Fight Club is a 1996 novel by Chuck Palahniuk. It follows the experiences of an unnamed protagonist struggling with insomnia. Inspired by his doctor's exasperated remark that insomnia is not suffering, he finds relief by impersonating a seriously ill person in several support groups. Then he meets a mysterious man named Tyler Durden and establishes an underground fighting club as radical psychotherapy.^{[note 1]}

In 1999, director David Fincher adapted the novel into a film of the same name, starring Brad Pitt and Edward Norton. The film acquired a cult following despite lower than expected box-office results. The film's notoriety heightened the profile of the novel and that of Palahniuk.

History[link]

The novel was inspired by an altercation Palahniuk once had while camping.^[1] Though he was bruised and swollen, his co-workers avoided asking him what had happened on the camping trip. Their reluctance to know what happened in his private life inspired the writing of Fight Club.

Palahniuk first tried to publish his novel Invisible Monsters, but it was rejected by publishers due to the novel being too disturbing. Instead he concentrated on Fight Club, intending it to be more disturbing. Initially Fight Club was published as a seven-page short story in the compilation Pursuit of Happiness, but Palahniuk expanded it to novel length (in which the original short story became chapter six)^[2]

Fight Club was re-issued in 1999 and 2004, the latter edition including an author's introduction about the conception and popularity of novel and movie, in which the author states

...bookstores were full of books like The Joy Luck Club and The Divine Secrets of the Ya-Ya Sisterhood and How to Make an American Quilt. These were all novels that presented a social model for women to be together. But there was no novel that presented a new social model for men to share their lives.

He later goes on to explain

Really, what I was writing was just The Great Gatsby updated a little. It was "apostolic" fiction - where a surviving apostle tells the story of his hero. There are two men and a woman. And one man, the hero, is shot to death.

The original hardcover edition of Fight Club was well reviewed. The book received critical interest and eventually generated cinematic-adaptation interest. In 1999, screenwriters Jim Uhls, August Olsen, and co-producers Conor Strait and Aaron Curry joined with director David Fincher. The film "failed" at the box office,^[3] but nevertheless a cult following emerged with the DVD edition and as a result an original, hardcover edition of the novel is now a collector's item.^[4]

In interviews, the writer has said he does not know, yet still is approached by aficionados wanting to know—Where is the local fight club?—insisting there is no such real organization, like in the novel. However, he has heard of real fight clubs, some said to have existed before the novel. The novel's current  introduction refers to actual, fight-club-style mischief, by a "waiter from one of London's two finest restaurants" who said he ejaculated into Margaret Thatcher's food. Moreover, Project Mayhem is lightly based on the Cacophony Society, of which he is a member, and other events derived from stories told to him.^[5]

Fight Club's cultural impact is evidenced by U.S. teenagers' and techies' establishment of fight clubs.^[6] Pranks, such as food-tampering, have been repeated by fans of the book, documented in Palahniuk's essay "Monkey Think, Monkey Do",^[7] in the book Stranger Than Fiction: True Stories and in the introduction to the 2004 re-issue of Fight Club. Other fans have been inspired to pro-social activity, telling Palahniuk the novel had inspired them to return to college.^[2]

Besides Fight Club, few of Palahniuk's writings have been adapted, although his novel Choke was made into a movie in 2008. In 2004 Fight Club was to be transformed into musical theater, developed by Palahniuk, Fincher, and Trent Reznor.^[8] A dramatic version was penned by Dylan Yates and has been performed in Seattle and in Charlotte, North Carolina.^[9]

Plot[link]

Fight Club centers on an anonymous Narrator, who works as a product recall specialist for an unnamed car company. Because of the stress of his job and the jet lag brought upon by frequent business trips, he begins to suffer from recurring insomnia. When he seeks treatment, the Narrator's doctor advises him to visit a support group for testicular cancer victims to "see what real suffering is like". The Narrator finds that sharing the problems of others -- despite not actually having testicular cancer himself -- alleviates his insomnia.

The narrator's unique treatment works until he meets Marla Singer, another "tourist" who visits the support group under false pretenses. The possibly disturbed Marla reminds the Narrator that he is a faker who does not belong there. He begins to hate Marla for keeping him from crying, and, therefore, from sleeping. After a confrontation, the two agree to attend separate support group meetings to avoid each other. The truce is uneasy, however, and the Narrator's insomnia returns.

Whilst on a nude beach, the Narrator meets Tyler Durden, a charismatic extremist of mysterious means. After an explosion destroys the narrator's condominium, he asks to stay at Tyler's house. Tyler agrees, but asks for something in return: "I want you to hit me as hard as you can."^[10] Both men find that they enjoy the ensuing fistfight. They subsequently move in together and establish a "fight club", drawing countless men with similar temperaments into bare-knuckle fighting matches, set to the following rules:

1. You don't talk about fight club.
2. You don't talk about fight club.^{[note 2]}
3. When someone says stop, or goes limp, the fight is over.^{[note 3]}
4. Only two guys to a fight.
5. One fight at a time.
6. They fight without shirts or shoes.
7. The fights go on as long as they have to.
8. If this is your first night at fight club, you have to fight.

— Fight Club, pages 48–50^[11]

Later in the book, a mechanic tells the Narrator about two new rules of the fight club: that nobody is the center of the fight club except for the two men fighting, and that the fight club will always be free.

Marla, noticing that the Narrator hasn't recently attended his support groups, calls him to claim that she has overdosed on Xanax in a half-hearted suicide attempt. Tyler returns from work, picks up the phone to Marla's drug-induced rambling, and rescues her. Tyler and Marla embark on an uneasy affair that confounds the Narrator and confuses Marla. Throughout this affair, Marla is unaware both of fight club's existence and the interaction between Tyler and the Narrator. Because Tyler and Marla are never seen at the same time, the Narrator wonders if Tyler and Marla are the same person.

As fight club attains a nationwide presence, Tyler uses it to spread his anti-consumerist ideas, recruiting fight club's members to participate in increasingly elaborate pranks on corporate America. He eventually gathers the most devoted fight club members and forms "Project Mayhem," a cult-like organization that trains itself as an army to bring down modern civilization. This organization, like fight club, is controlled by a set of rules:

1. You don't ask questions.
2. You don't ask questions.
3. No excuses.
4. No lies.
5. You have to trust Tyler.

— Fight Club, pages 119, 122, 125^[12]

While initially a loyal participant in Project Mayhem, the Narrator becomes uncomfortable with the increasing destructiveness of its activities. He resolves to stop Tyler and his followers when Bob, a friend of his from the testicular cancer support group, is killed during one of Project Mayhem's sabotage operations. However, the Narrator learns that he himself is Tyler;^{[note 4]} Tyler is not a separate person, but a separate personality.

As the Narrator's mental state deteriorated, his mind formed a new personality that was able to escape from the problems of his life. Marla inadvertently reveals to the Narrator that he and Tyler are the same person. Tyler's affair with Marla -- whom the Narrator professes to dislike -- was actually his own affair with Marla. The Narrator's bouts of insomnia had actually been Tyler's personality surfacing. Tyler would be active whenever the Narrator was "sleeping." The Tyler personality not only created fight club, but also blew up the Narrator's condo.

