When their relationship turns sour, a couple undergoes a procedure to have each other erased from their memories. But it is only through the process of loss that they discover what they had to begin with.
After his death sometime in his forty-third year, suburbanite Lester Burnham tells of the last few weeks of his life, during which he had no idea of his imminent passing. He is a husband to real estate agent Carolyn Burnham and father to high school student Janie Burnham. Although Lester and Carolyn once loved each other, they now merely tolerate each other. Typical wallflower Janie too hates both her parents, the three who suffer individually in silence in their home life. Janie tries to steer clear of both her parents. Carolyn, relatively new to the real estate business, wants to create the persona of success to further her career, she aspiring to the professional life of Buddy Kane, the king of the real estate business in their neighborhood. Lester merely walks mindlessly through life, including at his job in advertising. His company is downsizing, and he, like all the other employees, has to justify his position to the newly hired efficiency expert to keep his job. Things change ... Written by
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. The change was a practical decision, as the production was behind schedule and they needed to cut costs. The schedule called for two days to be spent filming the crash, but only half a day was available. Alan Ball agreed, but only if the scene could retain a line of Ricky's where he reflects on having once seen a dead homeless woman: "When you see something like that, it's like God is looking right at you, just for a second. And if you're careful, you can look right back." Jane asks: "And what do you see?" Ricky: "Beauty." Ball said, "They wanted to cut that scene. 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." Another scene was rewritten to accommodate the loss of the freeway sequence; set in a schoolyard, it presents a "turning point" for Jane in that she chooses to walk home with Ricky instead of going with Angela. By the end of filming, the script had been through ten drafts. See more »
After he is beaten by his father for looking at the Nazi plate, Ricky Fitts looks in the mirror to examine his wounds. The edge of the camera is visible in the mirror for about a second, then the frame is rearranged so it is no longer visible. 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 »
The intention is so clear that everything else falls into place, perfectly. Kevin Spacey's suburban husband and father reminded me of his character in "The Ref" and that could only be a good thing. Annette Bening and her giggle works wonders here. Their marriage is a tabloid version of a "Who's Afraid To Virginia Woolf" Which means very close to someone we know. The biggest surprises in the film. besides the amazing dexterity of Sam Mendes at his first outing behind the camera, are West Bentley. Chris Cooper, Thora Brch and Allison Janney. As I'm writing this 8 years after its first release, the Oscars and the whole hullabaloo, I'm very surprised that West Bentley hasn't become a major star. He is amazing in "American Beauty" the complexities of his character are based on recognizable human stands, the hardest to face up to and I went where he went. Thora Birch is lovely as the object of his attention and the film, I believe, is here to say.
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