American Beauty

42-year-old Lester Burnham, who works in an advertising agency, feels dissatisfaction with family life, experiencing a midlife crisis . He hates his job, his wife Caroline annoys him, and his teenage daughter Jane is moving away from him more and more. ^[one]

His midlife crisis is positioned as an unwillingness to further hypocrisy. To preserve a career, especially to continue it, you must be hypocritical at work, and for the "calm" of family life you need home hypocrisy. In a state of necessity, he had lived a half-life as a hypocrite, and he did not like it at all.

Burnham's neighbors on the street are a gay couple. Soon, a family moves into an empty house next door, and their new neighbor down the street is Colonel of the United States Medical Commission Frank Fitts, a homophobic citizen. The colonel’s son, Ricky, is filming Jane from the windows of the house, which makes her very nervous ^[1] .

Once Leicester, visiting a basketball game, sees his daughter’s girlfriend, Angela, who, together with his daughter, acts in a support group and falls in love with her. Angela is going to become a model, she tells Jane about her love affairs and shares her rich sexual experience in detail. Later, having overheard her daughter’s conversation with Angela when she was visiting them, Burnham learns that she finds him attractive, but not athletic enough. After that, Burnham begins to exercise. ^[one]

Lester Burnham meets Ricky at a party where the latter works as a waiter, which is his cover for his tyrannical father, but in fact he is a drug dealer. That same evening, having smoked “weed” and chatting together, Ricky quits this job, demonstrating to Burney that losing a job does not mean anything, which causes Lester’s admiration. Lester later buys a serving of marijuana from Ricky. At his work, Burnham, after blackmailing a decent severance pay , quits his job and takes a job as a delivery man in a roadside cafe. Finally, he feels happy, for the first time in many years he does what he wants; it seems to him that a new period has come in his life. He feels young and attractive. Caroline cheats on him, and Burnham sees her kissing in a car with Buddy Kane (a realtor whom Burnham met earlier at a party), but he doesn't care. Ricky and Jane become lovers. Ricky tells Jane how his father put him in a psychiatric hospital for two years. He explains that he takes everything he considers beautiful on camera. ^[one]

Angela comes to visit the Burnham and is going to spend the night with them. Lester ends up marijuana , he sends a message to Ricky's pager. Ricky brings him a new portion, his father watches them from the window. Burnham lies on the couch, and Ricky shows him how to do a cigarette , from the window everything looks like they are having oral sex . Upon Ricky's return, his father beat him, saying that it would be better if his son died than was homosexual . Hearing this, Ricky, seeking to free himself from the tyranny of his father, purposely declares his homosexuality and leaves home. ^[one]

Ricky comes home to Jane and offers her to leave for New York, but Angela objects and insults Ricky, Jane takes Ricky's side and quarrels with Angela. Upset Colonel Fitts comes to Burney's garage. During the conversation, Burnham talks about the betrayal of his wife, adding that he does not care. Fitts interprets this as Burnham being homosexual. In desperation, Fits kisses him, but, having been refused, leaves discouraged. ^[one]

Caroline heads toward the house with a gun. She hates her husband because, as she thinks, he ruined the best years of her life and she became a victim. ^[one]

Lester Burnham catches the tearful Angela and calms her. They end up in bed, and suddenly Angela admits that she is actually a virgin . Upon learning this, Burnham refuses sex and reassures her again. ^[one]

Lester and Angela are talking over food in the kitchen. Lester asks Angela how Jane is doing, who has not been in contact with him for a long time. Angela says that Jane is very happy because she is in love. Then Angela asks the same question to Leicester himself. Lester is surprised, because for a very long time no one cared about his life. He replies that everything is great. Angela says she needs to go to the bathroom. After her departure, Burnham picks up a family photo and examines it with a smile on his face from good memories. At this time, someone brings a gun barrel to his nape. A shot is heard. Blood on the wall. In Burnham’s mind, his life and individual memories pass through. He thought that his life was miserable, uninteresting and empty, but here he recalls all the happy moments spent with his family, and realizes that he really loves his wife and daughter. He is dying with a smile on his lips. At the same time, everyone present in the house at the time of the shot is shown: a wife in despair and grief, frightened by Angela, Jane and Ricky, Colonel Fitts with a gun and blood-stained clothes. Burnham lies in a pool of blood with a deathly, barely perceptible smile on his face. ^[one]

• Kevin Spacey - Lester Burnham
• Annette Bening - Caroline Burnham
• Torah Birch - Jane Burnham
• Wes Bantley - Ricky Fitts
• Mina Suvari - Angela Hayes
• Peter Gallagher - Buddy Kane
• Allison Jenny - Barbara Fitts
• Chris Cooper - Colonel Frank Fitts
• Barry Del Sherman - Brad Dupree

The original music for the film was written by composer Thomas Newman , for which he was nominated for an Oscar . The soundtrack for the film used compositions by artists such as Bobby Darin, The Who , Free, Eels, The Guess Who, The Folk Implosion, Gomez and Bob Dylan , as well as a cover version of the Beatles song “Because” performed by Elliot Smith. Annie Lennox performed “Don't Let It Bring You Down” in the film, but it wasn’t included in the soundtrack.
On January 11, 2000, a disc with original music by Thomas Newman consisting of 19 tracks was released.

