American Psycho movie theory

[guest]

American Psycho is my favorite movie of all time, and I just realized something. Bateman wants to be "different" by becoming a serial killer. At the end of the film, he goes into Paul Allen's apartment and meets the lady realtor who clearly knows about the murders and doesn't give a care. Pat realizes for the first time that there's another person who's just as fucked up as him, and he isn't so different after all.

So it got me thinking... when he's having dinner with Paul Allen, he asks Paul how he made such an achievement at work, and Paul replies, "If I told ya, I'd have to kill ya" and Bateman fake laughs, because as we all know it's him who'll be killing Paul.

But throughout the film, Bateman always lets murderous phrases like that slip -- "I want to stab you to death", etc. Here Paul Allen let one slip. Since they were all copies of each other, could it be that they were all killers (including Paul Allen)?

Bateman was never different. They were all fucked up killers.

 

[AntSucks]

Let's see Paul Allen's movie theory.

 

[Udders]

Or he could've been imagining it all.

 

[UnPRePared]

Interesting theory.

I can't say I'm a Brett Easton Ellis fan - his writing is a little too nihilistic and even fatalistic for my liking. But the work Gwin Turner did on adapting that story for film was exemplary; it turned a rather avant garde novel with chapter long tangents into a very watchable, and very distinct, film.

There's moments I remember questioning what's real and what isn't: the brief scene dragging Paul Allen's body where suddenly no blood is draining from the bag. The death of the women which would clearly have woken anyone nearby up. The discovery of the clean apartment. The crazy events one night after the ATM message. The co-worker telling Patrick he saw Paul Allen just recently, playing off the answering machine "confession" as a joke.

Now, one can view those things as a metaphor for yuppies being so conceited and selfish, that they would rather ignore and cover up such acts of others to keep their own noses clean, or for personal gain (like the realtor). Or you could even view the film in it's entirety as the progressive self destruction of an empty man, who slowly loses his mind. I take it differently myself: from the moment the movie starts, Patrick is completely gone. All the deaths are complete fantasies, an outlet for his rage issues and vapid existence of drugs and money. It's the simplest explanation for why, despite blatant and haphazard handling of killings that would've nailed anyone, he "gets away" with them. What you're actually seeing throughout the film is the facade of his personality, and the faux depth he has, being chipped away - i.e. the act falling apart. He has nothing to him and he knows it, but when the killer fantasies stop being enough, and he begins to see that they weren't ever real, his persona in real life fails, hinting that the fantasies might actually start becoming the reality.

It's why his secretary is such a focal point. She's the grounding rod, the one innocent that he tried to take advantage of but feels he can't. The potential victim he couldn't bring himself to kill, in a moment of rare, naked honesty where he practically begs her to leave - a moment where the fantasy was about to be the reality, but enough of his grasp on reality was still left to stop himself. She, in a way, was his last tether to humanity, and when she finds out just how crazy he is at the very end of the film, and breaks down crying, it represents that there was never a real Patrick, and he is now just an animal given to his fantastical impulses - further cemented by the final soliloquy of the film.

I haven't thought about American Psycho in a while, but that's what I think it represents: using the metaphor of shallow 80's capitalism to reflect a man's destructive psyche. Credit to Ellis, Bale, Turner, and the director of the film.

 

[Ladynyahh]

Anthony, get down on your knees so Sue can see your asshole.

 

[guest]

Interesting theory.

I can't say I'm a Brett Easton Ellis fan - his writing is a little too nihilistic and even fatalistic for my liking. But the work Gwin Turner did on adapting that story for film was exemplary; it turned a rather avant garde novel with chapter long tangents into a very watchable, and very distinct, film.

There's moments I remember questioning what's real and what isn't: the brief scene dragging Paul Allen's body where suddenly no blood is draining from the bag. The death of the women which would clearly have woken anyone nearby up. The discovery of the clean apartment. The crazy events one night after the ATM message. The co-worker telling Patrick he saw Paul Allen just recently, playing off the answering machine "confession" as a joke.

Now, one can view those things as a metaphor for yuppies being so conceited and selfish, that they would rather ignore and cover up such acts of others to keep their own noses clean, or for personal gain (like the realtor). Or you could even view the film in it's entirely as the progressive self destruction of an empty man, who slowly loses his mind. I take it differently myself: from the moment the movie starts, Patrick is completely gone. All the deaths are complete fantasies, an outlet for his rage issues and vapid existence of drugs and money. It's the simplest explanation for why, despite blatant and haphazard handling of killings that would've nailed anyone, he "gets away" with them. What you're actually seeing throughout the film is the facade of his personality, and the faux depth he has, being chipped away - i.e. the act falling apart. He has nothing to him and he knows it, but when the killer fantasies stop being enough, and he begins to see that they weren't ever real, his persona in real life fails, hinting that the fantasies might actually start becoming reality.

