Fight Club (David Fincher, 1999)

Helena Bonham Carter and Edward Norton in Fight Club

The Narrator: Edward Norton
Tyler Durden: Brad Pitt
Marla Singer: Helena Bonham Carter
Bob Paulson: Meat Loaf
Richard Chesler: Zach Grenier
The Mechanic: Holt McCallany
Angel Face: Jared Leto

Director: David Fincher
Screenplay: Jim Uhls
Based on a novel by Chuck Palahniuk
Cinematography: Jeff Cronenweth
Production design: Alex McDowell
Film editing: James Haygood
Music: Dust Brothers

What if Dr. Jekyll didn't know he was turning into Mr. Hyde? Fight Club is essentially an exploration of that premise, turning Robert Louis Stevenson's sci-fi into psy-fi, a fiction based on a fantastical psychological premise. But Chuck Palahniuk's novel, and the adaptation of it by screenwriter Jim Uhls and director David Fincher, is more than that: It's also a satire on corporate commercialism and the grip it has on the soul -- particularly the male soul. The Narrator is a nebbishy corporate everyman, stuck in a job he hates, doing work that morally revolts him -- he calculates whether an auto manufacturer can get away with dangerously defective parts, whether a recall will be more expensive than paying off accident victims. He's insomniac, and finds that he can sleep only when he goes to support groups for people worse off than he is, sufferers from serious illnesses. At one session he meets Marla Singer, beautiful and frazzled, who also goes to these support groups because she wants to feel something that she can't find in her own routine life. Then on a business trip, during which the venality of his job becomes particularly clear to him, he meets a devil-may-care type named Tyler Durden, handsome, clever, and completely amoral. Returning from the trip he arrives to find that his apartment, the only thing he feels some pride in, has been blown up in what seems to be an accidental explosion. He has no place to go, so when he finds Durden's card, he moves in with him in a dreadful rundown old house on the edge of nowhere, and becomes drawn into Durden's life, including the formation of the titular club, in which men of various professions gather to beat one another silly. It's the ultimate catharsis for meaningless corporate drudgery. He also introduces Durden to Marla, and lies in his bed listening to the two of them having raucously noisy sex. Eventually, the sex and violence escalate, and when they reach the pinnacle of rebelliousness against establishment values, the Narrator has a revelation: He's Tyler Durden. Fincher beautifully finesses any literal-minded explanations, relying instead on Edward Norton's ordinariness and Brad Pitt's good looks, as well as some careful staging and cutting, to keep from turning this into a tale about dissociative identity disorder. Instead, it's a fable about the ordinary male's repressed desire to become a Brad Pitt, or as Durden puts it, "All the ways you wish you could be, that's me. I look like you wanna look, I fuck like you wanna fuck, I am smart, capable, and most importantly, I am free in all the ways that you are not." The first viewers of Fight Club were often distracted by the violence and failed to respond to the ideas the film is working with. Since then, it has grown in esteem, perhaps because its violence has become more routine in movies, but also because its apocalyptic ending irrupted into real life on Sept. 11, 2001. The film's power to provoke, to appall, and to stimulate argument makes it some kind of minor classic.

A Room With a View (James Ivory, 1985)

Rosemary Leach, Daniel Day-Lewis, Simon Callow, Helena Bonham Carter, Rupert Graves in A Room With a View

Lucy Honeychurch: Helena Bonham Carter
Charlotte Bartlett: Maggie Smith
George Emerson: Julian Sands
Mr. Emerson: Denholm Elliott
The Rev. Mr. Beebe: Simon Callow
Eleanor Lavish: Judi Dench
Cecil Vyse: Daniel Day-Lewis
Mrs. Honeychurch: Rosemary Leach
Freddy Honeychurch: Rupert Graves

Director: James Ivory
Screenplay: Ruth Prawer Jhabvala
Based on a novel by E.M. Forster
Cinematography: Tony Pierce-Roberts
Production design: Brian Ackland Snow, Gianni Quaranta
Music: Richard Robbins
Costume design: Jenny Beavan, John Bright

James Ivory and producer Ismail Merchant had a collaboration that began with the formation of Merchant Ivory Productions in 1961 and lasted until Merchant's death in 2005. It usually included the screenwriter Ruth Prawer Jhabvala. The trio developed a reputation for literary adaptations that were beautifully filmed with opulent sets and costumes and a gallery of celebrated stars -- most of them British. But the trouble with developing a distinctive style is that you can become a cliché: "Merchant Ivory" eventually became a label for a film that was tastefully middlebrow -- well-done and entertaining but just a tad safe. It's a pity, because their best films -- Howards End (1992), The Remains of the Day (1993), and this one -- set a high standard, despite their "safeness." Few films have a better sense of place and time than A Room With a View, in its depiction of Florence at the start of the 20th century. Granted, it leans a bit too heavily on the cliché about stuffy Brits losing their cool in the warmer climate of Tuscany, but that's the fault of E.M. Forster's novel -- not one of his major works -- and not of Jhabvala's Oscar-winning screenplay. Oscars also went to the art direction team and to costumers Jenny Beavan and John Bright, and it was nominated for best picture, for the supporting performances of Denholm Elliott and Maggie Smith, for Ivory's direction, and for Tony Pierce-Roberts's cinematography. The cast includes Helena Bonham Carter (in her "corset-roles" period) and Julian Sands, along with a then little-known Daniel Day-Lewis. Proof that Day-Lewis is one of the greatest actors of all time is no longer needed, but it's worth contemplating that he created the character of the prissy Cecil Vyse in this film within a year of appearing as the gay street punk Johnny in My Beautiful Laundrette (Stephen Frears), and that he would follow with the sexy Tomas in The Unbearable Lightness of Being (Philip Kaufman, 1988), the paralyzed Christy Brown in My Left Foot (Jim Sheridan, 1989), and the dashing Hawkeye in The Last of the Mohicans (Michael Mann, 1992). Day-Lewis's Cecil Vyse verges on a caricature of the sexually repressed Brit, but he has an affecting moment near the end when, after Lucy (Bonham Carter) breaks off their engagement, he emerges as a vulnerable, three-dimensional character. Richard Robbins's fine score is memorably supplemented by Kiri Te Kanawa's recordings of two Puccini arias: "O mio babbino caro" from Gianni Schicchi and "Chi il bel sogno di Doretta" from La Rondine.