Songs sounded in the film "American Beauty" :

• “ Because ” - authors John Lennon and Paul McCartney / performer Elliott Smith
• “On Broadway” by Barry Mann , Cynthia Weil , Jerry Leiber and Mike Stoller
• Tenderfoot by Rick Arbuckle / performer Zen Dadio
• “All Right Now” - by Andy Fraser and Paul Rodgers / Artist Free
• “We Haven't Turned Around” by Ian Ball , Paul Blackburn , Thomas Gray , Benjamin Ottewell and Oliver Peacock / performer Gomez
• "Any Other Name" - author and performer Thomas Newman
• Something Grand by Hilton Ruiz / Hilton Ruiz Ensemble
• American Woman by Burton Cummings , Randy Bachman , Jim Kale and Gary Peterson / performer The Guess Who
• "All Along The Watchtower" - author and performer Bob Dylan
• Use Me by Bill Withers
• "Cancer For The Cure" - by Mark Everett and Mickey Petralia / performer Eels
• “The Seeker” by Pete Townshend / performer The Who
• “Don't Rain On My Parade” by Jule Styne and Bob Merrill / performer Bobby Darin
• As Long As I'm Singing by Bobby Darin
• “Open The Door” - author and performer Betty Carter
• “ Don’t Let It Bring You Down ” by Neil Young / Annie Lennox
• “Call Me Irresponsible” - by Sammy Cahn and Jimmy Van Heusen / Bobby Darin
• “Where Love Has Gone” by Sammy Cahn and Jimmy Van Heusen / performer Bobby Darin
• "Bali Ha'i" - by Oscar Hammerstein II and Richard Rodgers / Peggy Lee

The name contains symbolism, which, according to some critics, could be better conveyed by the translation of the American Beauty . American Beauty can be literally translated as "American beauty", "American beauty", "American beauty", as well as the name of the variety of roses "American Beauty". ^[2] In Bulgaria they translated - "American Charming". ^[2] According to the producers of the film, the name American Beauty can have three meanings ^[3] :

1. American Beauty roses that Caroline grows in the garden and is present in many scenes;
2. Angela is a beautiful American woman who serves as the object of Lester’s lust (“beauty, angel Angela, about whom the hero of Kevin Spacey is daydreaming” ^[2] );
3. American beauty , that is, a look at what Americans consider beautiful, beautiful in their lives, the American dream . This multi-valued symbolism was played out not only in the film itself, but also in the advertising posters of the film ^[4] , which depict Angela and the rose (roses). It was lost under the official rental name - American Beauty . Therefore, a number of critics believe that the “ American Beauty ” ^{[2] [5]} would be the most correct translation. It can also be noted that the original title of the film was American Rose - “ American Rose ” ^[6] , and that the name also contains an allusion in the manner of Florenz Siegfeld to send American Beauty roses ^[7] or American Beauty to the stars. Despite the lack of a well-established translation of the name of the American Beauty rose variety in special literature and reference books that prefer the original language, in a number of popular science books and publications on gardening, as well as in Rita Wright-Kovaleva’s literary translation by Kurt Vonnegut’s novel “ Cradle for a Cat ”, this the variety is called the "Beauty of America" ^[8] .)

Film critics offer many possible interpretations of the name American Beauty ; their opinions differ not so much on the quality of the film as on the explanation of its semantic meaning. ^[9] Many dwell on the fact that the film describes “the search for the meaning of life ” or “ gender identity ” or “the dullness of the life of the American suburbs” ^[10] , although even the filmmakers themselves will not unambiguously tell what their film is about. ^[3] So the director of the film, Sam Mendes, says that for him the meaning of the movie was revealed in a new way every time he re-read the script: ^[11]

“A bewitching tale, a kaleidoscope of travels in the American suburbs, a series of love stories <...> it was about the constraint of freedom <...> loneliness <and> beauty . Funny story; at the same time, a story of anger, sorrow ... "

