Patrick Bateman est un riche dirigeant de banque d'investissement à New York. Il tente de cacher son égo psychopathe de ses collègues et de ses amis alors qu'il s'adonne à des fantasmes hédo... Tout lirePatrick Bateman est un riche dirigeant de banque d'investissement à New York. Il tente de cacher son égo psychopathe de ses collègues et de ses amis alors qu'il s'adonne à des fantasmes hédonistes violents.Patrick Bateman est un riche dirigeant de banque d'investissement à New York. Il tente de cacher son égo psychopathe de ses collègues et de ses amis alors qu'il s'adonne à des fantasmes hédonistes violents.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 7 victoires et 11 nominations au total
Résumé
Reviewers say 'American Psycho' is a provocative film exploring consumerism and identity. Christian Bale's chilling performance as Patrick Bateman is highly praised. The film's dark humor and social commentary effectively critique 1980s yuppie culture. Its unsettling atmosphere is enhanced by stylish visuals and a haunting score. The supporting cast, including Willem Dafoe and Reese Witherspoon, contributes effectively, though some feel underutilized. The ambiguous nature of Bateman's actions adds to the film's disturbing impact.
Avis à la une
"This is, so to speak, a base" :)
But seriously, without all these jokes, then you and I have a very high-quality work directed by Mary Harron with the wonderful Christian Bale in the title role, which I consider one of the best in his career.
The film is clearly not for the faint of heart, there are tough scenes in it, but it's no secret to anyone, even the title should already inspire) This film is not the easiest to perceive satire on our society.
The image of the protagonist/antagonist of the film (Patrick Bateman) was taken by many as ideal. Naturally, not mentally, but externally. After all, Bale's character looks really exemplary for a man.
The narration lasts slowly, but it is quite interesting. I think that movie lovers should definitely watch this work.
But seriously, without all these jokes, then you and I have a very high-quality work directed by Mary Harron with the wonderful Christian Bale in the title role, which I consider one of the best in his career.
The film is clearly not for the faint of heart, there are tough scenes in it, but it's no secret to anyone, even the title should already inspire) This film is not the easiest to perceive satire on our society.
The image of the protagonist/antagonist of the film (Patrick Bateman) was taken by many as ideal. Naturally, not mentally, but externally. After all, Bale's character looks really exemplary for a man.
The narration lasts slowly, but it is quite interesting. I think that movie lovers should definitely watch this work.
By the end, I didn't know what to make of it, but now I understand the film much better. This film is must viewing, it brings out the truth about today's world - Nothing but material values matter, we live empty lives, we think empty thoughts, we are empty people, life is boring.
Christian Bale is awesome, quality acting! Willem Dafoe was underused, I didn't think the support cast had the same quality material as Bale.
The photography is stylish, very 80s gloss!
The direction is terrific, wonderful camera work.
Overall, see it, it's satire, black comedy, social commentary and more!
Christian Bale is awesome, quality acting! Willem Dafoe was underused, I didn't think the support cast had the same quality material as Bale.
The photography is stylish, very 80s gloss!
The direction is terrific, wonderful camera work.
Overall, see it, it's satire, black comedy, social commentary and more!
The film looks to examine our own distorted points of view or detachments from reality. Like Patrick Bateman, we may be trapped craving the approval of others and denying ourselves the ability to distinguish fantasies from our reality.
People are obsessed with how the others perceive them likewise in American Psycho Bateman achieves no catharsis, he's trapped in his own personal hell because he requires the recognition of the other yuppies to confirm his identity as a murderer. The irony is that Feynman's real crimes may as well be fantasy. The lack of acknowledging his reality drives Bateman further into madness and existential despair
It's about yuppie culture, the melding of identity, and the craving to stand out from a superficial homogenized society. Bateman's interpretation of the world is skewed by his inflated ego and his evident psychosis as well as presumably multiple mental illnesses. Bateman is a killer, but still, he's not the killer he thinks he is, as he goes insane he can't distinguish reality from fantasy. His over the top chainsaw massacre style killings may be an aestheticized elaboration on partial truths, ultimately the film doesn't care. The more significant point of the movies absurdity is that within his society Batemans not the psycho at all he's just one more normal guy amidst a horde of uncaring detached from reality, secretly discontented American psychos. Bateman is surrounded by like-minded superficial people obsessed with all the wrong things like making impossible reservations at Dorsia and the tasteful thickness of their business cards. Within the homogenized upper-class elite identities blur as everyone strives after a generic yet highly specific image of success.
Everyone we see in Bateman's company appears to be the same person. It's no wonder that identity is mistaken continuously and swapped throughout the film. The lawyer has mistaken Paul Allen or perhaps Batman has killed the wrong person becomes not only plausible but also an expression of the general confusion resulting from the loss of individual identity.
Meanwhile, although Batman tries like the rest to fit in, the emptiness of his lifestyle also fuels a craving to stand out. To escape the conformity that he on some level despises Batman leads a second life as a killer, where he's unfettered from the bounds of society. Although he actually wants to be seen as a murderer as someone different from the rest of society Bateman is denied even the satisfaction by every self-absorbed yuppie he meets. When he's seen stuffing a body into the trunk of a car, the witness is only interested in the bag.