Tyler plans to blow up a skyscraper using homemade bombs created by Project Mayhem; the actual target of the explosion, however, is the nearby national museum. Tyler plans to die as a martyr during this event, taking the Narrator's life as well. Realizing this, the Narrator sets out to stop Tyler, although Tyler is always thinking ahead of him. The Narrator makes his way to the roof of the building, where he is held at gunpoint by Tyler. However, when Marla comes to the roof with one of the support groups, Tyler vanishes, as he "was his hallucination, not hers."^[13]

With Tyler gone, the Narrator waits for the bomb to explode and kill him. However, the bomb malfunctions because Tyler mixed paraffin into the explosives. Still alive and holding Tyler's gun, the narrator makes the first decision that is truly his own: he puts the gun in his mouth and shoots himself. Some time later, he awakens in a mental hospital, believing that he is in Heaven and imagines an argument with God over human nature. The book ends with the Narrator being approached by hospital employees who reveal themselves to be Project members. They tell him that their plans still continue, and that they are expecting Tyler to come back.

Characters[link]

Narrator[link]

A modern day every man figure as well as an employee specializing in recalls for an unnamed car company, he is extremely depressed and suffers from insomnia. The narrator in Fight Club is unnamed throughout the novel. Some readers call him "Joe" because of his constant use of the name in statements such as "I am Joe's boiling point". The quotes "I am Joe's [blank]" refer to the narrator's reading old Reader's Digest articles in which human organs write about themselves in the first person, with titles such as "I Am Joe's Liver". The film adaptation replaces "Joe" with "Jack", inspiring some fans to call the narrator "Jack". In the novel and film, he uses fake names in the support groups. His unconscious is in need of a sense of freedom, he inevitably feels trapped within his own body and when introduced to Tyler Durden, he begins to see all of the qualities he lacks in himself, "I love everything about Tyler Durden, his courage and his smarts. His nerve. Tyler is funny and forceful and independent, and men look up to him and expect him to change their world. Tyler is capable and free, and I am not"^[14]

Tyler Durden[link]

"Because of his nature,"^[15] Tyler works night jobs where he sabotages companies and harms clients. He also steals left-over drained human fat from liposuction clinics to supplement his income through soap making and create the ingredients for bomb manufacturing, which will be put to work later with his fight club. He is the co-founder of Fight Club, as it was his idea to instigate the fight that led to it. He later launches Project Mayhem, from which he and the members commit various attacks on consumerism. Tyler is blond, as by the narrator's comment "in his everything-blond way". The unhinged but magnetic Tyler becomes the antagonist of the novel later in the story.

Marla Singer[link]

A woman whom the narrator meets during a support group. The narrator no longer receives the same release from the groups when he realizes Marla is faking her problems just like he is. After he leaves the groups, he meets her again when she becomes Tyler's lover. Marla is shown to be extremely grungy and uncaring, and sometimes even suicidal. At times though, she does show a softer, more caring side.

Robert "Bob" Paulson[link]

A man that the narrator meets at a support group for testicular cancer. A former bodybuilder, Bob lost his testicles to cancer caused by the steroids he used to bulk up his muscles and had to undergo testosterone injections; this resulted in his body increasing its estrogen, causing him to grow large "Bitch Tits" and develop a softer voice. Because of this, Bob is the only known member who is allowed to wear a shirt. The narrator befriends Bob and, after leaving the groups, meets him again in Fight Club. Bob's death later in the story, while carrying out an assignment for Project Mayhem, causes the narrator to turn against Tyler because the members of Project Mayhem treat it as a trivial matter instead of a tragedy.

Angel Face[link]

A man who joins Fight Club. He is very loyal to Project Mayhem, laughing at the vandalism he and a group of 'space monkeys' caused as their crimes appear on the evening news. Angel Face is considered to be very beautiful, hence the name 'Angel face'. The blond-haired beauty suffers a savage beating at the hands of the Narrator during a session at Fight Club, the Narrator states that he "wanted to destroy something beautiful". The next time Angel Face is heard of in the novel, he is described as not being quite as beautiful anymore.

Motifs[link]

At two points in the novel, the narrator claims he wants to "wipe [his] ass with the Mona Lisa"; a mechanic who joins Fight Club also repeats this to him in one scene.^[16] This motif shows his desire for chaos, later explicitly expressed in his urge to "destroy something beautiful". Additionally, he mentions at one point that "Nothing is static. Even the Mona Lisa is falling apart."^[17] University of Calgary literary scholar Paul Kennett claims that this want for chaos is a result of an Oedipus complex, as the narrator, Tyler, and the mechanic all show disdain for their fathers.^[18] This is most explicitly stated in the scene that the mechanic appears in:

The mechanic says, “If you’re male and you’re Christian and living in America, your father is your model for God. And if you never know your father, if your father bails out or dies or is never at home, what do you believe about God?
...
How Tyler saw it was that getting God’s attention for being bad was better than getting no attention at all. Maybe because God’s hate is better than His indifference.
If you could be either God’s worst enemy or nothing, which would you choose?
We are God’s middle children, according to Tyler Durden, with no special place in history and no special attention.
Unless we get God’s attention, we have no hope of damnation or redemption.
Which is worse, hell or nothing?
Only if we’re caught and punished can we be saved.
“Burn the Louvre,” the mechanic says, “and wipe your ass with the Mona Lisa. This way at least, God would know our names.”

— Fight Club, page 141^[19]

Kennett further argues that Tyler wants to use this chaos to change history so that "God's middle children" will have some historical significance, whether or not this significance is "damnation or redemption".^[20] This will figuratively return their absent fathers, as judgment by future generations will replace judgment by their fathers.

After reading Reader's Digest articles written from the perspective of the organs of a man named Joe, the narrator begins using similar quotations to describe his feelings, often replacing organs with feelings and things involved in his life ("I am Joe's smirking revenge", etc.).

The color cornflower blue first appears as the color of the narrator's boss's tie and later is requested as an icon color by the same boss.^[17] Later, it is mentioned that his boss has eyes of the same color. These mentions of the color are the first of many uses of cornflower blue in Palahniuk's books.

Isolationism, specifically directed towards material items and possessions, is a common theme throughout the novel. Tyler acts as the major catalyst behind the destruction of our vanities, which he claims is the path to finding our inner-selves. "I'm breaking my attachment to physical power and possessions," Tyler whispered, "because only through destroying myself can I discover the greater power of my spirit."