The literary critic and writer Wayne Booth concluded that the film does not lend itself to any interpretation: “<American Beauty> cannot be accurately explained, because it presents satire on the existing American lifestyle , which belittles the triumph of beauty. It is more tempting to reduce everything to a vision of beauty in the suffering and oversights of Americans; but it downplays the scenes of violence and horror and Ball’s rejection of our morality. It’s impossible to reduce everything to the philosophical proclamations of Leicester and Ricky about what life is and how to live it ” ^[9] Booth argues that the difficulty in understanding the film is connected with the search for its core - the decisive voice that would“ hold all tastes together ” ^{[ref. 1] [11]} He claims that in the case of American Beauty, there are no Mendes or Ball as authors. ^[12] . The fact is that Mendes, as a director, believes that his vision will be like that of the scriptwriter Ball, but even when the scriptwriter has “great influence” on the set ^[13] , he often has to approve of deviations from his vision of the story. ^[12] In the case of Ball, those plot twists that turned sarcastically the tone of his script into something easier. ^[13] Those “ innumerable opinions that invade American Beauty’s design ,” says Wayne Booth , “ forget about the stylus that looks for an elusive core .” And Booth, in the end, comes to the conclusion that the true criterion for interpretation is the inspiration of “those thousands of people in the midst of production, approval or rejection, insertion or cutting” ^[9]

Stiffness or emancipation

Sam Mendes notes that his film is also about human stiffness in life, and about overcoming it. The monotonous life of Leicester consists of his inexpressiveness, ungrateful work and tasteless appearance. ^[14] In these scenes, he often falls into various traps, "repeating actions that are hardly useful to him." He masturbates while taking a morning shower. ^[16] A frame with a shower cabin is the first of a series of others, where the confined space is a prototype of the prison cell ^{[14] [15]} , as, for example, when he sits opposite the monitor, which shows the columns with numbers, “closed and almost crossed out”. ^[16] Jody Pennington believes that Lester’s trip to school for Jane’s performance is key in the whole story. ^[17] His sexual awakening through a meeting with Angela is one of the turning points when he begins to “ cast off the bonds of the measured life that he despises ” ^[18] After Lester smoked a joint with Ricky Point , his spirit woke up and began to resist influence Caroline. ^[19] Having penetrated the “attractive, full-fledged confidence” of Ricky Fitz, Lester is convinced that Angela is achievable and that he should think about his “ordinary, inert and petty suburban existence”; he goes to work in an eatery, thanks to which he begins to “see a life path in front of him” ^[20]

When Caroline found Lester masturbating , he angrily objected to her about their intimate life, which was the first time for him in recent years. ^[21] Confronting the circumstances and Caroline in her " bet on all sorts of mediocrity ", Lester is trying to " restore the voting right in the house, suppressed by the mother and daughter ." ^[20] His final awakening occurs when he and Angela almost reach the last stage of the relationship. ^[22] ; when she confessed her virginity , he no longer perceived her as a fruit of lust, but as a daughter. ^[23] He hugged and " wrapped her up ." Mendes called it "the most satisfactory end of the journey of [Leicester] of all possible ." In these final scenes, Mendes tried to show Lester at the end of an " unprecedented search ." After Leicester took the beer from the refrigerator, the camera moves toward him, stops at the hallway, through which he must pass " towards his destiny ." ^{[22] [24]} Having started his life in a new way, Leicester achieved a denouement. ^[23] When he smiles, looking at the family photo, the camera slowly creeps to the kitchen wall, on which bloody splashes arise from the sound of a gunshot; a slow pan captures Leicester's pacified death. ^[25] He was discovered by Jane and Ricky. Mendes says that peering Ricky in Lester’s eyes is the movie’s " climax ": this beauty is found where it is least expected. ^[26]

Matching and Beauty

Like other American films of 1999, , such as Fight Club , Resurrecting the Dead , Magnolia - American Beauty calls on its viewers to " [follow] a more meaningful life ." ^[27] The film proclaims resistance to opportunism, but does not deny that people need and desire it; even gays try to fit into everyday life. ^[28] Lester’s neighbors Jim and Jim are a satire on the “ partnership of gay city dwellers ” ^[29] who are “ [clothed] strikingly the same, ” which is condemned in heterosexual couples in the film. ^{[ref. 2] [30]} Feminist researcher Sally Mant claims that American Beauty uses its arthouse charms to send a signal of disagreement with reality, primarily to the middle class , and that this approach is “ cliche of philistine concern [...] whose main premise is that the value of finding your own Through denial and renunciation, I am always open to those who are rich enough to choose, and to those who are quick-witted enough to embrace the spirit of rebellion ” ^[31]

