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Jim Olmeyer and Nakef Berkley, a gay dating who live in the best next to the Burnhams, barney the Fitts to the most. Buddy decides to end the city, chatting an expensive divorce.
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We hope this is helpful in finding your perfect match! We Nakdd this is a perfect shade for you! IS there a liner you guys recommend? VirgoDee Hey vedy Virgodee! Thank you for your interest in our products. Ricky and Jane find her dad's body. Jane stands in shock; Ricky gets close to the beautyy Naked very beauty and smiles; Bfauty reacts to her dead husband by breaking down and crying in front of his closet. When Nakex returns home with blood on his white shirt, a gun is shown Naked very beauty be missing from his collection. In the closing narration to the movie, Nwked describes the experience of reliving a night at boy scouts. He says that, despite the unfairness his death, vfry is not angry.
Instead, he poetically describes how happy Nakec is because there is "so much beauty" in the world. Themes and analysis[ edit ] Multiple interpretations[ edit ] Scholars and academics have offered many possible readings evry American Beauty; film critics are similarly divided, not so much about the Nakef of the film, as their interpretations of it. Mendes is ebauty, saying the script seemed to be about something different beauyt time he read it: Nakrd was funny; it was angry, sad. Booth concludes that the film resists any one interpretation: It is more tempting to summarize it as 'a portrait of the beauty underlying American miseries and misdeeds', but that plays down the scenes of cruelty and horror, and Ball's disgust with our mores.
It cannot be summarized with either Lester or Ricky's philosophical statements about what life is or how one should live. According to Booth, the film's true controller is the creative energy "that hundreds of people put into its production, agreeing and disagreeing, inserting and cutting". The monotony of Lester's existence is established through his gray, nondescript workplace and characterless clothing. He masturbates in the confines of his shower;  the shower stall evokes a jail cell and the shot is the first of many where Lester is confined behind bars or within frames,   such as when he is reflected behind columns of numbers on a computer monitor, "confined [and] nearly crossed out".
Pennington argues that Lester's journey is the story's center. Mendes called it "the most satisfying end to [Lester's] journey there could possibly have been". With these final scenes, Mendes intended to show Lester at the conclusion of a "mythical quest". After Lester gets a beer from the refrigerator, the camera pushes toward him, then stops facing a hallway down which he walks "to meet his fate". Mendes said that Ricky's staring into Lester's dead eyes is "the culmination of the theme" of the film: 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 day of his life, forcing audiences to consider their own mortality and the beauty around them. 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. 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". He shows Jane what he considers the most beautiful thing he has filmed: 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 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,  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. First seen in drab colors that reflect his passivity, Lester surrounds himself with red as he regains his individuality. In these scenes, the rose symbolizes Lester's desire for her. Lester's attempts to relive his youth are a direct result of his lust for Angela,  and the state of his relationship with Carolyn is in part shown through their lack of sexual contact.
Also sexually frustrated, Carolyn has an affair that takes her from "cold perfectionist" to a more carefree soul who "[sings] happily along with" the music in her car. Fitts reacts with disgust to meeting Jim and Jim; he asks, "How come these faggots always have to rub it in your face? How can they be so shameless? Fitts' reaction is not homophobic, but an "anguished self-interrogation". Lester's transformation conveys "that he, and not the woman, has borne the brunt of [lack of being]" [nb 3] and he will not stand for being emasculated.
Although the film portrays the way Lester returns to that role positively, he does not become "the hypermasculine figure implicitly celebrated in films like Fight Club". Hausmann concludes that Lester's behavior toward Angela is "a misguided but nearly necessary step toward his becoming a father again". Fitts is so ashamed of his homosexuality that it drives him to murder Lester.
Fitts' repression is exhibited through the almost sexualized discipline with which he controls Ricky. Fitts represents Ball's father,  whose repressed homosexual desires led to his own unhappiness. Fitts to delay revealing him as vedy, which Naked very beauty reads as a possible "deferment of Ball's own patriarchal-incest fantasies". Although besuty plot spans one year, the film is narrated by Lester at the moment of his death. Each image is broadly similar, with minor differences in object placement and body language that reflect the changed dynamic brought on by Bdauty new-found assertiveness.
Ricky films Jane from his bedroom window as she removes her bra, and the image is reversed later for a similarly "voyeuristic and exhibitionist" scene in which Jane films Ricky at a vulnerable moment. While the cheerleaders perform their half-time routine to " On Broadway ", Lester becomes increasingly fixated on Angela. Time slows to represent his "voyeuristic hypnosis" and Lester begins to fantasize that Angela's performance is for him alone. This nondiegetic score is important to creating the narrative stasis in the sequence;  it conveys a moment for Lester that is stretched to an indeterminate length. The effect is one that Stan Link likens to "vertical time", described by the composer and music theorist Jonathan Kramer as music that imparts "a single present stretched out into an enormous duration, a potentially infinite 'now' that nonetheless feels like an instant".
The sequence ends with the sudden reintroduction of "On Broadway" and teleological time. The most obvious use of pop music "accompanies and gives context to" Lester's attempts to recapture his youth; reminiscent of how the counterculture of the s combated American repression through music and drugs, Lester begins to smoke cannabis and listen to rock music. Miller argues that although some may be over familiar, there is a parodic element at work, "making good on [the film's] encouragement that viewers look closer". Toward the end of the film, Thomas Newman 's score features more prominently, creating "a disturbing tempo" that matches the tension of the visuals.
At first appropriate, its tone clashes as the veru stops. The lyrics, which speak of "castles burning", can be seen as a metaphor for Lester's view of Angela—"the rosy, fantasy-driven exterior of the 'American Beauty'"—as it burns away to reveal "the timid, small-breasted girl who, like his wife, has willfully developed a false public self". He joined the United Talent Agencywhere his representative, Andrew Cannava, Nakef he write a spec script to "reintroduce [himself] to the town as a screenwriter". Ball pitched three ideas to Cannava: He channeled his anger and frustration at having to accede to network demands on that show—and during his tenures on Grace Under Fire and Cybill—into writing American Beauty.
The producers met with about 20 interested directors,  several of whom were considered A-list at the time. Ball was not keen on the more well-known directors because he believed their involvement would increase the budget and lead DreamWorks to become "nervous about the content". Beth Swofford of the Creative Artists Agency arranged meetings for Mendes with studio figures in Los Angeles to see if film direction was a possibility. Ball felt that Mendes liked to look under the story's surface, a talent he felt would be a good fit with the themes of American Beauty.
In about —92, Ball saw bexuty plastic bag blowing in the wind outside the World Trade Center. He watched the bag for 10 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.