Themes[link]

Much of the novel comments on how many men in modern society have found dissatisfaction with the state of masculinity. The characters of the novel lament the fact that many of them were raised by their mothers because their fathers either abandoned their family or divorced their mothers. As a result, they see themselves as being "a generation of men raised by women,"^[21] being without a male example in their lives to help shape their masculinity. This ties in with the anti-consumer culture theme, as the men in the novel see their "IKEA nesting instinct" as resulting from the feminization of men in a matriarchal culture. The anti-consumer culture theme present in the novel is very enforced by the Narrator and his fascination with his apartments purchases,"You buy furniture. You tell yourself, this is the last sofa I will ever need in my life. Buy the sofa, then for a couple years you're satisfied that no matter what goes wrong, at least you've got your sofa issue handled. Then the right set of dishes. Then the perfect bed. The drapes. The rug. Then you're trapped in your lovely nest, and the things you used to own, now they own you."^[22]

Maryville University of St. Louis professor Jesse Kavadlo, in an issue of the literary journal Stirrings Still, claimed that the narrator's opposition to emasculation is a form of projection and that the problem that he fights is himself.^[23] He also claims that Palahniuk uses existentialism in the novel to conceal subtexts of feminism and romance in order to convey these concepts in a novel that is mainly aimed at a male audience.^[24]

Palahniuk gives a simpler assertion about the theme of the novel, stating "all my books are about a lonely person looking for some way to connect with other people."^[25]

Paul Kennett claims that because the narrator's fights with Tyler are fights with himself and because he fights himself in front of his boss at the hotel, the narrator is using the fights as a way of asserting himself as his own boss. He argues that these fights are a representation of the struggle of the proletarian at the hands of a higher capitalist power and by asserting himself as capable of having the same power he thus becomes his own master. Later when fight club is formed, the participants are all dressed and groomed similarly, allowing them to symbolically fight themselves at the club and gain the same power.^[26]

Afterwards Kennett says Tyler becomes nostalgic for the patriarchical power controlling him and creates Project Mayhem to achieve this. Through this proto-fascist power structure, the narrator seeks to learn "what, or rather, who, he might have been under a firm patriarchy."^[27] Through his position as leader of Project Mayhem, Tyler uses his power to become a "God/Father" to the "space monkeys", who are the other members of Project Mayhem (although by the end of the novel his words hold more power than he does as is evident in the space monkeys' threat to castrate the narrator when he contradicts Tyler's rule). According to Kennett, this creates a paradox in that Tyler pushes the idea that men who wish to be free from a controlling father-figure are only self-actualized once they have children and become a father themselves.^[28] This new structure is ended by the narrator's elimination of Tyler, allowing him to decide for himself how to determine his freedom.

"Paper Street," the location of Tyler Durden's home, is a pun on the term paper street meaning a street depicted on a map but not actually in existence.

Johannes Hell claims that Palahniuk's use of the Narrator's somnambulism is a simple attempt at emphasizing the dangerous yet daring possibilities of life. Hell enforces the importance of the Narrator's sleep walking and intense deprivation for they have a firm influence on suffering readers,"^[29] from a twisted perspective this is solace for everybody who suffers from somnambulism in a sense, that things could be worse, much worse in fact. ^[30]

Awards[link]

The novel won the following awards:

• the 1997 Pacific Northwest Booksellers Association Award^[31]
• the 1997 Oregon Book Award for Best Novel^[32]

U.S. editions[link]

• New York: W. W. Norton & Company, August 1996. Hardcover first edition. ISBN 0-393-03976-5
• New York: Owl Books, 1997. First trade paperback. ISBN 0-8050-5437-5
• New York: Owl Books, 1999. Trade paperback reissue (film tie-in cover). ISBN 0-8050-6297-1
• Minneapolis, MN: HighBridge Company, 1999. Unabridged audiobook on 4 cassettes, read by J. Todd Adams. ISBN 1-56511-330-6
• Minneapolis, MN: Tandem Books, 1999. School & library binding. ISBN 0-613-91882-7
• New York: Owl Books, 2004. Trade paperback reissue, with a new introduction by the author (bloody lip cover). ISBN 0-8050-7647-6
• New York: Owl Books, 2004. Trade paperback reissue, with a new introduction by the author (film tie-in cover). ISBN 0-8050-7655-7
• New York: W. W. Norton & Company, 2005. Trade paperback (fist cover). ISBN 0-393-32734-5
• New York: Recorded Books LLC, 2008. Unabridged audiobook on 5 CDs, Read by James Colby. ISBN 978-1-4361-4960-0

See also[link]

	United States portal
	Books portal

• 1996 in literature
• Dissociative identity disorder
• Transgressive fiction

Notes[link]

Footnotes[link]

References[link]

Further reading[link]

• Goodlad, Lauren M. E (2007). "Men in Black: Androgyny and Ethics in Fight Club and The Crow". Goth: Undead Subculture. Duke University Press. pp. 89–118. ISBN 978-0-8223-3921-2. 
• Schultz, Robert T. (June 2011). "White Guys Who Prefer Not To: From Passive Resistance ('Bartleby') To Terrorist Acts (Fight Club)". The Journal of Popular Culture 44 (3): 583–605. DOI:10.1111/j.1540-5931.2011.00850.x. ISSN 0022-3840. 
• Tuss, Alex (Winter 2004). "Masculine Identity and Success: A Critical Analysis of Patricia Highsmith's The Talented Mr. Ripley and Chuck Palahniuk's Fight Club". The Journal of Men's Studies 12 (2): 93–102. ISSN 1060-8265. 

External links[link]

Wikiquote has a collection of quotations related to: Fight Club (novel)

• Chuck Palahniuk.Net section for Fight Club
• Fight Club on Google Books

Fight Club is a 1999 American film based on the 1996 novel of the same name by Chuck Palahniuk. The film was directed by David Fincher and stars Edward Norton, Brad Pitt, and Helena Bonham Carter. Norton plays the unnamed protagonist, an "everyman" who is discontented with his white-collar job. He forms a "fight club" with soap maker Tyler Durden, played by Pitt, and becomes embroiled in a relationship with him and a dissolute woman, Marla Singer, played by Bonham Carter.

Palahniuk's novel was optioned by 20th Century Fox producer Laura Ziskin, who hired Jim Uhls to write the film adaptation. Fincher was one of four directors the producers considered and hired him because of his enthusiasm for the film. Fincher developed the script with Uhls and sought screenwriting advice from the cast and others in the film industry. The director and the cast compared the film to Rebel Without a Cause (1955) and The Graduate (1967). Fincher intended Fight Club's violence to serve as a metaphor for the conflict between a generation of young people and the value system of advertising. The director copied the homoerotic overtones from Palahniuk's novel to make audiences uncomfortable and keep them from anticipating the twist ending.^[1]

Studio executives did not like the film and they restructured Fincher's intended marketing campaign to try to reduce anticipated losses. Fight Club failed to meet the studio's expectations at the box office and received polarized reactions from critics. It was cited as one of the most controversial and talked-about films of 1999. However, the film later found commercial success with its DVD release, which established Fight Club as a cult film. Critical reception of Fight Club has since become more positive.