Professor Roy M. Anker believes that the main storyline develops around the phrase “ look better ”. The obvious combination of Ricky Fitz's unusual worldview with Lester’s obsession that he will soon leave this world makes the viewer think about his own frailty and the beauty that surrounds him. ^[32] The film also has a number of puzzles; Anker asks “ from what place exactly and on whose behalf does he [Lester] tell his story? [...] if he is already dead, what's the point of worrying about what he wants to tell us about the last year of his life here? [...] There is also the question of how Lester has already died - or how he will die . " Anker believes that the opening scene, when Jane discusses with Ricky how best to kill her father, adds a new mystery. ^[33] At the same time, Professor Ann Hall disagreed; she believes, presenting an early clue, the director allows the viewer to focus on “ watching the film itself and his philosophical questions ” ^[34] Through the narrative of Lester’s life, his revival and death, American Beauty ridicules the understanding of the meaning of life, beauty and the American middle class satisfaction. ^[35] Even if only because of the desire to take possession of Angela, internal changes take place in Leicester, he remains ready “ for the praised mass media of male male sexuality as a path to self-sufficiency ” ^[36] Caroline thus follows an established pattern of happiness; from her belief in House Beautiful »To the car and garden accessories. The habitat for Caroline is the “ alluring American millennial image of Pleasantville or Eden ” ^[37] Burnham does not realize that they, saying “ Philophian are materialists, but ethically-convinced consumers ” who crave “the beginnings of American Beauty” that will give them to taste happiness. Anker believes that they are “ helpless in the face of notable economic and sexual stereotypes [...] that they and their culture are designed to save them ” ^[38]

Ricky Fitz is presented in the film as “a seer [...] his spiritual and mysterious core ” ^[39] . He sees the beauty in every little thing in everyday life, filming how it works out because he’s afraid to forget. He shows Jane the most beautiful thing he ever took off: a plastic bag tossed by a gust of wind against a wall. He says that he caught a moment when he realized "the fullness of life behind each of the things "; he felt that " sometimes there is so much beauty in the world that I feel inability to accommodate it ... and my heart breaks out ." Anker notes that Ricky, observing the " cultural dregs " ( Eng. Cultural dross ), " [understood] the radiant splendor of the created world ", which leads to the vision of God . ^[40] As the plot develops, Lester Burnham is increasingly imbued with a vision of Ricky's world. ^[41] By the end of the film, he refuses to seek only personal satisfaction. At the very last moment, he refuses sex with Angela when she admits that she is a virgin . Suddenly for himself, having seen a child in Angela, he begins to treat her like a daughter; in doing so, Leicester sees himself, Angela and his family as " weak and fragile, but wonderful creatures, as they are ." He looks at a photograph of his family, experiencing happiness ^[42] , and dies with insight, which gives him “ admiration, joy and a shaking soul gratitude ” - in conclusion, he sees the whole world as it is. ^[43]

According to Patti Bellantoni, color symbolism runs a red thread through the entire film ^[44] . Moreover, not a single color is used as often as red, designed to direct the plot and " [direct] the turns of Leicester ." Starting with a gray film that shows indifference, Leicester then surrounds himself red when it begins to come to life. ^[45] Rosa American Beauty repeatedly used as a symbol; when Leicester dreams of Angela, she is usually naked and surrounded by rose petals. In these scenes, the rose appears as an image of Lester’s passion for Angela. When the rose is near Caroline, it is a symbol of the “ provincial ostentatious success ” ^[38] Caroline cuts the roses and puts them in vases ^[46] , where they adorn her “ostentatious vision of what is beauty” ^[38] and begin to die. ^[46] Roses in a vase in the seduction scene of Lester Angela symbolizes the past life of Lester and Caroline; the camera zooms in when Lester and Angela approach each other, and stops on roses in a vase on the windowsill - and, thus, on Caroline - off-screen. ^[22] Lester’s insight at the end of the film is expressed through rain and the use of red; in music, the developing crescendo shows the tension of Lester’s feelings. ^{[47] The} constant use of red “ reassures [the viewer] soothing ” and is addictive to his presence; therefore, it leaves the viewer unprepared when Leicester is shot and his blood is sprayed on the wall. ^[44]

