Editing American Beauty (1999 film) (section)

===Conformity and beauty===
Like other [[American films of 1999]]—such as ''[[Fight Club]]'', ''[[Bringing Out the Dead]]'' and ''[[Magnolia (film)|Magnolia]]'', ''American Beauty'' instructs its audience to "[lead] more meaningful lives".<ref>Desowitz, Bill (December 12, 1999). [https://www.nytimes.com/1999/12/12/arts/film-finding-spiritual-rebirth-in-a-valley-of-male-ennui.html "Finding Spiritual Rebirth In a Valley of Male Ennui"] {{webarchive|url=https://web.archive.org/web/20161110004900/http://www.nytimes.com/1999/12/12/arts/film-finding-spiritual-rebirth-in-a-valley-of-male-ennui.html |date=November 10, 2016}}. ''[[The New York Times]]'': 215.</ref> The film argues the case against conformity, but does not deny that people need and want it; even the gay characters just want to fit in.<ref name="Munt 265" /> Jim and Jim, the Burnhams' other neighbors, are a satire of "gay bourgeois coupledom",<ref name="munt 274">{{harvnb|Munt|2006|p=274}}</ref> who "[invest] in the numbing sameness" that the film criticizes in heterosexual couples.{{refn|Despite their desire to conform, Jim and Jim are openly, proudly gay, a contradiction that [[Sally R. Munt]] says may seem strange to heterosexual audiences.<ref name="Munt 265" />|group="nb"}}<ref>{{harvnb|Hausmann|2004|p=112}}</ref> The feminist academic and author [[Sally R. Munt]] argues that ''American Beauty'' uses its "art house" trappings to direct its message of nonconformity primarily to the middle classes, and that this approach is a "''cliché'' of bourgeois preoccupation;&nbsp;... the underlying premise being that the luxury of finding an individual 'self' through denial and renunciation is always open to those wealthy enough to choose, and sly enough to present themselves sympathetically as a rebel."<ref name="Munt 264-265">{{harvnb|Munt|2006|pp=264–265}}</ref>

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 year of his life, forcing audiences to consider their own mortality and the beauty around them.<ref name="anker 345">{{harvnb|Anker|2004|p=345}}</ref> It also sets a series of mysteries; Anker asks, "from what place exactly, and from what state of being, is he telling this story? 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." Anker believes the preceding scene—Jane's discussion with Ricky about the possibility of his killing her father—adds further mystery.<ref name="anker 347">{{harvnb|Anker|2004|p=347}}</ref>

Professor Ann C. 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".<ref>{{harvnb|Hall|2006|p=24}}</ref> Through this examination of Lester's life, rebirth and death, ''American Beauty'' satirizes American middle class notions of meaning, beauty and satisfaction.<ref name="anker 347–348">{{harvnb|Anker|2004|pp=347–348}}</ref> Even Lester's transformation only comes about because of the possibility of sex with Angela; he therefore remains a "willing devotee of the popular media's exaltation of pubescent male sexuality as a sensible route to personal wholeness".<ref name="anker 348">{{harvnb|Anker|2004|p=348}}</ref> Carolyn is similarly driven by conventional views of happiness; from her belief in "[[House Beautiful|house beautiful]]" domestic bliss to her car and gardening outfit, Carolyn's domain is a "fetching American millennial vision of Pleasantville, or [[Garden of Eden|Eden]]".<ref name="anker 349–350">{{harvnb|Anker|2004|pp=349–350}}</ref> The Burnhams are unaware that they are "materialists philosophically, and devout consumers ethically" who expect the "rudiments of American beauty" to give them happiness. Anker argues that "they are helpless in the face of the prettified economic and sexual stereotypes&nbsp;... that they and their culture have designated for their salvation."<ref name="anker 350" />

The film presents Ricky as its "visionary,&nbsp;... spiritual and mystical center".<ref>{{harvnb|Hall|2006|p=27}}</ref> He sees beauty in the minutiae of everyday life, videoing as much as he can for fear of missing it. 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... and my heart is going to cave in." Anker argues that Ricky, in looking past the "cultural dross", has {{nowrap|"[grasped]}} the radiant splendor of the created world" to see God.<ref name="anker 356">{{harvnb|Anker|2004|p=356}}</ref> As the film progresses, the Burnhams move closer to Ricky's view of the world.<ref>{{harvnb|Anker|2004|p=360}}</ref> Lester only forswears personal satisfaction at the film's end. 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,<ref name="anker 358–359">{{harvnb|Anker|2004|pp=358–359}}</ref> 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.<ref name="anker 347–348" />

According to Patti Bellantoni, colors are used symbolically throughout the film,<ref name="color 25">{{harvnb|Bellantoni|2005|p=25}}</ref> 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.<ref name="color 27">{{harvnb|Bellantoni|2005|p=27}}</ref> The [[American Beauty rose]] is repeatedly used as symbol; when Lester fantasizes about Angela, she is usually naked and surrounded by rose petals. In these scenes, the rose symbolizes Lester's desire for her. When associated with Carolyn, the rose represents a "façade for suburban success".<ref name="pennington 104" /> Roses are included in almost every shot inside the Burnhams' home, where they signify "a mask covering a bleak, unbeautiful reality".<ref name="anker 350">{{harvnb|Anker|2004|p=350}}</ref> Carolyn feels that "as long as there can be roses, all is well".<ref name="anker 350" /> She cuts the roses and puts them in vases,<ref name="pennington 104" /> where they adorn her "meretricious vision of what makes for beauty"<ref name="anker 350" /> and begin to die.<ref name="pennington 104" /> The roses in the vase in the Angela–Lester seduction scene symbolize Lester's previous life and Carolyn; the camera pushes in as Lester and Angela get closer, finally taking the roses—and thus Carolyn—out of the shot.<ref name="chapter 25" /> Lester's epiphany at the end of the film is expressed by rain and the use of red, building to a crescendo that is a deliberate contrast to the release Lester feels.<ref name="shohan" /> The constant use of red "lulls [the audience] subliminally" into becoming used to it; consequently, it leaves the audience unprepared when Lester is shot and his blood spatters on the wall.<ref name="color 27" />