THE AISLE SEAT - by Mike McGranaghan

"AMERICAN PSYCHO"

When it was published in the early 90's, the novel "American Psycho" by Bret Easton Ellis was so controversial that its first publisher dropped it, feminists protested it, and some booksellers refused to stock it. A film version was planned for years, going through different directors and stars until I Shot Andy Warhol director Mary Herron and actor Christian Bale attached themselves for good. Predictably, the movie has also been controversial, gaining an NC-17 rating on its initial pass through the MPAA. (In a typical display of the MPAA's idiotic Puritanism, they objected not to the violence, but to the sex.) I haven't yet read the book, so I can't comment on its intentions; the movie, however, is anything but the exploitative gorefest you might imagine.

Bale plays Patrick Bateman, a young Wall Street "vice president" who seems to do little besides sit in his posh office listening to a Walkman and torturing his dedicated secretary (Chloe Sevigny). It is the 1980's, the "me decade," and Bateman is totally caught up in the concept. He obsesses over style and fashion, turning even something as simple as a morning shower into a ritual of moisturizing cremes and lotions. He wears expensive designer suits, eats at all the trendiest restaurants, and expounds on the musical genius of Huey Lewis. When he makes love, he stares at himself in the mirror, admiring his own physique. His fiancée (Reese Witherspoon) is little more than a trophy to him - a cute, equally stylish woman who projects the right image.


Serial killer Patrick Bateman becomes unhinged in American Psycho
 
Behind the image is a very disturbed individual. Patrick, of course, is a serial killer. His victims tend to fall into two categories: those who just happen to be a bit trendier than he (such as the co-worker who gets a fancier business card) and those who fail to be impressed by his "all that-ness" (such as prostitutes who just want some money). When one of his colleagues turns up missing, Bateman is questioned by a police detective (Willem Dafoe). What the detective doesn't know is that Bateman has killed the man with an ax, romanced his girlfriend (Samantha Mathis), and used his apartment and identity for sinister purposes. As the investigation continues, Bateman becomes more unhinged, his murders more sloppy. His psyche unravels to the point where he has a personal revelation.

American Psycho is undoubtedly shocking. It combines satire of 80s materialism with the horrific reality of violence. For instance, when Bateman takes the ax to his colleague, he cranks the Huey Lewis & the News song "Hip To Be Square" from the stereo. It's also shocking that Bateman not only shows no remorse for his deeds, he actually feels vindicated by them. His goal is to be the best, the coolest, the hippest. If that means getting rid of somebody else, so be it. The film's last scene is perhaps the biggest shock of all, but it wouldn't be fair to spoil it.

What makes American Psycho different is that it's not just another send-up of 80s cheesiness, nor is it a standard-issue serial killer movie. Instead, Herron and co-writer Guenivere Turner (Go Fish) actually have something of value to say. While at times intense (such as when Bateman torments a prostitute with a chain saw), the movie is intelligent, thoughtful, and ambitious. It is also the kind of film that tricks you into thinking you've seen more violence than you actually have. That way, you can focus on the theme rather than being distracted by bloodshed.

The message of the film is that commercialism strips people of their identities. Style and fashion change so rapidly that if you try to keep up with it, you will never really have a personality of your own; you will become a slave to a fickle world. Patrick Bateman is so concerned with being trendy that he is indistinguishable from his colleagues, all of whom are equally obsessed. Even the fact that he kills people fails to set him apart from the masses of Wall Street-ers with designer suits, expensive facials, and flashy business cards. The masterstroke of this story was setting it in the 80s, because it reminds us that what seems to be the epitome of cool today will seem outdated and silly tomorrow. And that, of course, makes the pursuit of fashion seem even more futile.

Patrick Bateman makes a point of saying that he doesn't really exist; he is an illusion - and it's true. In his quest for the hippest image, he has lost all perception of right and wrong, good and bad. He has no morality, no conscience. Christian Bale is superb in the part. In fact, he's a monster - not just because he kills people but because he is all ego. Even without the violence, Bateman would be scary. Bale (best known for his work in Steven Spielberg's Empire of the Sun) is brilliant in the role, somehow bringing layers of complexity to a character who, by his own admission, is just an image.

While not exactly what one might term a "fun" time at the movies, I had to admire American Psycho. The satire and message are right on. Watching the film is like being confronted with an ugly truth: if you fail to stand for something real, you will disappear. Patrick Bateman proves this in a movie that is as compelling as it is challenging.

( 1/2 out of four)


American Psycho is rated R for strong violence, sexuality, drug use & language. The running time is 1 hour and 43 minutes.
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