Weighing in on "American Beauty", while it's not at all "great" in any sense of the word, it's certainly well above par,
and at points surprisingly so. Taken at a purely base level, it could be viewed as the mainstream, glossy sit-com version
of last year's "Happiness" (though "Beauty" is undoubtedly the superior picture), and its celebration of the underdog
'everyman', its self-satisfied nods towards cheeky subversion and its non-stop professionalism make it not at all surprising
that most critics are falling over themselves in adulatory bliss. Set in an unspecified generic suburb (a place where
fast-food outlets proudly advertise "Free Napkins!"), it chronicles the disintegration of a marriage, and the effects
this crisis has on the family in question's orbiting particulars (specifically, The Folks Next Door). From the opening shot
and the first lines of dialogue, it's apparent that the filmmakers are trying perhaps a little too hard to attract attention;
indeed, most of the film's most glaring problems are a result of Directoral Debut Featuritis (why, for instance, do Kevin
Spacey's sexual fantasies seem more like some kind of Jean Genet fever-dream than those of a whitebread male in the throes
of a boy-howdy midlife crisis?), though strangely in its final act, what with all the convoluted plot machinations that
seem more like they've been cribbed directly from "Three's Company" reruns than a result of any genuine inspiration, it
becomes clear that it really hasn't been trying hard enough...it eventually becomes so divorced from consensual reality
that its satirical intent is nullified.
Still, though, there's an awful lot here to recommend, and recommend it I would. Kevin Spacey is becoming a legitimate
National Treasure, and his performance here provides ample evidence (the tiny, flickering smirks that cross his character's
face each time he scores a petty, minor triumph are priceless). Chris Cooper (sporting an award-worthy haircut) is
outstanding, despite the fact that his character is a zero, a walking cliche (anyone capable of adding single-digits will
anticipate his final plot "twist"). And, amazingly enough, Annette Benning is phenomenal, somehow managing to add elements
of aching sympathy to what was obviously written as a one-note despicable character (in fact, every actor involved with
the production, excepting Peter Gallagher whose role is too thankless to bother with, manages this - every character being
essentially despicable - but Benning's tightrope act constantly straddles the line between revulsion and empathy, and ends
up stealing the show). All the tech-specs here in addition to the performances are top-notch; the composition and
photography are amazing (the camera is constantly looking through things...viewfinders, television screens, windows,
sheets of rain &c.), there's the best lighting on display since "Barfly", and the score is always appropriate,
morphing from sensitive motifs to Harry Partch-like polyphony at precisely the right moments.
Director Sam Mendes' theatre background is apparent, (he seems most at home during the picture's perfectly framed,
dialogue-based interior sequences), and for much of the rest of the film he shows a clean, streamlined and efficient
cinematic talent. But the alternately tragic/funny material requires more discipline than he seems ready to provide;
a more seasoned director would have done without the incongruous and jarring fantasy-sequences; would have been content
to merely show us, in one pivotal scene, two characters watching videotape of a trashbag dancing in the wind without
being compelled to add the turgid, explanatory dialogue (let alone repeat it later on in the film); wouldn't have felt
the need to literally show us Spacey's life passing before his eyes upon his demise (not a "spoiler", his passing is
divulged in the previously noted self-conscious opening)...much of the film's strength is in its details, and a more
consistent application of visual shorthand would have benefitted the material greatly. There's so much here that's
instantly recognizable and relatable to American viewers that its flights into textbook surrealism and polemics simply
fizzle.
Even so, it's a hugely noble effort, and more often than not quite rewarding. By all means, go and enjoy it. Just don't be
swayed by the "buzz".
