My pain is constant and sharp, and I do not hope for a better world for anyone. In fact, I want my pain to be inflicted on others. I want no one to escape, but even after admitting this, there is no catharsis, my punishment continues to elude me, and I gain no deeper knowledge of myself; no new knowledge can be extracted from my telling. This confession has meant nothing.
The above extract from the ending of the film that shocked everyone at the beginning of the 21st century still manages to send shivers down the spine nowadays. This is due to the fact that, without any hopeful symbol to shows us that we can calmly and leisurely live in a society consumed by superficiality—I'm an absolute hypocrite, I know—the words that come out from the twisted mind of the most famous yuppie of the seventh art feel like a poison that everyone should take to learn not to hold onto fleeting things under no circumstances.
24 years after the premiere of American Psycho, news related to the "Bateman universe" sparked off a debate from its announcement a few days ago. The most famous Italian director of the world right now, Luca Guadagnino, was announced as the responsible for MGM's new adaptation of Bret Easton Ellis' controversial novel, American Psycho. Even I, who hates hopping on the collective hate train that rapidly spreads through social media over any film announcement, didn't quite like this idea. This one-of-a-kind film, which is an anomaly that brings together the best parts of a movie, shouldn't be stained with the premiere of an adaptation, as it usually happens with the most valueless "cult" of all.
But after I got over my quick anger, I traveled through time and started thinking with a cool head. Who were Mary Harron and Christian Bale when one of the most debatable and analyzed movies of all premiered 25 years ago and what did they represent in the film scene? Harron, a then 47-year-old Canadian director, was just starting her late career and the vision she had of Patrick Bateman was her second directing job. Meanwhile, for Bale, who had already shown his unmatched talent as a 13-year-old boy with his character in Steven Spielberg's Empire of the Sun, taking on the role of this despicable human could be his rise to definite stardom... or an irreversible fall with severe consequences. Why would he face such risk?
I always tend to believe there are two types of film artists. On the one hand, those who take on the most popular roles without deviating from the established norms, thinking that, if they solely focus on what they should do, everything will turn out alright. On the other hand, there are those who aren't satisfied with the easy way and decide to do radical stuff, deviating from customs and viewing the most "common" topics differently.
Despite the projections, American Psycho wasn't an absolute box office failure: with a budget of only seven million dollars, it raised 34 million, with Bale earning one million. Nonetheless, some of the most "experienced" critics didn't like the film as they were horrified by the graphic images and the negative influence that—according to them—the movie could have had on Wall Street's young economists after the year 2000, an awful financial period. But not everything was disappointment and anger. Some of the most renowned media, such as The New York Times, acknowledged Harron's boldness and Turner's script for bringing to life a sort of answer to Fight Club's criticism of capitalism—at least, that's what many people considered it—which is another cult film that premiered a year prior.
SO, WHAT NEW AND INNOVATIVE IDEAS WILL LUCA GUADAGNINO PRESENT WITH THIS ADAPTATION?
It's confusing to express my enthusiasm over this new and imminent adaptation of Breston Ellis' work. On the one hand, I can't deny my appreciation and absolute obsession for both the novel and the movie—which, to an extent, make me feel the same as for Peter Jackson's Lord of the Rings: the refusal to accept anything that could be created outside this universe. On the other hand, Guadagnino's vision completely convinced me. I support a director who isn't afraid of showing anything, no matter how controversial it may seem, and who still manages to gain respect due to how natural his decisions seem, particularly regarding the aesthetic. If we think twice about it, this is inherently related to the narcissistic and materialistic micro-universe Bateman lives in.
This 2000 movie wasn't precisely revolutionary regarding creative originality. Bale and Harron worked hard to develop the character. They spend most of the budget on obtaining the copyrights of iconic songs of the time such as Phil Collins' "Sussudio", New Order's "True Faith", Huey Lewis & The News' "Hip to Be Square" and Chris de Burgh's "The Lady in Red". They also created a proper atmosphere for the story and its constant contradictions, but the film's unfolding and production never stood out—and probably never needed to.
Nonetheless, no one recycles stories and adjusts them to different possible scenarios as Guadagnino. With this year's impeccable Challengers, the director transformed what could have been a Sunday evening movie into an intense love and heartbreak story that stands out not only for the undeniable talent of the three main characters but also for the immersive shots and soundtrack composed by the synthesizer duo Reznor-Ross. In addition, the director is a man of many talents as he can also create sinister and grim settings as he did in his 2018 remake of Suspiria.
In my opinion, Guadagnino doesn't have limits. His vision for the second adaptation of the stainless American Psycho will surely present debatable and arguable points, and with good reason since we're talking about a story that still holds power in many people's unconscious minds.
BY JERÓNIMO CASCO
Posted on NOVEMBER 7th, 2024, 15:53 pM | UTC-GMT -3
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