Fight Club is a 1999 American film directed by David Fincher, and starring Brad Pitt, Edward Norton and Helena Bonham Carter. It is based on the 1996 novel by Chuck Palahniuk. Norton plays the unnamed narrator, who is discontented with his white-collar job. He forms a "fight club" with soap salesman Tyler Durden (Pitt), and becomes embroiled in a relationship with an impoverished but beguilingly attractive woman, Marla Singer (Bonham Carter).

Palahniuk's novel was optioned by Fox 2000 Pictures producer Laura Ziskin, who hired Jim Uhls to write the film adaptation. Fincher was selected because of his enthusiasm for the story. He developed the script with Uhls and sought screenwriting advice from the cast and others in the film industry. It was filmed in and around Los Angeles from July to December 1998. He and the cast compared the film to Rebel Without a Cause (1955) and The Graduate (1967), with a theme of conflict between Generation X and the value system of advertising.[5][6]

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Studio executives did not like the film, and they restructured Fincher's intended marketing campaign to try to reduce anticipated losses. Fight Club premiered at the 56th Venice International Film Festival on September 10, 1999, and was released in the United States onOctober 15, 1999 by 20th Century Fox. The film failed to meet the studio's expectations at the box office and received polarized reactions from critics. It was ranked as one of the most controversial and talked-about films of the 1990s. However, Fight Club later found commercial success with its home video release, establishing it as a cult classic and causing media to revisit the film. In 2009, on its tenth anniversary, The New York Times dubbed it the "defining cult movie of our time."[7]

The unnamed narrator, who struggles with insomnia and dissatisfaction with his job and lifestyle, finds temporary solace in support groups. As his insomnia worsens, he discovers that expressions of emotional vulnerability help him sleep, leading him to join multiple groups for people facing emotionally distressing problems, despite his expressions being fraudulent. His efforts are thwarted when Marla Singer, another impostor, joins the same groups. The narrator is unable to present his fabricated struggles as genuine or divert his attention from her presence as an impostor, causing his sleeplessness to return. He arranges for them to attend different sessions to regain his ability to sleep and, under certain circumstances, to exchange contact information, to which she reluctantly agrees.

On a return flight from work, the Narrator meets a soap salesman, Tyler Durden. After an explosion destroys the Narrator's apartment, he moves into Tyler's decrepit house. They become friends and start an underground fight club in a bar basement. Tyler also saves Marla from an overdose, initiating a sexual relationship between them, while the Narrator remains cold to her.

The Narrator quits his job, blackmails his boss for funds, and grows Fight Club, attracting new members, including his cancer support group friend, Bob. Tyler morphs the club into Project Mayhem, committing acts of vandalism intended to disrupt the social order. Feeling sidelined, the Narrator confronts Tyler, who admits to orchestrating the explosion in the Narrator's apartment and then goes missing. The police kill Bob during a mission, after which the Narrator goes looking for Tyler. Discovering its nationwide reach and being called Tyler Durden by Marla and other people, he realizes he and Tyler are split personalities.

Learning that Project Mayhem plans to erase debt records by blowing up the headquarters of credit-card companies, the Narrator unsuccessfully warns Marla and goes to the police, some of whom are also Project Mayhem members. He attempts to disarm the explosives, but Tyler attacks him. Accepting that he is Tyler, he shoots himself in the mouth, "killing" Tyler, while the bullet non-fatally passes through the Narrator's cheek. Marla arrives, and the two hold hands as they watch the targeted buildings collapse.

We're designed to be hunters and we're in a society of shopping. There's nothing to kill anymore, there's nothing to fight, nothing to overcome, nothing to explore. In that societal emasculation this everyman [the Narrator] is created.

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";[8] the character is identified in the script as "Jack", but left unnamed in the film.[9] 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." He cannot find happiness, so he travels on a path to enlightenment in which he must "kill" his parents, god, and teacher. By the start of the film, he has "killed off" 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.[10]

The Narrator, an unreliable narrator, is not immediately aware that he is mentally projecting Tyler.[16] He also mistakenly promotes the fight clubs as a way to feel powerful,[17] 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,[18] he manifests a nihilistic attitude of rejecting and destroying institutions and value systems.[19] His impulsive nature, representing the id,[13] is seductive and liberating to the Narrator and the members of Project Mayhem. Tyler's initiatives and methods become dehumanizing;[19] he orders around the members of Project Mayhem with a megaphone similar to camp directors at Chinese re-education camps.[13] The Narrator pulls back from Tyler and arrives at a middle ground between his conflicting selves.[14]

Fight Club examines Generation X angst as "the middle children of history".[6] Norton said it examines the value conflicts of Generation X as the first generation raised on television: this generation had "its value system largely dictated to it by advertising culture", and was told one could achieve "spiritual happiness through home furnishing".[5][18] His character 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."[20] 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."[21]

The violence of the fight clubs serves not to promote or glorify combat, but for participants to experience feeling in a society where they are otherwise numb.[24] The fights represent a resistance to the impulse to be "cocooned" in society.[22] Norton believed the fighting strips away the "fear of pain" and "the reliance on material signifiers of their self-worth", leaving them to experience something valuable.[18] 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.[14] Fight Club purposely shapes an ambiguous message whose interpretation is left to the audience.[19] Fincher said, "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."[11]

The novel Fight Club by Chuck Palahniuk was published in 1996. Before its publication, a Fox Searchlight Pictures book scout sent a galley proof of the novel to creative executive Kevin McCormick. The executive assigned 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.[25]

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. The book was also sent to David O. Russell, but he couldn't understand it.[26] David Fincher, who had read Fight Club and had 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.[25] In August 1997, 20th Century Fox announced that Fincher would direct the film adaptation of Fight Club.[27]

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 Pitt regarding the same role. Linson was the senior producer of the two, so the studio sought to cast Pitt instead of Crowe.[25] Pitt was looking for a new film after the domestic 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 for US$17.5 million.[28] 152ee80cbc

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