Plot[link]

The nameless narrator (Norton) is a traveling automobile company employee who suffers from insomnia. His doctor refuses to give him medication and advises him to visit a support group to witness more severe suffering. The narrator attends a support group for testicular cancer victims and, after fooling them into thinking that he is a fellow victim, finds an emotional release that relieves his insomnia. He becomes addicted to attending support groups and pretending to be a victim, but the presence of another impostor, Marla Singer (Bonham Carter), disturbs him, so he negotiates with her to avoid their meeting at the same groups.

After a flight home from a business trip, the narrator finds his apartment destroyed by an explosion. He calls Tyler Durden (Pitt), a soap salesman whom he befriended on the flight, and they meet at a bar. A conversation about consumerism leads to Tyler inviting the narrator to stay at his place; outside the bar he requests that the narrator hit him. The two engage in a fistfight, and the narrator subsequently moves into Tyler's dilapidated house. They have further fights outside the bar, and these attract a crowd of men. The fighting moves to the bar's basement where the men form a "fight club".

Marla overdoses on pills and telephones the narrator for help; he ignores her, but Tyler answers the call and saves her. Tyler and Marla become sexually involved, and Tyler warns the narrator never to talk to Marla about him. More fight clubs form across the country, and under Tyler's leadership, they become the anti-materialist and anti-corporate organization called "Project Mayhem". The narrator complains to Tyler that Tyler's creation of Project Mayhem out of Fight Club was done without his consent, but Tyler dismisses the complaint and then suddenly disappears.

When a member of Project Mayhem is killed by the police during a botched sabotage operation, the narrator tries to shut down the project, and follows evidence of Tyler's travels across the United States to track him down. In one city, a Project member greets the narrator as Tyler; later, the narrator calls Marla from his hotel room and discovers that Marla also believes him to be Tyler. He suddenly sees Tyler in his room, and Tyler explains that they are dissociated personalities in the same body. Tyler controls the narrator's body whenever the narrator is asleep.

The narrator blacks out after the conversation. When he wakes, he discovers from his telephone log that Tyler made calls during his blackout. He uncovers Tyler's plans to erase all individual debt by destroying buildings that contain credit card companies' records. The narrator tries to contact the police but finds that the officers are members of the Project. He attempts to disarm explosives he later finds in a building, but Tyler subdues him and moves to a non-rigged building to watch the destruction. The narrator, held by Tyler at gunpoint, realizes that in sharing the same body with Tyler, he himself is actually holding the gun. He fires it into his mouth, shooting through the cheek without killing himself. Tyler collapses with an exit wound to the back of his head, and the narrator stops mentally projecting him. Afterward, Project Mayhem members bring a kidnapped Marla to him, believing him to be Tyler, and leave them alone. The explosives detonate, collapsing the buildings, and the narrator and Marla watch the scene, holding hands.

Themes[link]

Fincher said Fight Club was a coming of age film, like the 1967 film The Graduate but for people in their 30s. Fincher described the narrator as an "everyman";^[2] the character is identified in the script as "Jack", but left nameless in the film.^[3] Fincher outlined the narrator's background: "He's tried to do everything he was taught to do, tried to fit into the world by becoming the thing he isn't." The narrator cannot find happiness, so he travels on a path to enlightenment in which he must "kill" his parents, his god, and his teacher. At the start of the film, he has killed his parents. With Tyler Durden, he kills his god by doing things they are not supposed to do. To complete the process of maturing, the narrator has to kill his teacher, Tyler Durden.^[4]

The character is a 1990s inverse of The Graduate archetype: "a guy who does not have a world of possibilities in front of him, he has no possibilities, he literally cannot imagine a way to change his life". He is confused and enraged, so he responds to his environment by creating Tyler Durden, a Nietzschean Übermensch, in his mind. While Tyler is who the narrator would want to be, he is not empathetic and does not help the narrator face decisions in his life "that are complicated and have moral and ethical implications". Fincher explained, "[Tyler] can deal with the concepts of our lives in an idealistic fashion, but it doesn't have anything to do with the compromises of real life as modern man knows it. Which is: You're not really necessary to a lot of what's going on. It's built, it just needs to run now."^[2] While studio executives worried that Fight Club was going to be "sinister and seditious", Fincher sought to make it "funny and seditious" by including humor to temper the sinister element.^[5]

Uhls described the film as a "romantic comedy", explaining, "It has to do with the characters' attitudes toward a healthy relationship, which is a lot of behavior which seems unhealthy and harsh to each other, but in fact does work for them—because both characters are out on the edge psychologically."^[6] The narrator seeks intimacy, but he avoids it with Marla Singer, seeing too much of himself in her.^[7] While Marla is a seductive and negativist prospect for the narrator, he instead embraces the novelty and excitement that comes with befriending Tyler Durden. The narrator is comfortable being personally connected to Tyler Durden, but he becomes jealous when Tyler becomes sexually involved with Marla. When the narrator argues with Tyler about their friendship, Tyler tells him that being friends is secondary to pursuing the philosophy they have been exploring.^[8] Tyler also suggests doing something about Marla, implying that she is a risk to be removed. When Tyler says this, the narrator realizes that his desires should have been focused on Marla and begins to diverge from Tyler's path.^[7]

The unreliable narrator is not immediately aware that Tyler Durden originated in him and is being mentally projected.^[10] He also mistakenly promotes the fight clubs as a way to feel powerful,^[11] though the narrator's physical condition worsens while Tyler Durden's appearance improves. While Tyler desires "real experiences" of actual fights like the narrator at first,^[12] he manifests a nihilistic attitude of rejecting and destroying institutions and value systems.^[13] His impulsive nature, representing the id,^[7] conveys an attitude that is seductive and liberating to the narrator and the members of Project Mayhem. Tyler's initiatives and methods become dehumanizing;^[13] he orders around the members of Project Mayhem with a megaphone similar to camp directors at Chinese re-education camps.^[7] The narrator pulls back from Tyler and in the end, he arrives at a middle ground between his two conflicting selves.^[8]

Edward Norton said, "I feel that Fight Club really, in a way ... probed into the despair and paralysis that people feel in the face of having inherited this value system out of advertising."^[12] Brad Pitt said, "Fight Club is a metaphor for the need to push through the walls we put around ourselves and just go for it, so for the first time we can experience the pain."^[14] Fight Club also parallels the 1955 film Rebel Without a Cause; both probe the frustrations of the people that live in the system.^[12] The characters, having undergone societal emasculation, are reduced to "a generation of spectators".^[15] A culture of advertising defines society's "external signifiers of happiness", causing an unnecessary chase for material goods that replaces the more essential pursuit of spiritual happiness. The film references Calvin Klein, IKEA, and the Volkswagen New Beetle. Norton said of the Beetle, "We smash it ... because it seemed like the classic example of a Baby Boomer generation marketing plan that sold culture back to us."^[16] His character also walks through his apartment while visual effects identify his many IKEA possessions. Fincher described the narrator's immersion, "It was just the idea of living in this fraudulent idea of happiness."^[17] Pitt explained the dissonance, "I think there's a self-defense mechanism that keeps my generation from having any real honest connection or commitment with our true feelings. We're rooting for ball teams, but we're not getting in there to play. We're so concerned with failure and success—like these two things are all that's going to sum you up at the end."^[14]

