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Fight Club 1999 - 139 Min Dramma !NEW!

As the narrator travels around the country, trying to retrace Tyler's steps, he discovers that fight clubs have been started in almost every major city, and one of the participants identifies him as Tyler Durden. A phone call from Marla confirms his identity, and he realizes that Tyler is in fact an alter ego of his own split personality. (1:50:26)

Fight Club 1999 - 139 min Dramma

March 4th - Fight Club(Released 10/6/99) Directed by David Fincher, 139 minutes. An insomniac consumer searches for meaning in his life by founding an underground fight club with a traveling soap salesman. This disturbing and violent film starring Brad Pitt and Edward Norton, with Helena Bonham Carter, Meatloaf, and Jared Leto, has since become a cult classic and cultural milestone. Much like 1999's

Ed Norton's central character is nameless (Closed-Captioning and DVD menus call him either Jack or Rupert), a bored office worker suffering from alienation-induced insomnia. He can only sleep after attending anonymous support groups for alcoholics and cancer victims, although he is neither. That option disappears when he finds a hostile woman, Marla (Helena Bonham-Carter) doing the same thing, for kicks and free food. He meets a charismatic soap salesman and part-time movie projectionist named Tyler Durden (Brad Pitt), with more extreme coping solutions for modern life. The duo forms a "fight club," beating each other for the primal thrill. The notion attracts other bored young men, and soon a number of secret Fight Clubs pummel themselves throughout the city. For Tyler, though, it's only the beginning of something he calls "Project Mayhem," orchestrated sabotage to overthrow the consumerist society. He's already been conducting his campaign on a small scale by splicing subliminal frames of pornography into family movies. Now, using Fight Club as an underground army, he spearheads bombings and monkey-wrenchings against The System. Rupert (or Jack, or whoever) watches Tyler's progress with alarm, as his own condo explodes and police link him to the attacks. Worse, Marla resurfaces, and a dangerous love triangle forms between her, the Ed Norton character, and Tyler. We already know from the film's dynamic opening that Tyler will end up holding a gun on his former friend, and the storyline is a flashback. Not necessarily a reliable flashback, though, and Fight Club has a celebrated Sixth Sense-style plot surprise that demands the viewer rethink all that's come before.

Fight Club is a 1999 American film directed by David Fincher and starring Brad Pitt, Edward Norton, and Helena Bonham Carter. It is based on the 1996 novel of the same name by Chuck Palahniuk. Norton plays the unnamed narrator, who is discontented with his white-collar job. He forms a "fight club" with soap salesman Tyler Durden (Pitt), and becomes embroiled in a relationship with a mysterious[5][6] woman, Marla Singer (Bonham Carter).

The Narrator, an unreliable narrator, is not immediately aware that he is mentally projecting Tyler.[18] He also mistakenly promotes the fight clubs as a way to feel powerful,[19] though the Narrator's physical condition worsens while Tyler Durden's appearance improves. While Tyler desires "real experiences" of actual fights like the Narrator at first,[20] he manifests a nihilistic attitude of rejecting and destroying institutions and value systems.[21] His impulsive nature, representing the id,[15] is seductive and liberating to the Narrator and the members of Project Mayhem. Tyler's initiatives and methods become dehumanizing;[21] he orders around the members of Project Mayhem with a megaphone similar to camp directors at Chinese re-education camps.[15] The Narrator pulls back from Tyler and arrives at a middle ground between his conflicting selves.[16]

The violence of the fight clubs serves not to promote or glorify combat, but for participants to experience feeling in a society where they are otherwise numb.[26] The fights represent a resistance to the impulse to be "cocooned" in society.[24] Norton believed the fighting strips away the "fear of pain" and "the reliance on material signifiers of their self-worth", leaving them to experience something valuable.[20] When the fights evolve into revolutionary violence, the film only half-accepts the revolutionary dialectic by Tyler Durden; the Narrator pulls back and rejects Durden's ideas.[16] Fight Club purposely shapes an ambiguous message whose interpretation is left to the audience.[21] Fincher said: "I love this idea that you can have fascism without offering any direction or solution. Isn't the point of fascism to say, 'This is the way we should be going'? But this movie couldn't be further from offering any kind of solution."[13]

The fight scenes were heavily choreographed, but the actors were required to "go full out" to capture realistic effects such as having the wind knocked out of them.[23] Makeup artist Julie Pearce, who had worked for Fincher on the 1997 film The Game, studied mixed martial arts and pay-per-view boxing to portray the fighters accurately. She designed an extra's ear to have cartilage missing, inspired by the boxing match in which Mike Tyson bit off part of Evander Holyfield's ear.[44] Makeup artists devised two methods to create sweat on cue: spraying mineral water over a coat of Vaseline, and using the unadulterated water for "wet sweat". Meat Loaf, who plays a fight club member who has "bitch tits", wore a 90-pound (40 kg) fat harness that gave him large breasts.[32] He also wore eight-inch (20 cm) lifts in his scenes with Norton to be taller than him.[15]