Sensuality and Restraint

Jodi Pennington believes that American Beauty defines its characters through their sensuality. Lester’s attempts to relive his youth are a direct result of his attraction to Angela ^[46] and the state of his intimate relationship with Caroline is partially shown through the absence of marital duties. Also, the sexually unsatisfied Caroline is embroiled in a gamble, which of her “ cold perfectionists ” creates a carelessness that “ [sings] happily with ” the music receiver in her car. ^[48] Jane and Angela are constantly discussing sex, namely Angela's stories about her allegedly rich sexual experience. ^{[48] ​​The} scenes where they perform naked are intended to show their vulnerability. ^{[22] [49]} By the end of the film, Angela’s influence on Jane waned; until then, the only way to influence Jane was to attract Lester to her. ^[50] Colonel Frank Fitz is disgusted with Jim and Jim; he asks Ricky: “ How do these fagots like to calluse your eyes?” How can they be so shameless? ". Ricky, in turn, remarks: " That's the point, papa - they don’t think it’s worth being ashamed ." Pennington notes that the Colonel’s response is not homophobic , but “ painful from self-interrogation ” ^[51]

Along with other films released on the eve of the millennium , “ Among Men ” (1997), “ Fight Club ” (1999), “ Guys Don't Cry ” (1999), “ American Psycho ” (2000), “American Beauty” is “ the heyday of a broader study of the decline of masculinity . ” ^[52] Professor Vincent Hausmann criticized all these films because he believed that in their desire to strengthen masculinity “ against the threats associated with war, consumerism, the challenges of feminism and the Queer, ” there is “ focus, sometimes excessive ”, on the fact that masculinity is " considered a deviation ." Lester’s rebirth means “ that he, and not the woman, bore the brunt of the absence of being ” ^{[ref. 3]} , and he will not stand for being emasculated. ^[52] Leicester’s attempt to “ strengthen traditional masculinity, ” conflicts with his responsibilities as the father of the family. The film outlines the path by which Leicester returned to the state of a good hero, not becoming "a super-courageous hero implicitly appearing in films like the Fight Club ". Hausmann concludes that Lester’s behavior toward Angela is “a mistaken , but almost inevitable step towards his return to his paternal state.” ^[53]

Hausmann says the film “ unequivocally confirms the importance of complying with the incest ban ” ^[54] ; The recurring theme of the film is a comparison of the taboo on incest and homosexuality . ^[55] Instead of a clear demarcation, American Beauty describes how suppressing them can lead to violence. ^[56] Colonel Fitz is so overwhelmed by his homosexual thinking that it motivates him to commit the murder of Leicester. ^[51] Alan Ball says that " The film is partly about how homophobia is based on fear and depression and what [they] are doing ." ^[57] The film implies two unrealizable incestuous desires: ^{[58] the} harassment of Lester Angela personifies his attraction to his own daughter ^[59] , while the cruelty of Colonel Fitz manifests itself in the sexual discipline in which he holds Ricky. ^[28] Consequently, Ricky realizes that he can hurt his father by telling him a lie about being homosexual. ^[50] The prototype of Colonel Fitz was Ball's father ^[52] , whose suppression of his homosexual attraction led to deep unhappiness. ^[60] Ball wrote off Fitz from his father, giving him a delay in his manifestation as homosexual, which Mantes regards as possible " Ball ’s own patriarchal incest fantasies ." ^[56]

Duration and Music

American Beauty follows the generally accepted narrative, apart from partially moving the conversation scene from Jane and Ricky from the middle of the film to the very beginning. Although the events in the film span one year, the film presents the story of the imminent death of Leicester. Jacqueline Farby believes that the plot “ takes [...] not a bit of time [or] all the time”, referring to Leicester’s claim that life does not flash before his eyes, but “ it lasts forever, like an ocean of time ” ^[61] claims that "repetition rate" underlies the construction of the film. ^[62] For example, two scenes of Burnham sitting at dinner were shot in a similar way. Each image is largely similar, if you do not take into account minor changes in the arrangement of objects and sign language, which reflect the vividness of the development of the plot after Lester finds himself. ^{[63] [64]} Another example is a couple of scenes in which Janey and Ricky are together. Ricky takes Janie out of her bedroom window as she takes off her bra and a similar inverted image of " peeping and exhibitionism " when Janie takes Ricky sitting naked in a chair. ^[61] Dreams of Leicester are emphasized due to the measured movement of the camera and repeating frames ^[65] ; Sam Mendes used double and triple repeating frames in several sequences ^{[66] [67]} , and the frame rate changes so that the viewer can understand that these are the dreams of a movie hero. ^[68]

One example is Lester’s first meeting with Angela in the gym. While the rest of the fans perform their performance between the halves to the music of On Broadway Leicester is more focused on Angela. Time is slow to show his " enchanted peeping " and Lester imagines that Angela is performing a dance in an empty room and only for him alone. ^[69] On Broadway - emphasizing the consistency of the action taking place on the stage - suddenly replaced by conflicting percussion sounds, devoid of melody and development. Such a slow motion is necessary to create an impression of freezing in the narrative; ^[70] he conveys the dreams of Leicester, lasting an instant, as if not having a certain length. Associate professor Stan Link likens this effect to “ vertical time ”, which was described by composer and music theorist Jonathan Kramer , like music, which “ alone stretches existing in one long duration ”, the probable endless “now”, which nevertheless feels like one instant. ^{[ref. 4]} Flour is used as a visual guide, so Leicester and rhythm focus on Angela. The musical sequence ends with On Broadway's sudden reintroduction and teleological time. ^[71]