The violence of the fight clubs serves not to promote or glorify physical combat, but for participants to experience feeling in a society where they are otherwise numb.^[18] The fights tangibly represent a resistance to the impulse to be "cocooned" in society.^[15] Norton believed that the fighting between the men strips away the "fear of pain" and "the reliance on material signifiers of their self-worth", leaving them to experience something valuable.^[12] When the fights evolve into revolutionary violence, the film only half-accepts the revolutionary dialectic by Tyler Durden; the narrator pulls back and rejects Durden's ideas.^[8] Fight Club purposely shapes an ambiguous message, the interpretation of which is left to the audience.^[13] Fincher elaborated, "I love this idea that you can have fascism without offering any direction or solution. Isn't the point of fascism to say, 'This is the way we should be going'? But this movie couldn't be further from offering any kind of solution."^[5]

Production[link]

Development[link]

The novel Fight Club by Chuck Palahniuk was published in 1996. Before its publication, a 20th Century Fox book scout sent a galley proof of the novel to creative executive Kevin McCormick. The executive tasked a studio reader to review the proof as a candidate for a film adaptation, but the reader discouraged it. McCormick then forwarded the proof to producers Lawrence Bender and Art Linson, who also rejected it. Producers Josh Donen and Ross Bell saw potential and expressed interest. They arranged unpaid screen readings with actors to determine the script's length, and an initial reading lasted six hours. The producers cut out sections to reduce the running time, and they used the shorter script to record its dialogue. Bell sent the recording to Laura Ziskin, head of the division Fox 2000, who listened to the tape and purchased the rights to Fight Club from Palahniuk for $10,000.^[19]

Ziskin initially considered hiring Buck Henry to write the adaptation, finding Fight Club similar to the 1967 film The Graduate, which Henry had adapted. When a new screenwriter, Jim Uhls, lobbied Donen and Bell for the job, the producers chose him over Henry. Bell contacted four directors to direct the film. He considered Peter Jackson the best choice, but Jackson was too busy filming the 1996 film The Frighteners in New Zealand. Bryan Singer received the book but did not read it. Danny Boyle met with Bell and read the book, but he pursued another film. David Fincher, who had read Fight Club and tried to buy the rights himself, talked with Ziskin about directing the film. He hesitated to accept the assignment with 20th Century Fox at first because he had an unpleasant experience directing the 1992 film Alien 3 for the studio. To repair his relationship with the studio, he met with Ziskin and studio head Bill Mechanic.^[19] In August 1997, 20th Century Fox announced that Fincher would direct the film adaptation of Fight Club.^[20]

Casting[link]

Producer Ross Bell met with actor Russell Crowe to discuss his candidacy for the role of Tyler Durden. Producer Art Linson, who joined the project late, met with another candidate, Brad Pitt. Linson was the senior producer of the two, so the studio sought to cast Pitt instead of Crowe.^[19] Pitt was looking for a new film after the failure of his 1998 film Meet Joe Black, and the studio believed Fight Club would be more commercially successful with a major star. The studio signed Pitt and offered him a $17.5 million salary.^[21]

For the role of the nameless narrator, the studio desired a "sexier marquee name" like Matt Damon to increase the film's commercial prospects; it also considered Sean Penn. Fincher instead considered Edward Norton a candidate for the role, based on the actor's performance in the 1996 film The People vs. Larry Flynt.^[22] Other studios were approaching Norton for leading roles in developing films like The Talented Mr. Ripley and Man on the Moon. The actor was cast in Runaway Jury, but the film did not reach production. 20th Century Fox offered Norton a $2.5 million salary to attract him to Fight Club. Norton could not accept the offer immediately since he still owed Paramount Pictures a film. He signed a contractual obligation with Paramount to appear in one of the studio's future films for a smaller salary (Norton satisfied the obligation with his role in the 2003 film The Italian Job).^[21]

In January 1998, 20th Century Fox announced that Brad Pitt and Edward Norton were cast in the film.^[23] The actors prepared for their roles by taking lessons in boxing, taekwondo, grappling,^[24] and soapmaking.^[25] Pitt voluntarily visited a dentist to have pieces of his front teeth chipped off so his character would not have perfect teeth. The pieces were restored after filming concluded.^[26]

Fincher's first choice for the role of Marla Singer was Janeane Garofalo, who objected to the film's sexual content.^[27] The filmmakers considered Courtney Love and Winona Ryder as candidates early on.^[28] The studio wanted to cast Reese Witherspoon, but Fincher objected that Witherspoon was too young for the role.^[21] He chose to cast Helena Bonham Carter based on her performance in the 1997 film The Wings of the Dove.^[29]

Writing[link]

Screenwriter Jim Uhls started working on an early draft of the adapted screenplay, which excluded a voice-over because the industry perceived at the time that the technique was "hackneyed and trite". When Fincher joined the film, he thought that the film should have a voice-over, believing that the film's humor came from the narrator's voice.^[21] The director described the film without a voice-over as seemingly "sad and pathetic".^[30] Fincher and Uhls revised the script for six to seven months and by 1997 had a third draft that reordered the story and left out several major elements. When Pitt was cast, he was concerned that his character, Tyler Durden, was too one-dimensional. Fincher sought the advice of writer-director Cameron Crowe, who suggested giving the character more ambiguity. Fincher also hired screenwriter Andrew Kevin Walker for assistance. The director invited Pitt and Norton to help revise the script, and the group drafted five revisions in the course of a year.^[21]

Chuck Palahniuk praised the faithful film adaptation of his novel and applauded how the film's plot was more streamlined than the book's. Palahniuk recalled how the writers debated if film audiences would believe the plot twist from the novel. Fincher supported including the twist, arguing, "If they accept everything up to this point, they'll accept the plot twist. If they're still in the theater, they'll stay with it."^[31] Palahniuk's novel also contained homoerotic overtones, which the director included in the film to make audiences uncomfortable and accentuate the surprise of the film's twists.^[1] The bathroom scene where Tyler Durden bathes next to the narrator is an example of the overtones; the line, "I'm wondering if another woman is really the answer we need," was meant to suggest personal responsibility rather than homosexuality.^[7] Another example is the scene at the beginning of the film in which Tyler Durden puts a gun barrel down the narrator's mouth.^[32]

The narrator finds redemption at the end of the film by rejecting Tyler Durden's dialectic, a path that diverged from the novel's ending in which the narrator is placed in a mental institution.^[5] Norton drew parallels between redemption in the film and redemption in The Graduate, indicating that the protagonists of both films find a middle ground between two divisions of self.^[8] Fincher considered the novel too infatuated with Tyler Durden and changed the ending to move away from him: "I wanted people to love Tyler, but I also wanted them to be OK with his vanquishing."^[5]

Filming[link]