It's why his secretary is such a focal point. She's the grounding rod, the one innocent that he tried to take advantage of but feels he can't. The potential victim he couldn't bring himself to kill, in a moment of rare, naked honesty where he practically begs her to leave - a moment where the fantasy was about to be the reality, but enough of his grasp on reality was still left to stop himself. She, in a way, was his last tether to humanity, and when she finds out just how crazy he is at the very end of the film, and breaks down crying, it represents that he's now completely gone - further cemented by the final soliloquy of the film.

I haven't thought about American Psycho in a while, but that's what I think it represents: using the metaphor of shallow 80's capitalism to reflect a man's destructive psyche. Credit to Ellis, Bale, Turner, and the director of the film.

I like to think the murders were real, and the reason why nobody noticed them is because everyone was too self-indulged. I think that interpretation is pretty common/accepted though. Like when the prostitute is running down the hall and smashing on the doors trying to get help but nobody answers lol.

I read a few chapters of the book. I remember finding a few parts funny. But I can't read shit like that for too long, puts me in a dark place... The film is light-hearted (excluding a few scenes).

 

[UnPRePared]

I like to think the murders were real, and the reason why nobody noticed them is because everyone was too self-indulged. I think that interpretation is pretty common/accepted though. Like when the prostitute is running down the hall and smashing on the doors trying to get help but nobody answers lol.

I read a few chapters of the book. I remember finding a few parts funny. But I can't read shit like that for too long, puts me in a dark place... The film is light-hearted (excluding a few scenes).

Very good point on the book. I couldn't read much of it either. And I think that's what Gwin nailed in her adaptation: constant darkness actually limits the potential shocking moments. When the tone is played lighter, and then you have those shocking moments, they actually jar you and stick out more.

I think the great thing about that film is both viewpoints, and potentially others, are valid. There's a lot of depth to that film, and bullshit award or not, Gwin Turner was robbed of an Oscar and other accolades for doing an impossible task and exceeding expectations. The director Mary Herron deserves a ton of credit as well - great writing only goes so far without striking the right tone visually and proper direction for the performances.

It's like a serial killer version of 2001: A Space Odyssey - it's a film that'll be dissected for years, and no one's perspective would probably be completely wrong.

 

[guest]

Very good point on the book. I couldn't read much of it either. And I think that's what Gwin nailed in her adaptation: constant darkness actually limits the potential shocking moments. When the tone is played lighter, and then you have those shocking moments, they actually jar you and stick out more.

I think the great thing about that film is both viewpoints, and potentially others, are valid. There's a lot of depth to that film, and bullshit award or not, Gwin Turner was robbed of an Oscar and other accolades for doing an impossible task and exceeding expectations. The director Mary Herron deserves a ton of credit as well - great writing only goes so far without striking the right tone visually and proper direction for the performances.

It's like a serial killer version of 2001: A Space Odyssey - it's a film that'll be dissected for years, and no one's perspective would probably be completely wrong.

I really agree with you on the first paragraph. On a similar note, as a kid one of my favorite films was Ernest Scared Stupid, because it was so fucking surreal for Ernest (a goofy comic character) to be battling darkness like that. The troll was actually scary, especially as a kid, and wasn't played for laughs. Great contrast.

Modern horror movies that are constantly dark and miserable it's just like -- yeah, I get it. Their world fucking sucks, so I expect fucked up shit to happen. That aesthetic seems hack, too, now that I think about it.

Another movie that I like, that's nowhere near in the same league as American Psycho, but sort of similar in that it mixes serial killers and comedy is The Voices with Ryan Reynolds. That was a fun film. It's also unique, like American Psycho.

 

[Mc.Faggot]

Bateman was never different. They were all fucked up killers.

Thats literally how I always saw it, I think its made very clear.

But on the first watch you assume he’s just gone full skitzo from the coke and stress

You nailed how everyone is exactly the same, and the protagonist truly loses his tenitive grasp on reality upon realization no one cares about his dalliances into torture and murder

I think the real estate agent scene seals it, she doesnt want to admit a murder happened because it would have to be disclosed and she would lose money

Fun fact, Christian Bale based his character on Tom Cruise

Take that for what you will

 

[guest]

Thats literally how I always saw it, I think its made very clear.

Wow, really? I've never read the theory before that they were all murderers. Thought I was onto something... sniff.

And yeah, I remember the Tom Cruise thing now that you mention it. You can tell in the scene where he says, "I'm just a happy guy!". I can imagine Tom saying that.

 

[Mc.Faggot]

I really agree with you on the first paragraph. On a similar note, as a kid one of my favorite films was Ernest Scared Stupid, because it was so fucking surreal for Ernest (a goofy comic character) to be battling darkness like that. The troll was actually scary, especially as a kid, and wasn't played for laughs. Great contrast.

