Film Analysis of Fight Club

David Finchers 1999 cult classic film Fight Club was polarizing when released at the end of the 20th century: it hit audiences hard, shocking some and enthralling others. It divided critics as well; however, looking back on the film and analyzing from it various aspects, such photography, editing, story, ideology, drama, and more, one can see with a clearer critical lens that the film works from start to finish as a unified piece of art that is totally aware of what it is doing and why it is doing it. Fight Club was a film made to offend and it succeeds because it topples the sacred cows of society and sets ablaze the prairie upon which they grazed (even the bermensch bad-boy boy-toy Brad Pitt gets discarded by the end of the filma rug pull for every adolescent male idolizing the anarchic bravado of Pitts Tyler Durden). The film is meant to be experienced so that the viewer can feel catharsisa purification of the emotionsa much needed thing due to the fact that, at least in Finchers eyes, the average human being is going through the same depressing existence that the nameless hero of the film (Jack played Edward Norton) is going through when the film opens up. To understand all this, however, it is necessary to understand how the film works to pull it off. And to understand that, it is necessary to take it point by point.

The first thing to know is that Fight Club is a critique of consumerism; no one really debates this point, although many critics and scholars argue about the extent to which the film is successful in its attacks on the consumerist culture of the US (Giroux; Liktor; Robinson; Ta). So how does the film demonstrate this critique? There are numerous examples in terms of writing and plotfrom the nameless narrators early comical obsession with IKEA to the antics of the members of Project Mayhem who are given assignments to smash corporate works of artbut there are also examples in the films look, which is grungy, dingy, and lit so as to revel in grimy browns and shadows: as if to say, You dont need all that nice stuff in order to be happy! That is essentially the message Tyler Durden conveys to the hapless hero upon their first night out: We buy things we dont need with money we dont have to impress people we don't like (Fincher). Tyler later tells Jack to let go of all those attachments and become free from the chain of materialism. That is why at one of the fight club meetings, Tyler declares, Our great wars a spiritual war. Tyler wants Jack and the other men to transcend the materialism that has defined their existence up to that point. To do that, they have to reject the nice, comfortable world they inhabit (Ta). Jack (unwittingly) blows up his condo (so that his alter-ego Tyler can more fully emerge to guide him out of his spiritual malaise). All of this is in the writing and the plot, which culminates with the fight club members blowing up the credit card companies skyscrapers in a symbolic gesture of overthrowing the corporate structure.

Plot and writing are reinforced by the way the film is shot: the films photography is used to create a grim and unsettling atmosphere that mirrors the inner turmoil of the protagonist. The house where Tyler takes Jack to live is a decrepit old Victorian home on an abandoned lot at the edge of an industrial wasteland. They get the fight club going in the basement of a dingy bar. Night scenes fill the film. The use of desaturated colors and low-key lighting highlights the dystopian reality just below the surface of the perfect consumerist society. The photography reinforces the main themes of the film, making the audience feel as if they are part of this world where the protagonist is going through a series of break-throughs: first, disillusionment; second, acceptance; third, awakening. The visual language of the film sets the tone for the narrative and underlines the film's critical stance towards modern society (Ta).

But thats not all. In terms of mise en scene, the settings, costumes, and props all work together to tell the story. The grimy, urban environment reflects the discontentment of its inhabitants. The props, such as IKEA furniture, symbolize the protagonist's dissatisfaction with consumer culture, whereas the contrast between the nondescript wardrobe of the protagonist and Tyler Durden's eccentric style accentuates their differing ideologies. Tylers clothing is always eye-popping and different from what everyone around him is wearing: his hair is spikey, his shades are big and bold, his clothing has flair, and everything about his attire articulates his rebellious nature. Jack on the other hand looks like a typical white collar worker.

Movement in Fight Club is also used to amplify the narrative and the characters' emotional journeys. One of the most notable examples of movement is found in the film's opening credits scene. The viewer finds himself inside the protagonist's brain, navigating the neural pathways, then pulling back through his fear center and continuing to retreat through the barrel of a gun placed in his mouth. This sequence is both a visceral, technical marvel (that plays fantastically thanks to the accompanying film score by the Dust Brothers) and a thematic introduction (tat hints of the psychological nature of the narrative that is about to unfold). The camera movement, in combination with CGI, signifies the intricate connection between the physical and the psychological, suggesting that the journey the viewer is about to go on is one that ultimately has its roots in the disturbed mind of the protagonist.

This same kind of camera movement is used later in the film as wellfirst, when Jack is guiding the viewer through his apartment furnished with items from the IKEA catalogue; again, when Jack is describing the way that corporations name everything...…lauded the film for its audacious critique of consumer culture and the crisis of masculinity (Ta). They praised its innovative narrative structure, striking visuals, and stellar performances, especially from Pitt and Norton. These critics saw the film's violence not as gratuitous, but as a metaphor for the characters' internal struggles and the societal breakdown around them (Liktor).

The film's boldness in addressing the discontent and disillusionment experienced by a generation caught in the grip of consumerism has in fact earned it a cult following. Over time, more viewers and critics have come to appreciate the film's exploration of identity, its critique of societal norms, and its unique aesthetic. Ebert saw the violence as meaningless and the philosophy of Durden as shallow. What, perhaps, Ebert did not appreciate was that Jack had to go through Durden to get to the other side of thingsmuch like how the hero of Shawshank Redemption had to crawl through a prison sewer to come out clean on the outside.

That said, the film's influence on popular culture is undeniable. Phrases like "The first rule of Fight Club is..." have permeated popular culture, and the film has been analyzed in academic circles, with discussions centering around its themes of consumerism, masculinity, identity, and societal rebellion. Fans know it by heart, and because it tackles universal ideas such as what it means to be a man, it will likely remain a classic. That is probably why in spite of its initial mixed reception, Fight Club has stood the test of time.

Conclusion

In conclusion, Fight Club succeeds in being a unified piece of art that challenges societal norms and explores the human condition. Through its effective use of photography, mise en scene, movement, editing, sound, acting, drama, story, writing, and ideology, the film forces viewers to confront their own perceptions of reality and their place within society. Its polarizing nature is a testament to its boldness and its commitment to pushing boundaries and challenging viewers to question their own realities. By making us complicit in the protagonist's journey, the film forces us to confront our own perceptions and attitudes towards consumer culture and societal norms. It's a film that doesn't shy away from causing discomfort, and it's this audacity that has etched Fight Club into the annals of film history as a groundbreaking work of art. The film's ability to elicit strong emotional reactions, whether of shock, fascination, or even disgust, speaks to its enduring power. As a piece of social commentary, it successfully stimulates introspection and debate, inviting us to reassess our own lives and the societal structures we inhabit. It is a testament to Fincher's prowess as a filmmaker and his willingness to grapple with difficult, uncomfortable themes, marking Fight Club as a prime example of cinema's ability to provoke and challenge. Thus, Fight Club is more than just a film; it's a cultural phenomenon that continues to resonate with audiences, serving as a stark reminder of the power of cinema to reflect, critique,…