Studio executives Mechanic and Ziskin planned an initial budget of $23 million to finance the film,^[19] but by the start of production, the budget was increased to $50 million. Half was paid by New Regency, but during filming, the projected budget escalated to $67 million. New Regency's head and Fight Club executive producer Arnon Milchan petitioned Fincher to reduce costs by at least $5 million. The director refused, so Milchan threatened Mechanic that New Regency would withdraw financing. Mechanic sought to restore Milchan's support by sending him tapes of dailies from Fight Club. After seeing three weeks of filming, Milchan reinstated New Regency's financial backing.^[33] The final production budget was $63 million.^[34]

The fight scenes were heavily choreographed, but the actors were required to "go full out" to capture realistic effects like having the wind knocked out of them.^[14] Makeup artist Julie Pearce, who worked for the director on the 1997 film The Game, studied mixed martial arts and pay-per-view boxing to portray the fighters accurately. She designed an extra's ear to have cartilage missing, citing as inspiration the boxing match in which Mike Tyson bit off part of Evander Holyfield's ear.^[35] Makeup artists devised two methods to create sweat on cue: spraying mineral water over a coat of Vaseline, and using the unadulterated water for "wet sweat". Meat Loaf, who plays a member of the fight club who has "bitch tits", wore a 90-pound (40 kg) fat harness that gave him large breasts for the role.^[24] He also wore eight-inch (20 cm) lifts in his scenes with Norton to be taller than him.^[7]

The filming lasted 138 days,^[36] during which Fincher shot more than 1,500 rolls of film, three times the average for a Hollywood film.^[24] The locations were in and around Los Angeles and on sets built at the studio in Century City.^[36] Production designer Alex McDowell constructed more than 70 sets.^[24] The exterior of Tyler Durden's house was built in San Pedro, California, while the interior was built on a sound stage at the studio's location. The interior was given a decayed look to illustrate the deconstructed world of the characters.^[36] Marla Singer's apartment was based on photographs of the Rosalind Apartments in downtown LA.^[10] Overall production included 300 scenes, 200 locations, and complex special effects. Fincher compared Fight Club to his succeeding and less complex film Panic Room, "I felt like I was spending all my time watching trucks being loaded and unloaded so I could shoot three lines of dialogue. There was far too much transportation going on."^[37]

Cinematography[link]

Fincher used the Super 35 format to film Fight Club since it gave him maximum flexibility in composing shots. He hired Jeff Cronenweth as cinematographer; Cronenweth's father Jordan Cronenweth was the cinematographer who worked for Fincher on the 1992 film Alien 3 but left midway through its production due to Parkinson's disease. Fincher explored visual styles in his previous films Seven and The Game, and he and Cronenweth drew elements from these styles for Fight Club.^[36]

They applied a lurid style, choosing to make people "sort of shiny".^[10] The appearance of the narrator's scenes without Tyler Durden were bland and realistic. The scenes with Tyler were described by Fincher as "more hyper-real in a torn-down, deconstructed sense—a visual metaphor of what [the narrator is] heading into". The filmmakers used heavily desaturated colors in the costuming, makeup, and art direction.^[36] Helena Bonham Carter wore opalescent makeup to portray her romantic nihilistic character with a "smack-fiend patina". Fincher and Cronenweth drew influences from the 1973 film American Graffiti, which applied a mundane look to nighttime exteriors while simultaneously including a variety of colors.^[10]

The crew took advantage of both natural and practical light at filming locations. The director sought various approaches to the lighting setups, for example choosing several urban locations for the city lights' effects on the shots' backgrounds. He and the crew also embraced fluorescent lighting at other practical locations to maintain an element of reality and to light the prostheses depicting the characters' injuries.^[36] On the other hand, Fincher also ensured that scenes were not so strongly lit so the characters' eyes were less visible, citing cinematographer Gordon Willis's technique as the influence.^[7]

Fight Club was filmed mostly at night and Fincher purposely filmed the daytime shots in shadowed locations. The crew equipped the bar's basement with inexpensive work lamps to create a background glow. Fincher avoided stylish camerawork when filming early fight scenes in the basement and instead placed the camera in a fixed position. In later fight scenes, Fincher moved the camera from the viewpoint of a distant observer to that of the fighter.^[36]

The scenes with Tyler Durden were staged to conceal that the character was a mental projection of the nameless narrator. The character was not filmed in two shots with a group of people, nor was he shown in any over the shoulder shots in scenes where Tyler gives the narrator specific ideas to manipulate him. In scenes before the narrator meets Tyler, the filmmakers inserted Tyler's presence in single frames for subliminal effect.^[10] Tyler appears in the background and out of focus, like a "little devil on the shoulder".^[7] Fincher explained the subliminal frames: "Our hero is creating Tyler Durden in his own mind, so at this point he exists only on the periphery of the narrator's consciousness."^[38]

While Cronenweth generally rated and exposed the Kodak film stock normally on Fight Club, several other techniques were applied to change its appearance. Flashing was implemented on much of the exterior night photography, the contrast was stretched to be purposely ugly, the print was adjusted to be underexposed, Technicolor's ENR silver retention was used on a select number of prints to increase the density of the film's blacks, and high-contrast print stocks were chosen to create a "stepped-on" look on the print with a dirty patina.^[10]

Visual effects[link]

Fincher hired visual effects supervisor Kevin Tod Haug, who worked for him on The Game, to create visual effects for Fight Club. Haug assigned the visual effects artists and experts to different facilities that each addressed different types of visual effects: CG modeling, animation, compositing, and scanning. Haug explained, "We selected the best people for each aspect of the effects work, then coordinated their efforts. In this way, we never had to play to a facility's weakness." Fincher visualized the narrator's perspective through a "mind's eye" view and structured a myopic framework for the film audiences. Fincher also used previsualized footage of challenging main-unit and visual effects shots as a problem-solving tool to avoid making mistakes during the actual filming.^[38]

The film's title sequence is a 90-second visual effects composition that depicts the inside of the narrator's brain at a microscopic level; the camera pulls back to the outside, starting at his fear center and following the thought processes initiated by his fear impulse.^[39] The sequence, designed in part by Fincher, was budgeted separately from the rest of the film at first, but the sequence was awarded by the studio in January 1999.^[38] Fincher hired Digital Domain and its visual effects supervisor Kevin Mack, who won an Academy Award for Visual Effects for the 1998 film What Dreams May Come, for the sequence. The company mapped the computer-generated brain using an L-system,^[40] and the design was detailed using renderings by medical illustrator Katherine Jones. The pullback sequence from within the brain to the outside of the skull included neurons, action potentials, and a hair follicle. Haug explained the artistic license that Fincher took with the shot, "While he wanted to keep the brain passage looking like electron microscope photography, that look had to be coupled with the feel of a night dive—wet, scary, and with a low depth of field." The shallow depth of field was accomplished with the ray tracing process.^[38]

Other visual effects include an early scene in which the camera flashes past city streets to survey Project Mayhem's destructive equipment lying in underground parking lots; the sequence was a three-dimensional composition of nearly 100 photographs of Los Angeles and Century City by photographer Michael Douglas Middleton. The final scene of the demolition of the credit card office buildings was designed by Richard Baily of Image Savant; Baily worked on the scene for over fourteen months.^[38]