According to Drew Miller from Stylus Magazine the soundtrack " [gives] a subconscious voice " to the psyche of characters and complements the subtext. ^[72] The most obvious use of pop music “accompanies and gives context” to Leicester’s attempts to regain his youth; Recalling how the 1960s counterculture fought everyday American oppression through music and drugs, Lester begins to smoke cannabis and listen to rock music. ^{[ref. 5]} Mendes chose music according to “ progressiveness in the history of American popular music ” Miller claims that although some of them may be familiar, there is also a parody that allows you to “ do well [in the film] encouraging viewers to take a closer look ”. Ближе к концу фильма музыка Томаса Ньюмана играет более заметную роль, создавая « тревожный ритм », что соответствует напряжённости происходящего на экране. Единственным исключением является песня « Don't Let It Bring You Down », звучащая в то время, когда Лестер соблазняет Анджелу. При первой необходимости музыка смолкает, как только обольщение заканчивается. Слова из песни гласящие о том, что « твердыня пылает » ( англ. castles burning ) может рассматриваться как метафора к видению Анджелы Лестером — « розовое, влекомое грёзами воплощение „Американской красавицы“ » — как оно пылает, чтобы показать " застенчивую, с маленькой грудью девушку, которая, как и его жена, умышленно сотворила собственный ложный образ в обществе ". ^[72]

Development

В 1997 году после нескольких лет бесплодной сценаристской деятельности в ситкомах « Грейс в огне » и « Сивилла » Алан Болл решил перейти в киноиндустрию . Он выбрал в качестве места работы United Talent Agency , где его литературный агент Эндрю Каннава предложил писать произвольные сценарии , чтобы « возвратить [себя] в гущу событий, как сценариста ». Болл подбросил Каннава три сценарные наработки: две обычные романтические комедии и «Красоту по-американски» ^{[уточ. 6] [73]} , который он задумывал, как постановку, ещё в 1990-х годах. ^[74] Несмотря на отсутствие у сюжета явной товарной привлекательности для вероятных продюсеров, Каннава выбрал «Красоту по-американски», которую посчитал написанной Боллом с большим вдохновением. ^[75] Помимо работы над сценарием, Болл создал ещё один ситком Oh, Grow Up . Он был страшно раздражён и разочарован отношением зрителей к « Грейс в огне » и « Сивилла », чтобы заниматься работой над сценарием «Красоты по-американски». ^[73]

Болл не надеялся продать сценарий, полагая, что это будет лишь только визитная карточка, но работой заинтересовались некоторые лица из продюсерской среды. ^[76] Каннава предложил сценарий различным продюсерам, включая Дэна Джинкса и Брюса Коэна , которые приобрели его для DreamWorks . ^[77] Благодаря содействию исполнительных продюсеров — Гленн Уильямсон, Боба Купера и Стивена Спилберга Болл согласился осуществить кинопроект в DreamWorks ^[78] ; он получил заверения от студии, известной своей гибкостью в кинопроизводстве, о том, что « острые углы будут сглажены » ^{[уточ. 7] [76]} . Другим необычным шагом киностудии стал отказ от опциона по сценарию ^[79] ; вместо этого в апреле 1998 года DreamWorks напрямую приобрела права на сценарий ^[80] за $ 250,000 ^[81] опередив Metro-Goldwyn-Mayer , Fox Searchlight Pictures , Lakeshore Entertainment , October Films ^[82] DreamWorks собиралась потратить на съёмки фильма $6-8 миллионов. ^[83] Джинкс и Коэн привлекали Болла к работе над фильмом включая подбор актёров и выбор режиссёра. Продюсеры встретились с около 20 заинтересованными режиссёрами ^[84] , некоторые из которых входят в А-список . Болл был не в восторге от возможного участия в проекте известных режиссёров, потому что считал, что это приведёт к увеличению бюджета съёмок и вызовет у DreamWorks « беспокойство за содержание » ^[85] Тем не менее студия предложила кресло режиссёра Майклу Николсу и Роберту Земекису , но оба отказались. ^[83] В том же году Сэм Мендес , будучи театральным режиссёром, вместе с Робом Маршаллом возродил мюзикл Кабаре . Бет Своффорд из Creative Artists Agency устроила встречу Мендеса с ключевыми лицами DreamWorks для его рассмотрения в качестве возможного режиссёра фильма. ^{[уточ. 8]} Мендес наткнулся на «Красоту по-американски» среди кипы из 8 сценариев дома у Своффорд ^[86] , и сразу же понял, что это то что он бы хотел создать; в начале своей деятельности Мендес был вдохновлён таким фильмом как Париж, Техас вышедшем на экраны в 1984 году, в котором представлена современная Америка, как мифическое пространство, и он увидел подобное в «Красоте по-американски», в том числе и воспоминание своего детства. ^[87] Мендес позднее увиделся со Спилбергом; впечатлённый постановками « Кабаре » и « Оливер! » ^[88] , Спилберг предложил Мендесу заняться «Красотой по-американски». ^[83]