Cineaste's Gary Crowdus reviewed the critical reception in retrospect: "Many critics praised Fight Club, hailing it as one of the most exciting, original, and thought-provoking films of the year." He wrote of the negative opinion, "While Fight Club had numerous critical champions, the film's critical attackers were far more vocal, a negative chorus which became hysterical about what they felt to be the excessively graphic scenes of fisticuffs ... They felt such scenes served only as a mindless glamorization of brutality, a morally irresponsible portrayal, which they feared might encourage impressionable young male viewers to set up their own real-life fight clubs in order to beat each other senseless."[101]

Following Fight Club's release, several fight clubs were reported to have started in the United States. A "Gentleman's Fight Club" was started in Menlo Park, California, in 2000 and had members mostly from the tech industry.[115] Teens and preteens in Texas, New Jersey, Washington state, and Alaska also initiated fight clubs and posted videos of their fights online, leading authorities to break up the clubs. In 2006, an unwilling participant from a local high school was injured at a fight club in Arlington, Texas, and the DVD sales of the fight led to the arrest of six teenagers.[116] An unsanctioned fight club was also started at Princeton University, where matches were held on campus.[117] The film was suspected of influencing Luke Helder, a college student who planted pipe bombs in mailboxes in 2002. Helder's goal was to create a smiley pattern on the map of the United States, similar to the scene in Fight Club in which a building is vandalized to have a smiley on its exterior.[118] On July 16, 2009, a 17-year-old who had formed his own fight club in Manhattan was charged with detonating a homemade bomb outside a Starbucks Coffee shop in the Upper East Side. The New York City Police Department reported the suspect was trying to emulate "Project Mayhem".[119]

Fight Club had a significant impact on evangelical Christianity, in the areas of Christian discipleship and masculinity. A number of churches called their cell groups "fight clubs" with a stated purpose of meeting regularly to "beat up the flesh and believe the gospel of grace".[120][121] Some churches, especially Mars Hill Church in Seattle, whose pastor Mark Driscoll was obsessed with the film,[122] picked up the film's emphasis on masculinity, and rejection of self-care. Jessica Johnson suggests that Driscoll even called on "his brothers-in-arms to foment a movement not unlike Project Mayhem."[123]

In 2003, Fight Club was listed as one of the "50 Best Guy Movies of All Time" by Men's Journal.[128] In 2004 and 2006, Fight Club was voted by Empire readers as the eighth and tenth greatest film of all time, respectively.[129][130] Total Film ranked Fight Club as "The Greatest Film of our Lifetime" in 2007 during the magazine's tenth anniversary.[131] In 2007, Premiere selected Tyler Durden's line, "The first rule of fight club is you do not talk about fight club," as the 27th greatest movie line of all time.[132] In 2008, readers of Empire ranked Tyler Durden eighth on a list of the 100 Greatest Movie Characters.[133] Empire also identified Fight Club as the 10th greatest movie of all time in its 2008 issue The 500 Greatest Movies of All Time.[134]

The performances of Edward Norton and Brad Pitt is one of the main reasons the film is so engaging. They play their characters brilliantly, especially Norton whose character we are made to identify with. As more and more fight clubs start appearing all over the country, with Tyler Durden leading the movement, the viewer is plunged into the crazy journey.

Beau Travail (1999, Fr.) (aka Good Work), 92 minutes, D: Claire Denis Writer/director Claire Denis' evocative yet austere drama was inspired by Herman Melville's allegorical short novel Billy Budd (1888), a story about cruelty on the high-seas in the late 1700s toward an innocent sailor, unfair societal justice, and latent homoeroticism. In tandem, this French film was also about petty jealousy that turned treacherous. It was set in the small multi-ethnic, E. African country of Djibouti among soldiers of the French Foreign Legion at a desert outpost, where the muscular male recruits were rigorously trained, exercised, and drilled in beautifully-choreographed and ritualized sequences. In flashback, troubled and self-destructive ex-Foreign Legion officer Sgt. Galoup (Denis Lavant) recalled his disciplined and regimented military life there, marred by his irrational dislike for handsome new recruit Gilles Sentain (Grégoire Colin). In this metaphysical tale of good vs. evil, Galoup felt challenged and set out to destroy the dutiful, selfless, virtuous misfit (by sending him on a near fatal mission into the desert) when he became jealously suspicious that the likeable and popular young Sentain had replaced him as the object of Commandant Bruno Forestier's (Michel Subor) praise and interest. His displaced paranoia led to his expulsion and the ruination of his own career. His possible suicide (by blowing his brains out) was juxtaposed with his final dazzling, acrobatic, and spasmodic solo disco dance set to the tune of the late 1980s dance club classic "Rhythm of the Night." 041b061a72


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