Midway through the film, Tyler Durden points out the cue mark—nicknamed "cigarette burn" in the film—to the audience. The scene represents a turning point that foreshadows the coming rupture and inversion of the "fairly subjective reality" that existed earlier in the film. The director explained, "Suddenly it's as though the projectionist missed the changeover, the viewers have to start looking at the movie in a whole new way."^[38]

Musical score[link]

Fincher was concerned that bands experienced in writing film scores would be unable to tie the movie's themes together, so he sought a band which had never recorded for film. He pursued Radiohead,^[7] but ultimately chose the breakbeat producing duo Dust Brothers to score the film. The duo created a post-modern score that included drum loops, electronic scratches, and computerized samples. Dust Brothers performer Michael Simpson explained the setup: "Fincher wanted to break new ground with everything about the movie, and a nontraditional score helped achieve that."^[41] The end credits feature the song "Where Is My Mind?" by the Pixies.^[42]

Release[link]

Marketing[link]

Filming concluded in December 1998, and David Fincher edited the footage in early 1999 to prepare Fight Club for a screening with senior executives. They did not receive the film positively and were concerned that there would not be an audience for the film.^[43] Executive producer Art Linson, who supported the film, recalled the response: "So many incidences of Fight Club were alarming, no group of executives could narrow them down."^[44] Nevertheless, Fight Club was originally slated to be released in July 1999^[45] but was later changed to August 6, 1999. The studio further delayed the film's release, this time to autumn, citing a crowded summer schedule and a hurried post-production process.^[46] Outsiders attributed the delays to the Columbine High School massacre earlier in the year.^[47]

Marketing executives at 20th Century Fox faced difficulties in marketing Fight Club and at one point considered marketing it as an art film. They considered that the film was primarily geared toward male audiences because of its violence and believed that not even Brad Pitt would attract female filmgoers. Research testing showed that the film appealed to teenagers. Fincher refused to let the posters and trailers focus on Pitt and encouraged the studio to hire the advertising firm Wieden+Kennedy to devise a marketing plan. The firm proposed a bar of pink soap with the title "Fight Club" embossed on it as the film's main marketing image; the proposal was considered "a bad joke" by Fox executives. Fincher also released two early trailers in the form of fake public service announcements presented by Pitt and Norton; the studio did not think the trailers marketed the film appropriately. Instead, the studio financed a $20 million large-scale campaign to provide a press junket, posters, billboards, and trailers for TV that highlighted the film's fight scenes. The studio advertised Fight Club on cable during World Wrestling Federation broadcasts, which Fincher protested, believing that the placement created the wrong context for the film.^[43] Linson believed that the "ill-conceived one-dimensional" marketing by marketing executive Robert Harper largely contributed to Fight Club's lukewarm box office performance in the United States.^[48]

Theatrical run[link]

The studio held Fight Club's world premiere at the 56th Venice International Film Festival in September 1999.^[49] For the American theatrical release, the studio hired the National Research Group to test screen the film; the group predicted the film would gross between $13 million and $15 million in its opening weekend.^[50] Fight Club opened commercially in the United States and Canada on October 15, 1999 and earned $11,035,485 in 1,963 theaters over the opening weekend.^[34] The film ranked first at the weekend box office, defeating Double Jeopardy and The Story of Us, a fellow weekend opener.^[51] The gender mix of audiences for Fight Club, argued to be "the ultimate anti-date flick", was 61% male and 39% female; 58% of audiences were below the age of 21. Despite the film's top placement, its opening gross fell short of the studio's expectations.^[52] Over the second weekend, Fight Club dropped 42.6% in revenue, earning $6,335,870.^[53] The film, whose production budget was $63 million, grossed $37 million from its theatrical run in the United States and Canada and earned $100.9 million in theaters worldwide.^[34] The underwhelming North American performance of Fight Club soured the relationship between 20th Century Fox's studio head Bill Mechanic and media executive Rupert Murdoch, which contributed to Mechanic's resignation in June 2000.^[54]

The British Board of Film Classification reviewed Fight Club for its November 12, 1999 release in the United Kingdom and removed two scenes involving "an indulgence in the excitement of beating a (defenseless) man's face into a pulp". The board assigned the film an 18 certificate, limiting the release to adult-only audiences in the UK. The BBFC did not censor any further, considering and dismissing claims that Fight Club contained "dangerously instructive information" and could "encourage anti-social (behavior)". The board decided, "The film as a whole is—quite clearly—critical and sharply parodic of the amateur fascism which in part it portrays. Its central theme of male machismo (and the anti-social behaviour that flows from it) is emphatically rejected by the central character in the concluding reels."^[55] The scenes were restored in a two-disc DVD edition released in the UK in March 2007.^[56]

Home media[link]

Fincher supervised the composition of the DVD packaging and was one of the first directors to participate in a film's transition to home media. The film was released in two DVD editions.^[57] The single-disc edition included a commentary track,^[58] while the two-disc special edition included the commentary track, behind-the-scenes clips, deleted scenes, trailers, fake public service announcements, the promotional music video "This is Your Life", Internet spots, still galleries, cast biographies, storyboards, and publicity materials.^[59] The director worked on the DVD as a way to finish his vision for the film. Julie Markell, 20th Century Fox's senior vice president of creative development, said the DVD packaging complemented the director's vision: "The film is meant to make you question. The package, by extension, tries to reflect an experience that you must experience for yourself. The more you look at it, the more you'll get out of it." The studio developed the packaging for two months.^[60] The two-disc special edition DVD was packaged to look covered in brown cardboard wrapper. The title "Fight Club" was labeled diagonally across the front, and packaging appeared tied with twine. Markell said, "We wanted the package to be simple on the outside, so that there would be a dichotomy between the simplicity of brown paper wrapping and the intensity and chaos of what's inside."^[60] Deborah Mitchell, 20th Century Fox's vice president of marketing, described the design: "From a retail standpoint, [the DVD case] has incredible shelf-presence."^[61]

Fight Club won the 2000 Online Film Critics Society Awards for Best DVD, Best DVD Commentary, and Best DVD Special Features.^[62] Entertainment Weekly ranked the film's two-disc edition in first place on its 2001 list of "The 50 Essential DVDs", giving top ratings to the DVD's content and technical picture-and-audio quality.^[63] When the two-disc edition went out of print, the studio re-released it in 2004 because of fans' requests.^[64] The DVD was one of the largest-selling in the studio's history;^[48] it also grossed $55 million in video and DVD rentals.^[65] With a weak box office performance in the United States and Canada, a better performance in other territories, and the highly successful DVD release, Fight Club generated a $10 million profit for the studio.^[48]

