Fight Club (1999)

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R | 2 hr 20 mins | Comedy drama | Now Playing

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Before it's even hit theaters, "Fight Club" has already generated a maelstrom of publicity over its explicit brutality and basic premise of middle-class gen-xers beating each other up in underground brawling clubs. Those quick to pull the trigger on Hollywood's presumed irresponsibility will doubtless find much to object to in the film and its previews, which depict much male posturing and stylized mayhem.

Those who look deeper will uncover an extremely accomplished fourth film from director David Fincher, a filmmaker previously known for the edgy "Seven," "The Game" and "Aliens 3." His latest depiction of urban dysfunction is no less dark and disturbing. What distinguishes it from other efforts is its scathing, knowing sense of humor, and the generational impact of its lead actors -- Brad Pitt, Edward Norton and Helena Bonham Carter.

Based on an equally controversial novel by Chuck Palahniuk, "Fight Club" has more on its mind than simply observing would-be yuppies pummeling their comrades for two and a half hours. After an opening sequence that literally gets under the skin, viewers are introduced to middle-class twentysomething Jack (Norton), a typical young man working a dead-end job investigating the effects of traffic collisions.

Absolutely uninspired by a lifestyle which is anchored to an Ikea catalog, the insomniac seeks out help from a therapist who tells him that if he really wants to know true suffering, he should attend a support meeting for those addled by testicular cancer. Figuring he has nothing to lose, the restless young man does just that. Before long, the absurd notion becomes a profound addiction to sessions with all sorts of ailing groups.

When another experience-deprived junkie named Marla Singer (Helena Bonham Carter) crashes too many of his intimate gatherings, the pretend sickie finds himself feeling a bit uncomfortable, and in need of a new stimulus. It arrives in the form of grungy soap-maker Tyler Durden (Brad Pitt), who, after a few rounds at the pub, asks Jack to hit him as hard as he can, just to get his nerves flowing.

Before long, this idea of escaping the modern doldrums through good old-fashioned aggression catches on with enough young males for Jack and Tyler to start thinking on a larger scale. It also brings out some pointed differences in their life philosophies. While older audiences may have trouble identifying with the feelings of either protagonist, chances are those who've grown up in the post-counterculture, post-ironic, post-whatever generation will likely relate to at least some of their disaffected attitudes.

Edward Norton has said in interviews that the movie has a chance of becoming "The Graduate" for gen-x/nexters -- a new kind of film which "parents truly don't understand." While the comparison may or may not hold up, a controversial reception to the movie could bear resemblance to the recognized classic "A Clockwork Orange." Like Kubrick's "ultra-violent" masterpiece, this one revels in a uniquely contemporary vision of societal flaws, and bears the stamp of an expert craftsman.

Those who object to the movie's concept will have a tough time disregarding Fincher's commanding use of film language to convey his points. Single frames are employed to interrupt and underline ideas; occasional freeze-frames punctuate the film's action; onscreen text is used to express the futility of a sterile life; and other cinematic tricks further humor and humanize the movie's palpable desperation.

The lighter comedy which contrasts "Fight Club's" graphic acts of violence also helps rather than hinders its argument against any supposed link to real-life violence. Although the movie takes no definitive position, the screenplay emphasizes thoughts as well as visceral experience, and assumes an implied intelligence. The film may be violent and funny, but it's never simple.

The cast also does well playing out its nuances. Pitt's performance as an intense but thinking instigator, all sinewy prowess and fearless behavior, rings true, as does chameleon-like Norton's turn as the disenfranchised, sensation-seeking novice. Bonham-Carter, a spunky, sexy addict, reveals no trace of her period piece background. And Meat Loaf, as a cancer-stricken juggernaut, turns out to be surprisingly soulful.

More problematic than the content in the film is its tricky turn of events during the last act. Some may view the surprise ending as a cool and logical extension of the narrative. Others will be less likely to go along for the ride. As provocative and idea-inspiring as the rest of the filmmaking is, the last revelation does tend to distract from the project's overall accomplishment. Fincher and company have produced a highly original, good-looking, and well-acted comedy-drama about the dark side of modern developments. But it's one that's best served without gimmickry.

* MPAA rating: R, for disturbing and graphic depiction of violent antisocial behavior, sexuality and language.

'Fight Club'

Edward Norton Narrator

Brad Pitt Tyler Durden

Helena Bonham Carter Marla Singer

Meat Loaf Aday Robert Paulsen

Jared Leto Angel Face

Fox 2000 Pictures and Regency Enterprises present a Linson Films production, released by 20th Century Fox. Director David Fincher. Producers Art Linson, Cean Chaffin, Ross Grayson Bell. Executive producer Arnon Milchan. Screenplay Jim Uhls, based on the novel by Chuck Palahniuk. Cinematographer Jeff Cronenweth. Editor James Haygood. Costumes Michael Kaplan. Music the Dust Brothers. Production design Alex McDowell. Art director Chris Gorak. Set decorator Jay R. Hart. Running time: 2 hours, 19 minutes.

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