Тем не менее Мендес понимал, что нужно убедить других исполнительных продюсеров в том, что именно он достоин сесть в режиссёрское кресло. ^[83] Он обсуждал предстоящий фильм с Джинксом и Коэном, чувствуя их поддержку. ^[89] Болл, будучи впечатлён Кабаре, также одобрил кандидатуру Мендеса, отметив, что Мендес имеет « острое визуальное чутьё » и он не видит другого режиссёра «Красоты по-американски». Боллу также понравилось, что Мендес желает вглядеться в сюжет поглубже, а его талант будет на пользу «Красоте по-американски». ^[85] Театральный опыт Мендеса также был большим плюсом, поскольку режиссёрские постановки не сильно отличаются от кинематографических. ^[84] После двух встреч с продюсерами — первая с Купером, Уолтером Паркисом и Лори МакДональд ^[89] , а вторая с одним только Купером ^[90] — Мендес представил себя студии. ^[89] В июне 1998 года DreamWorks подтвердила, что заключила договор с Мендесом в качестве режиссёра фильма. ^[91] Студия заключила с ним договор, установив самую низшую заработную плату, какую допускает Американская гильдия режиссёров — $ 150,000. Мендес согласился и позднее вспоминал, что после уплаты всех налогов и комиссионных вознаграждений агенту, он заработал по договору лишь $ 38,000. ^[90]

Сценарий

Отчасти при написании сценария фильма Алан Болл был вдохновлён двумя случаями из своей жизни в начале 1990-х. Где-то в 1991—1992 годах в Нью-Йорке сидя на скамейке в парке рядом с Всемирным торговым центром Болл наблюдал носимый порывами ветра полиэтиленовый мешочек . Действо происходило всего 10 минут, но оно произвело неизгладимое впечатление на Болла вызвав « неожиданный чувственный отклик ». ^[93] В 1992 году Болла сильно потряс развернувшимся медийным шумом вокруг судебного процесса Эми Фишер . ^[75] Открывая комикс , повествующий о скандале, он был поражен тем, как быстро он стал коммерческим. ^[74] Он говорил, что « чувствовал будто это была подлинная история, в глубине [это была] более увлекательная и временами трагичная », чем то, что было представлено на суд общественности ^[75] , и попытался воплотить замысел в пьесу. Болл написал около 40 страниц ^[74] , но остановился, когда понял, что это гораздо лучше воплотить в фильм. ^[75] Он ощутил, что поскольку каждая из составляющих темы повествования должна быть на виду, а история каждого героя это « глубоко личное », то это просто невозможно по-настоящему воплотить на сцене. Все основные герои фильма именно так и появились, кроме Кэролайн; а вот роль Джима и Джима была гораздо шире. ^[94]