Fight Club was released in the Blu-ray Disc format in the United States on November 17, 2009.^[66] Fox Creative chose Neuron Syndicate to design the art for the format's packaging, and Neuron commissioned five graffiti artists to create 30 pieces of art. The art encompasses urban aesthetics found on the East Coast and West Coast of the United States as well as influences from European street art.^[67] The Blu-ray edition opens with a menu screen for the romantic comedy Never Been Kissed starring Drew Barrymore before leading into the actual Fight Club menu screen. David Fincher got permission from Barrymore to include the fake menu screen.^[68]

Critical reception[link]

When Fight Club premiered at the 56th Venice International Film Festival, the film was debated fiercely by critics. A newspaper reported, "Many loved and hated it in equal measures." Some critics expressed concern that the film would incite copycat behavior, such as that seen after A Clockwork Orange debuted in Britain nearly three decades previously.^[69] Upon the film's theatrical release, The Times reported the reaction: "It touched a nerve in the male psyche that was debated in newspapers across the world."^[70] Although the film's makers called Fight Club "an accurate portrayal of men in the 1990s", some critics called it "irresponsible and appalling". Another newspaper charged, "Fight Club is shaping up to be the most contentious mainstream Hollywood meditation on violence since Stanley Kubrick's A Clockwork Orange."^[71]

Janet Maslin, reviewing for The New York Times, praised Fincher's direction and editing of the film. She wrote that Fight Club carried a message of "contemporary manhood", and that, if not watched closely, the film could be misconstrued as an endorsement of violence and nihilism.^[72] Roger Ebert, reviewing for the Chicago Sun-Times, called Fight Club "visceral and hard-edged", and "a thrill ride masquerading as philosophy" that most audiences would not appreciate.^[73] Ebert later acknowledged that the film was "beloved by most, not by me".^[74] Jay Carr of The Boston Globe opined that the film began with an "invigoratingly nervy and imaginative buzz", but that it eventually became "explosively silly".^[75] Newsweek's David Ansen described Fight Club as "an outrageous mixture of brilliant technique, puerile philosophizing, trenchant satire and sensory overload" and thought that the ending was too pretentious.^[76] Richard Schickel of Time described the director's mise en scène as dark and damp: "It enforces the contrast between the sterilities of his characters' aboveground life and their underground one. Water, even when it's polluted, is the source of life; blood, even when it's carelessly spilled, is the symbol of life being fully lived. To put his point simply: it's better to be wet than dry." Schickel applauded the performances of Brad Pitt and Edward Norton, but he criticized the film's "conventionally gimmicky" unfolding and the failure to make Helena Bonham Carter's character interesting.^[77] In a caustic review in the London Evening Standard, Alexander Walker claimed that the film was "a paradigm of the Hitler state. It uncritically enshrines principles that once underpinned the politics of fascism, and ultimately sent millions of Jews to the death camps".^[78] Fincher went on to use a quote from this review in the booklet which accompanied the DVD: "It is an inadmissable assault on personal decency. And on society itself."

Cineaste's Gary Crowdus reviewed the critical reception in retrospect: "Many critics praised Fight Club, hailing it as one of the most exciting, original, and thought-provoking films of the year." He wrote of the negative opinion, "While Fight Club had numerous critical champions, the film's critical attackers were far more vocal, a negative chorus which became hysterical about what they felt to be the excessively graphic scenes of fisticuffs ... They felt such scenes served only as a mindless glamorization of brutality, a morally irresponsible portrayal, which they feared might encourage impressionable young male viewers to set up their own real-life fight clubs in order to beat each other senseless."^[79]

Accolades[link]

Fight Club was nominated for the 2000 Academy Award for Best Sound Editing, but it lost to The Matrix.^[80] Helena Bonham Carter won the 2000 Empire Award for Best British Actress.^[81] The Online Film Critics Society also nominated Fight Club for Best Film, Best Director, Best Actor (Edward Norton), Best Editing, and Best Adapted Screenplay (Jim Uhls).^[82] Though the film won none of the awards, the organization listed Fight Club as one of the top ten films of 1999.^[83] The soundtrack was nominated for a BRIT Award, losing to Notting Hill.^[84]

Cultural impact[link]

Fight Club was one of the most controversial and talked-about films of the 1990s.^[14][85] Like other 1999 films Magnolia, Being John Malkovich, and Three Kings, Fight Club was recognized as an innovator in cinematic form and style since it exploited new developments in filmmaking technology.^[86] After Fight Club's theatrical release, it became more popular via word of mouth,^[87] and the positive reception of the DVD established it as a cult film that David Ansen of Newsweek conjectured would enjoy "perennial" fame.^[88][89] The film's success also heightened the profile of the novel's author, Chuck Palahniuk, to global renown.^[90]

Following Fight Club's release, several fight clubs were reported to have started in the United States. A "Gentleman's Fight Club" was started in Menlo Park, California in 2000 and had members mostly from the high tech industry.^[91] Teens and preteens in Texas, New Jersey, Washington state, and Alaska also initiated fight clubs and posted videos of their fights online, leading authorities to break up the clubs. In 2006, an unwilling participant from a local high school was injured at a fight club in Arlington, Texas, and the DVD sales of the fight led to the arrest of six teenagers.^[92] An unsanctioned fight club was also started at Princeton University, where matches were held on campus.^[93] The film was suspected of influencing Luke Helder, a college student who planted pipe bombs in mailboxes in 2002. Helder's goal was to create a smiley pattern on the map of the United States, similar to the scene in Fight Club in which a building is vandalized to have a smiley on its exterior.^[94] On July 16, 2009, a 17-year-old who had formed his own fight club in Manhattan was charged with detonating a homemade bomb outside a Starbucks Coffee shop in the Upper East Side in May 2009; the New York City Police Department reported the suspect was trying to emulate "Project Mayhem".^[95]

In 2003, Fight Club was listed as one of the "50 Best Guy Movies of All Time" by Men's Journal.^[96] In 2004 and 2006, Fight Club was voted by Empire readers as the ninth and eighth greatest film of all time, respectively.^[97][98] Total Film ranked Fight Club as "The Greatest Film of our Lifetime" in 2007 during the magazine's tenth anniversary.^[99] In 2007, Premiere selected Tyler Durden's line, "The first rule of fight club is you do not talk about fight club," as the 27th greatest movie line of all time.^[100] In 2008, readers of Empire ranked Tyler Durden first on a list of the 100 Greatest Movie Characters.^[101]

In 2010, two viral mash-up videos featuring Fight Club were released. Ferris Club was a mash-up of Fight Club and the film Ferris Bueller's Day Off. It portrayed Ferris as Tyler Durden and Cameron as the narrator, "claiming to see the real psychological truth behind the John Hughes classic".^[102] The second video Jane Austen's Fight Club also gained popularity online as a mash-up of Fight Club's fighting rules and the characters created by 19th century novelist Jane Austen.^[103]

American Film Institute recognition:

• AFI's 100 Years...100 Movie Quotes:
  • "First rule of Fight Club is – you do not talk about Fight Club." – Nominated^[104]

See also[link]

	United States portal
	Film portal

• Cinema of the United States
• List of American films of 1999

Notes[link]