Within 'American Beauty' Film: Portrayals of Power, Inadequacy, and Philosophical Dilemmas
American Beauty film portrays characters dealing with existential problems. While exploring the troubles within each character's world, the narrative's approach to existential philosophy is somewhat stagnant. Despite addressing Lester's character and his existential struggles, the narrative fails to elevate it to a philosophical dimension except for the monologue in the film's finale. Let's identify each character's existential problems based on this designed progression and aim to align them with the film's overarching narrative.
Lester feels inadequate in his marriage, affecting his life significantly. This sense of inadequacy leads to other problems, rendering him more passive in life, as evident in his issues at work. His relationship with his child also deviates from the ideal (masculine) father figure. Seeking a fatherly figure through his wife's perceived inadequacy, Lester channels this deficiency into his sexual life, affecting it adversely. In essence, the film centers on Lester seeking lost dignity and striving to reclaim his authority. Delving deeper, his attempt to reflect his identity authoritatively and act in a fascistic manner signifies a claim to regained masculinity. Jane's search for a controlling father figure parallels society's valuation of a paternal presence, reflecting another aspect of the film's discourse. Moreover, if we label Lester's sense of inadequacy as an existential philosophical problem, wouldn't that undermine philosophy? My belief is that the problem exists, yet it lacks a philosophical underpinning.
Carolyn embodies a character who lacks true empowerment. Her aspirations are confined to a mere desire for strength, illustrated by her attachment to Buddy, whom she perceives as stronger than Lester. Her desire to kill Lester towards the film's end signifies the loss of power and the resolution framed in this manner. Carolyn's act of embracing Lester's clothing towards the film's closure symbolizes the loss of power and an acceptance of a non-masculine spouse.
Jane, an adolescent, is dissatisfied with her body and seeks guidance from her father, indicating a need for authority in her life. Her longing for guidance stems from her father's perceived inadequacy. Ricky's dominance in their relationship and the conversation about the father's potential murder reflect societal rejection of this paternal figure. On another note, the character Colonel mirrors the ideal paternal figure Jane seeks. However, considering each character individually, the concealed emotions and the unreality we witness present a great dilemma. The film's existential philosophical aspect might be glimpsed here—the characters' inability to live as they desire and the masks they wear could be interpreted as an existential crisis. For instance, Colonel's hatred for homosexuals while eventually revealing his own inclination towards it near the film's end.
Upon a comprehensive view, each character faces distinct issues, yet they opt to suppress rather than confront them. The film, through an existential lens, emphasizes the suppression of problems and the application of masks in life's progression. Overall, while characters grapple with existential troubles, the film ultimately suggests that without confrontation, these issues cannot be overcome.
In conclusion, despite attributing existential problems to each character, the film lacks a philosophical perspective on these issues. I personally believe the film doesn't strive for an existential philosophy. Extracting profound meanings from trivial details and evaluating every film through an existential lens is feasible but not mandatory. Rather than forcing a close connection to reality, maintaining a certain distance and recognizing the film's lack of existential philosophy seems more appropriate. Despite characters experiencing existential troubles, apart from the final monologue and the aforementioned strained philosophical direction, the film fails to encapsulate a coherent philosophical stance.
