly agreed and showed the film to a young audience in San Jose, California.
Mendes claimed the screening went very well. American Beauty had its European premiere at the London Film Festival on November 18, ;  in January , it began to screen in various territories outside North America.
Blockbuster and DreamWorks could not agree on a profit-sharing deal, so Blockbuster ordered two-thirds the number of copies it originally intended.
Some Blockbuster stores only displayed 60 copies,  and others did not display the film at all, forcing customers to ask for it.
This return was lower than would have been expected had DreamWorks and Blockbuster reached an agreement. The DVD release included a behind-the-scenes featurette, film audio commentary from Mendes and Ball, and a storyboard presentation with discussion from Mendes and Hall.
American Beauty was widely considered the best film of by the American press. It received overwhelming praise, chiefly for Spacey, Mendes and Ball.
Writing in Variety , Todd McCarthy said the cast ensemble "could not be better"; he praised Spacey's "handling of innuendo, subtle sarcasm, and blunt talk" and the way he imbued Lester with "genuine feeling".
Fitts were stereotypes. Maslin felt that Mendes directed with "terrific visual flair", saying his minimalist style balanced "the mordant and bright" and that he evoked the "delicate, eroticized power-playing vignettes" of his theater work.
He said that Mendes worked the script's intricacies smoothly, to the ensemble's strengths, and staged the tonal shifts skillfully.
He said Mendes' "sure hand" was "as precise and controlled" as his theater work. McCarthy cited Hall's involvement as fortunate for Mendes, as the cinematographer was "unsurpassed" at conveying the themes of a work.
Turan suggested that American Beauty may have benefited from Mendes' inexperience, as his "anything's possible daring" made him attempt beats that more seasoned directors might have avoided.
Turan felt that Mendes' accomplishment was to "capture and enhance [the] duality" of Ball's script—the simultaneously "caricatured Turan cited Ball's lack of constraint when writing the film as the reason for its uniqueness, in particular the script's subtle changes in tone.
He called Ball's dialogue "tart" and said the characters—Carolyn excepted—were "deeply drawn".
One other flaw, McCarthy said, was the revelation of Col. Fitts' homosexuality, which he said evoked "hoary Freudianism ". He said that even when the film played for sitcom laughs, it did so with "unexpected nuance".
Nevertheless, Hentzi believed that the film's themes of materialism and conformity in American suburbia were "hackneyed".
A few months after the film's release, reports of a backlash appeared in the American press,  and the years since have seen its critical regard wane.
American Beauty was not considered an immediate favorite to dominate the American awards season.
Several other contenders opened at the end of , and US critics spread their honors among them when compiling their end-of-year lists. As the nominations for the 72nd Academy Awards approached, a frontrunner had not emerged.
Its campaign combined traditional advertising and publicity with more focused strategies. Although direct mail campaigning was prohibited, DreamWorks reached voters by promoting the film in "casual, comfortable settings" in voters' communities.
The studio's candidate for Best Picture the previous year, Saving Private Ryan , lost to Shakespeare in Love , so the studio took a new approach by hiring outsiders to provide input for the campaign.
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