Болл основывал историю про Лестера на многих гранях своей собственной жизни. ^[95] Переоценка жизни Лестером совпадает с переживаниями Болла, когда он перешагнул 35 летний возраст. ^[96] ; подобно Лестеру Болл не был удовлетворён работой, которую ненавидел, людьми, которых не уважал. ^[95] Сцены в доме Рики отражают воспоминания Болла о своих детских годах. ^[76] Болл подозревал, что его отец был гомосексуалистом, перенеся эти переживания на образ полковника Фитца, человека, который « дал себе возможность быть самим собой ». ^[97] Болл отмечал, что смесь комедии и драмы не является преднамеренной, потому что он к этому пришёл самостоятельно, пропустив сценарий через свою жизнь. Он говорил, что наложение одного на другое привело к противопоставлению предоставив каждой чёрточке большую выразительность, чем если бы всё было по отдельности. ^[98] В сценарии, написанном для ожидаемых актёров и режиссёра, Лестер и Анджела занимались сексом ^[99] ; ко времени начала съёмок Болл довёл сценарий до окончательной редакции. ^[100] Первоначально Болл отвергал предложения от других изменить сценарий, поскольку считал это ненужным пуританством ; на окончательную редакцию с исправлением сцены повлиял тогдашний президент DreamWorks Уолтер Паркис . Он убедил Болла сославшись на древнегреческую мифологию , где у героя есть « мгновение прозрения того как … трагедия наступает ». ^[101] Позднее Болл признавался, что его ослеплял гнев, когда первый набросок сцены Лестера и Анджелы, сводился к тому, что Лестер отказывался от секса с Анджелой для того, чтобы завершить своё окончательное пробуждение и добиться полного освобождения. ^[102] Джинкс и Коэн попросили Болла не менять сцену с ходу, поскольку считали, что это не целесообразно вносить изменения в сценарий, когда ещё не определился будущий режиссёр фильма. ^[100] В ранних черновиках также были воспоминания полковника Фитца во время его службы в морской пехоте во время Вьетнамской войны , где подробно рассказывалось о его гомосексуальных наклонностях. После гибели морского пехотинца с которым у него были гомосексуальные отношения, полковник Фитц начинает верить, что погибший наказан за совершённый грех. Болл удалил эти сцены, поскольку они не вписывались в общее строение сюжета, а полковник не мог быть единственным героем, у кого были воспоминания о прошлом. ^[103] — и отсюда неожиданный поступок полковника был перенесён на Лестера, когда Фитц пытался поцеловать его в гараже. ^[100] Болл говорил, что написал это из соображений понятности, чтобы узнать, что случилось с полковником Фитцем, хотя все, что осталось в последующих редакциях был лишь подтекст. ^[103]

Болл принимал непосредственное участие в дальнейшем производстве. ^[84] ; он подписал соглашение, по которому обязывался в течение года заниматься только съёмками «Красоты по-американски» и не принимать участие в подготовке телевизионных шоу. ^[99] Болл находился на съёмочной площадке для внесения изменений в сценарий и пояснения того или иного сюжетного хода, кроме двух дней когда собственно проходили съёмки. ^[104] Его первоначальная сцена, где Джейн и Рики привлечены к уголовной ответственности за убийство Лестера, подстроенное полковником Фитцем — во время пост-продакшн были вырезаны. ^[75] Болл посчитал, что они совершенно не нужны и их следует удалить, поскольку они являются плодом его « гнева и цинизма », которые он испытывал при написании. ^[98] Болл и Мендес пересмотрели сценарий дважды, прежде чем он был направлен на ознакомление к актерам, и с двойным вниманием при первом чтении. ^[85] В режиссёрском сценарии есть сцена, когда Рики и Джейн в машине у Анджелы разговаривают о смерти и красоте; эта сцена называлась « большая сцена на шоссе » ^[105] , в которой три свидетеля ДТП видят мёртвое тело. ^[106] Сцена была вырезана по чисто практическим причинам, поскольку съёмки выбивались из графика и нужно было не выходить за границы бюджета. ^[105] На съёмки аварии могло быть потрачено целых два дня, в то время как по графику было доступно только полдня. ^[106] Болл был за включение этой сцены в фильм, но при условии, что сохранится сюжетная линия в которой Рики будет говорить о том, как когда-то видел мёртвых бездомных женщин: « „Если ты увидишь нечто подобное этому, то это как будто сам Бог взглянул на тебя на мгновение. И если быть осторожным, то возможно обратное видение“. Джейн спрашивает: И что ты увидел? Рики: Красоту. ". Болл вспоминал: « Они хотели вырезать эту сцену. Они считали её бесполезной. Я им сказал: Вы что окончательно рехнулись что ли. Это одна из важнейших сцен в фильме! … Если какая-то [сюжетная] линия и является сердцем и душой фильма, то именно эта. » ^[105] Чтобы восполнить потерю сцены на шоссе, взамен неё была написана сцена в школьном дворе, когда Рики снимал на видеокамеру мёртвую птицу. Именно здесь был показан « поворотный пункт » в отношениях между Анджелой, Рики и Джейн, когда последняя решила идти домой с Рики, а не с Анджелой. ^[106] К окончанию съёмок количество редакций сценария равнялось 10. ^[85]

• American Beauty (альбом саундтреков)
• Лидеры финского кинопроката#Список самых популярных фильмов финского кинопроката по годам

explanations

• Points J. Studying American Beauty. - Columbia University Press , 2008 .-- 144 p.
• Spiegel JS The Theological Aesthetic of American Beauty // Journal of Religion and Popular Culture . - 2003. - Vol. four.

• Official film site
• American Beauty on the Internet Movie Database
• Movie script