Modern horror movies that are constantly dark and miserable it's just like -- yeah, I get it. Their world fucking sucks, so I expect fucked up shit to happen. That aesthetic seems hack, too, now that I think about it.

Another movie that I like, that's nowhere near in the same league as American Psycho, but sort of similar in that it mixes serial killers and comedy is The Voices with Ryan Reynolds. That was a fun film. It's also unique, like American Psycho.

Is the Voices the one were he lives with his dog and cat?

I really felt a way after watching it, really interesting movie.

Earnest scared stupid was also a legit horror movie for children, my brother was a horror snob and appreciated that movie

 

[Mc.Faggot]

Wow, really? I've never read the theory before that they were all murderers. Thought I was onto something... sniff.

And yeah, I remember the Tom Cruise thing now that you mention it. You can tell in the scene where he says, "I'm just a happy guy!". I can imagine Tom saying that.

Im surprised, I thought it was pretty well established

I really dig the movie as well, my mom actually showed it to me and my brother when we were teens.

I think me and her and my bro discussing it lead to me having that understanding early on

Also heres a theory I noticed no one bring up

this is one of Christian Bales most well known roles right?

Bateman

whats his other most well known role?

Bat Man

Cha right, like we wouldnt notice

 

[Snake]

Well, we have to end apartheid for one. And slow down the nuclear arms race, stop terrorism and world hunger. We have to provide food and shelter for the homeless, and oppose racial discrimination and promote civil rights, while also promoting equal rights for women.

 

[guest]

Is the Voices the one were he lives with his dog and cat?

I really felt a way after watching it, really interesting movie.

Earnest scared stupid was also a legit horror movie for children, my brother was a horror snob and appreciated that movie

Yeah, that scene where the girl he likes enters his apartment and sees all the dead bodies and stuff and it cuts to him witnessing the whole thing is one of the funniest reaction shots I've ever seen in a movie. Ryan Reynolds voiced the dog and cat, too.

 

[Mc.Faggot]

Yeah, that scene where the girl he likes enters his apartment and sees all the dead bodies and stuff and it cuts to him witnessing the whole thing is one of the funniest reaction shots I've ever seen in a movie. Ryan Reynolds voiced the dog and cat, too.

it captures the bright glowing veneer mania puts on your life and then captures that abrupt immediate come down, and the feel when you look around and see the filth your surrounded in

i had to tap out half way thru and finish it the next day, but its really well done

 

[alkiefuck2]

she's got some jaw on her but i'd love to rattle reesse witherspoon's box, if you're surfing my waves?

 

[Ladynyahh]

 

[Riccardo Bosi]

I first watched this with a friend of mine when I was 17, and without question it's in my top three "HA HA HOOO LEEE SHIIIT" movies I've ever watched.

Taking an axe to cocksucker Paul Allen's head.
Posing in the mirror while fucking a hooker.
The hand that trembles and drops the business card.
Dropping a chainsaw on a hooker.
Hip To Be Square dancing.

I haven't seen it in years, but it's shocking and hilarious when you first watch it. We had no idea what was in store for us.

But I think your theory is incorrect. The moral of the story is, these yuppie faggots are so soulless that they can't even tell that Bateman is a serial killer... but he's not, because he's also so soulless that he can't tell the difference between his meaningless existence and his dark fantasies. That's why the secretary cries when she sees his doodling; not only does he have no empathy, but his spirit is wicked. Her heart was broken not because he was a murderer, and not because he wasn't as nice as she thought... he was totally deranged and empty, and she was foolish for thinking there was more to him.

 

[Snake]

I first watched this with a friend of mine when I was 17, and without question it's in my top three "HA HA HOOO LEEE SHIIIT" movies I've ever watched.

Taking an axe to cocksucker Paul Allen's head.
Posing in the mirror while fucking a hooker.
The hand that trembles and drops the business card.
Dropping a chainsaw on a hooker.
Hip To Be Square dancing.

I haven't seen it in years, but it's shocking and hilarious when you first watch it. We had no idea what was in store for us.

But I think your theory is incorrect. The moral of the story is, these yuppie faggots are so soulless that they can't even tell that Bateman is a serial killer... but he's not, because he's also so soulless that he can't tell the difference between his meaningless existence and his dark fantasies. That's why the secretary cries when she sees his doodling; not only does he have no empathy, but his spirit is wicked. Her heart was broken not because he was a murderer, and not because he wasn't as nice as she thought... he was totally deranged and empty, and she was foolish for thinking there was more to him.

Paul (((Allen)))

They even call him a jew right before he walks in the room. Leto is such a faggot.

 

[Riccardo Bosi]

Paul (((Allen)))

They even call him a jew right before he walks in the room. Leto is such a faggot.

I like both this movie and Fight Club because he gets btfo'd in that one too. What a homo.