This is a great movie. Look for the subtext under the dialogue.
It's about yuppie culture, the melding of identity, and the craving to stand out from a superficial homogenized society. Bateman's interpretation of the world is skewed by his inflated ego and his evident psychosis as well as presumably multiple mental illnesses. Bateman is a killer, but still, he's not the killer he thinks he is, as he goes insane he can't distinguish reality from fantasy. His over the top chainsaw massacre style killings may be an aestheticized elaboration on partial truths, ultimately the film doesn't care. The more significant point of the movies absurdity is that within his society Batemans not the psycho at all he's just one more normal guy amidst a horde of uncaring detached from reality, secretly discontented American psychos. Bateman is surrounded by like-minded superficial people obsessed with all the wrong things like making impossible reservations at Dorsia and the tasteful thickness of their business cards. Within the homogenized upper-class elite identities blur as everyone strives after a generic yet highly specific image of success.
Everyone we see in Bateman's company appears to be the same person. It's no wonder that identity is mistaken continuously and swapped throughout the film. The lawyer has mistaken Paul Allen or perhaps Batman has killed the wrong person becomes not only plausible but also an expression of the general confusion resulting from the loss of individual identity.
Meanwhile, although Batman tries like the rest to fit in, the emptiness of his lifestyle also fuels a craving to stand out. To escape the conformity that he on some level despises Batman leads a second life as a killer, where he's unfettered from the bounds of society. Although he actually wants to be seen as a murderer as someone different from the rest of society Bateman is denied even the satisfaction by every self-absorbed yuppie he meets. When he's seen stuffing a body into the trunk of a car, the witness is only interested in the bag.
This is a great movie. Look for the subtext under the dialogue.
Now it all makes sense. Christian Bale was born to play horror characters. I couldn't understand why I was so , so, afraid of him even in films like "Velvet Goldmine" He is a poster boy for putrid souls in elegant wrapping. In "American Psycho" - a film that deserves much more attention than it's got - he is absolutely terrific. Totally believable. I could sense his delight in playing a monster of this kind. Interestingly enough this manicured monster seems to be asking for sympathy, imagine the nerve! But Christian Bale succeeds in showing us a face we (I) hadn't quite seen before and yet we (I) accept without question. He should have gotten an Oscar nomination but, fortunately, he didn't.
A very funny horror flick. A worthy companion piece to its literary roots. A phenomenal, fearless performance by Christian Bale that, in a way, cleared up my questions about this versatile British actor. I could never quite warm up to him. Not even in "Little Women". Now, Bale as Patrick Bateman, revealed the reason. It is the cruelty around his mouth. His smiles are chilling and they work to perfection in this, his yuppie modern monster.His actions have the pristine shallowness of his business cards and the disgusting taste of his self awareness. You don't feel sorry for him, the way one did for Norman Bates. No, his character is unredeemable. His rough sex with two women while he rides one of them looking at himself in the mirror is one of the most disturbing film moments I've ever seen. I wonder if Bale will ever be able to play goodness, convincingly.
Le saviez-vous
- AnecdotesLooking for a way to create the character of Patrick Bateman, Christian Bale stumbled onto a Tom Cruise appearance on the Late Show with David Letterman (1993). According to co-writer and director Mary Harron, Bale saw in Cruise "this very intense friendliness with nothing behind the eyes," and Bale subsequently based the character of Bateman on that. Interestingly, Tom Cruise is actually featured in the novel. He lives in the same apartment complex as Bateman, who meets him in an elevator and gets the name of Cocktail (1988) wrong, calling it "Bartender."
- Gaffes(at around 1h 21 mins) During Patrick's killing spree towards the end of the movie, when he is running between the two nearly-identical buildings, a Canadian flag is intermittently visible flapping out from behind the building on the left, revealing that this scene was shot in the Toronto-Dominion Plaza, not in New York.
- Citations
[Recurring line]
Patrick Bateman: I have to return some videotapes.
- Crédits fousThe opening credits are accompanied by what appear to be drops of blood, but these become portions of sauce.
- Versions alternativesFor the US theatrical release, director Mary Harron had to edit the following two scenes (which are available on the unrated edition) in order to receive an R-rating from the MPAA:
- The word "asshole" in the line, "Christy, get down on your knees so Sabrina can see your asshole" was changed to just "ass".
- The threesome during the same scene was trimmed several seconds.
- ConnexionsFeatured in Siskel & Ebert & the Movies: The Beach/Snow Day/Holy Smoke (2000)
- Bandes originalesTrue Faith
Written by Peter Hook, Stephen Hague, Gillian Gilbert, Bernard Sumner & Stephen Morris
Performed by New Order
Courtesy of Warner Music U.K. Ltd.
By Arrangement with Warner Special Products, Universal Music Publishing and Warner/Chappell Music,
Inc.
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- Psychopathe américain
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 7 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 15 070 285 $US
- Week-end de sortie aux États-Unis et au Canada
- 4 961 015 $US
- 16 avr. 2000
- Montant brut mondial
- 34 268 155 $US
- Durée
- 1h 42min(102 min)
- Couleur
- Mixage
- Rapport de forme
- 2.35 : 1
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant