Fight-Club

"Robert Paulson" redirects here. For the voice actor, see Rob Paulsen.

Fight Club

First edition cover
Author	Chuck Palahniuk
Cover artist	Michael Ian Kaye Melissa Hayden Proverbial Inc.
Language	English
Genre	Satirical novel
Publisher	W. W. Norton
Publication date	August 17, 1996
Publication place	United States
Media type	Print (Hardcover)
Pages	208
ISBN	0-393-03976-5
OCLC	33440073
Dewey Decimal	813/.54 20
LC Class	PS3566.A4554 F54 1996

Fight Club is a 1996 novel by Chuck Palahniuk. It was Palahniuk's first published novel, and follows the experiences of an unnamed protagonist struggling with insomnia. The protagonist finds relief by impersonating a seriously ill person in several support groups, after his doctor remarks that insomnia is not "real suffering" and that he should find out what it is really like to suffer. The protagonist then meets a mysterious man named Tyler Durden and establishes an underground fighting club as radical psychotherapy.

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 underperforming financially, and heightened the profile of the novel.

Plot

An anonymous narrator works as a product recall specialist for a car company. Due to 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, his doctor advises him to visit a support group for testicular cancer victims to "see what real suffering is like". He finds that sharing the problems of others—despite not having testicular cancer himself—alleviates his insomnia.

The treatment works until he meets Marla Singer, another "tourist" visiting the support group under false pretenses. The 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, and the narrator's insomnia returns.

While on a nude beach, the narrator meets Tyler Durden, an 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." Both men find that they enjoy the ensuing fistfight. They move in together and establish a "fight club", drawing men with similar temperaments into bare-knuckle fighting matches, set to eight rules:

1. You don't talk about fight club.
2. You don't talk about fight club.
3. When someone says stop, or taps out, or goes limp, the fight is over.
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

A mechanic later tells the narrator about two new rules: nobody is the center of the fight club except for the two men fighting, and the fight club will always be free.

Marla, noticing that the narrator has not recently attended his support groups, calls him saying 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 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. As Tyler and Marla are never seen at the same time, the narrator wonders whether Tyler and Marla are the same person.

As fight club attains a nationwide presence, Tyler uses it to spread his anti-consumerist ideas, recruiting 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 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

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 from the testicular cancer support group, is killed during one of the sabotage operations.

One day, Marla inadvertently reveals to the narrator that he and Tyler are the same person.

As his mental state deteriorated, the narrator's mind formed a new personality that could escape from his life's problems. Tyler's affair with Marla—whom the narrator professes to dislike—was the narrator's own affair with Marla. The narrator's bouts of insomnia had been Tyler's personality surfacing; Tyler was active whenever the narrator was "sleeping". The Tyler personality created fight club and blew up the Narrator's condo.

Tyler plans to blow up a skyscraper using homemade bombs created by Project Mayhem; the target of the explosion 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. The narrator makes his way to the roof of the building, where Tyler holds him at gunpoint. When Marla comes to the roof with one of the support groups, Tyler vanishes, as Tyler "was his hallucination, not hers".

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

History

Palahniuk once had an altercation while camping and, though he returned to work 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 him to write Fight Club.

In 1995, Palahniuk joined a Portland-based writing group that practiced a technique called "dangerous writing". This technique, developed by American author Tom Spanbauer, emphasizes the use of minimalist prose, and the use of painful, personal experiences for inspiration. Under Spanbauer's influence, Palahniuk produced an early draft of what would later become his novel Invisible Monsters (1999), but it was rejected by all publishers he submitted it to. Palahniuk then wrote a second novel, expanding on his short story, "Fight Club". Initially, Fight Club was published as a seven-page short story in the compilation Pursuit of Happiness (1995), but Palahniuk expanded it to novel length (in which the original short story became chapter six); Fight Club: A Novel was published in 1996.

Fight Club: A Novel was re-issued in 1999 and 2004; the latter edition includes the author's introduction about the conception and popularity of the novel and movie, in which Palahniuk 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 explains:

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.

One critic has noted that this essay can be seen as Palahniuk's way of interpreting his own novel. According to this critic, Palahniuk's essay emphasizes the communicative and romantic elements of the novel while it deemphasizes its transgressive elements.

In interviews, the writer has said he is still approached by people wanting to know the location of the nearest fight club. Palahniuk insists there is no such real organization. He has heard of real fight clubs, some said to have existed before the novel. Project Mayhem is lightly based on The Cacophony Society, of which Palahniuk is a member, and other events derived from stories told to him.

Fight Club's cultural impact is evidenced by the establishment of fight clubs by teenagers and "techies" in the United States. Pranks, such as food-tampering, have been repeated by fans of the book, documented in Palahniuk's essay "Monkey Think, Monkey Do", in the book Stranger Than Fiction: True Stories (2004) and in the introduction to the 2004 re-issue of Fight Club. Other fans have been inspired to undertake prosocial activity, and told Palahniuk that the novel had encouraged them to return to college.

Adaptations

In addition to the feature film, a stage adaptation by Dylan Yates has been performed in Seattle and in Charlotte, North Carolina. In 2004, work began on a musical theater adaptation by Palahniuk, Fincher, and Trent Reznor, to premiere on the film's 10th anniversary. In 2015, the project was still in development, with Julie Taymor having been added to the creative team.

Characters

The Narrator

A modern-day everyman figure as well as an employee specializing in recalls for an unnamed car company, the Narrator—who remains unnamed throughout the novel—is extremely depressed and suffers from insomnia. Some readers call him "Joe", because of his constant use of the name in such statements 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, the Narrator uses various aliases in the support groups. His subconscious 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, his smarts, and 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." In the unofficial meta sequel comic book series also penned by Palahniuk (with art by Cameron Stewart), Fight Club 2, it is revealed that the Narrator has chosen to be identified by the name of Sebastian.

Tyler Durden

"Because of his nature", 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 to create the ingredients for bomb manufacturing, which will be put to work later with his underground brawling circuit famously known as Fight Club in which he is the co-founder of, 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, according to the Narrator's comment "in his everything-blond way".

Marla Singer

A woman whom the Narrator meets during a support group. The Narrator no longer receives the same relief from the groups when he realizes Marla is faking her problems just as he is. After he leaves the groups, he meets her again when she becomes Tyler's lover. Marla is shown to be extremely unkempt, uncaring, and sometimes even suicidal. At times, she shows a softer, more caring side. Coinciding with the novel's neo-noir themes, Marla plays the role of the femme fatale, not only in her appearance but also in her role, serving firstly as a source of problems for the Narrator.

Robert "Big Bob" Paulson

"Robert Paulson" redirects here. For the voice actor, see Rob Paulsen.

The Narrator meets Bob 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. His treatment with testosterone injections and resultant increased estrogen levels have caused him to grow breasts and develop a softer voice. Because of his "bitch tits", Bob is the only member who is allowed to wear a shirt during fights. 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.

Bob was the only member of Project Mayhem that didn't fully complete the three-day initiation phase. The Narrator goes and convinces him to stay. He's also the only one to get killed. He didn't follow Tyler's direct orders.

Angel Face

A man who joins Fight Club. He is very loyal to Project Mayhem, laughing at the vandalism he and a group of "space monkeys" have caused as their crimes appear on the evening news. Angel Face is considered very beautiful, hence his name. The blond-haired beauty suffers a savage beating at the Narrator's hands during a Fight Club session; 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. Whereas in the book it is that excessive beating which triggers the foundation of Project Mayhem, (Fight Club no longer being a sufficient outlet), in the movie the beating seems to be caused primarily by the Narrator's jealousy.

Motifs

Destruction of Art

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 repeats this to him in one scene. This motif shows his desire for chaos, later expressed by the Narrator as an urge to "destroy something beautiful". Additionally, he mentions at one point that "Nothing is static. Even the Mona Lisa is falling apart." This is most explicitly stated in the scene 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

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 results in "damnation or redemption". These endeavours will figuratively return to them their absent fathers, as judgment by future generations will replace judgment by their fathers.

Reader's Digest

After seeing 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. He often replaces organs with feelings and things involved in his life (such as "I am Joe's smirking revenge").

Cornflower Blue

Cornflower blue is a color associated with the Narrator's boss; it is revealed that he chose that particular shade of blue to highlight an icon. It is also mentioned later on that the Narrator's boss has eyes which are exactly the same color. All of Palahniuk's subsequent novels have featured references to cornflower blue.

Isolationism

Isolationism, specifically directed towards material items and possessions, is a common theme throughout the novel, especially in relation to consumerism. 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."

Mental Illness

One of the multiple motifs within the novel is mental illness. David McCracken discusses in his article “Disability Studies Simulacra in Chuck Palahniuk's Fight Club(s)” about how within the context of Fight Club, there is a “"spiritual depression" [that] is congruent with spiritual disability, a malaise that impairs men and women from feeling an inner peace, a mystical transcendence, a euphoric sense of connection with a greater entity.” McCracken points out the importance of the support group chapters as it depicts victims overcoming biological and/or psychological diseases. McCracken claims that Fight Club can be seen as a ‘recovery text’, as “Fight Club may indeed be considered a story about the transition from spiritual deficiency, or spiritual bankruptcy as it is termed in a discussion of the first step in Alcoholics Anonymous (21), to spiritual awakening and consequently spiritual empowerment--the move from disability (spiritual depression) to ability (spiritual vitality).” In the support group chapters, Palahniuk depicts, for the most part, the traditional protocols within existing recovery communities, "the reflection of a profound reality." McCracken continues to highlight how Palahniuk juxtaposes the support group with fight club, and this is utilized to continue to show the mental illness parallels between the characters participating within the club. A comparison that is seen between the two groups, that actually shows their similarity more than anything, is anonymity. The practice of remaining anonymous is to ensure that everyone is equal, “at least in terms of identifiable status designations, and along the lines of disablism/ableism, legislated mediocracy rules.”

Themes

Jesse Kavadlo, a professor at Maryville University of St. Louis, argues that the Narrator's opposition to emasculation is a form of projection, and the problem that he fights is himself. He also argues 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. In an essay titled "Fight Club and the Disneyfication of Manhood," Cameron White and Trenia Walker suggest that Project Mayhem's ultimate goal, through the destruction of financial institutions, is to shatter what society deems "real" manhood, reducing manhood to survival instincts. Paul Skinner has also echoed this sentiment, stating, "the anger and dissatisfaction of the male characters is against one type of masculinity being suppressed by post-industrial consumerist society". 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."

Paul Kennett argues 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. These fights are a representation of the struggle of the proletarian at the hands of a higher capitalist power; 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.

Tyler becomes nostalgic for patriarchal power giving him control 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." Through his position as leader of Project Mayhem, Tyler uses his power to become a "God/Father" to the "space monkeys" (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, thus becoming controllers themselves in an endless cycle of patriarchal repression.

Johannes Hell argues 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 sleepwalking and intense deprivation, for they have a firm influence on suffering readers," 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.

Project Mayhem's terrorism in Fight Club has been analyzed within the context of the terrorist attacks of September 11th, 2001. In 2007, Ruth Quiney examined this link, stating that Fight Club's depiction of disaffected Western men joining a homegrown terrorist group anticipated some aspects of the War on Terror. Jesse Kavadlo, in his essay "With Us or Against Us: Chuck Palahniuk's 9/11," claims that Palahniuk was almost prophetic in predicting future acts of terror. He writes, "Palahniuk's work demonstrates the disturbing intersections between the multiple meanings of the word "plot": narrative, conspiratorial, and funereal, the word reminding us of the linguistic connections between our stories, our secrets, and our entombment."

Olivia Burgess believes that the necessity of violence as revolution is evident in how bodies are described in the novel. The fight club “allows men to fiercely embody revolution and desire and rejuvenate utopia”, experiencing sensations through their own aging, injured bodies. In the fight club, physical violence is consensual, and the self is liberated through immediate “violence and pain”. Characters do not have to wait for a possibility of a utopia, when they can fight for a utopia in the moment. Burgess argues that the violence of fight club is necessary for revolution, while Project Mayhem is malicious violence that does not liberate anybody. On the other hand, Barker believes that the fight club is just as malicious as Project Mayhem, proclaiming that both perpetuate fascist systems.

Reception

At the time of its publication, Fight Club was well-received critically. It was called "brilliantly creepy" by The Washington Post, and "unsettling and nerve-chafing" by The Seattle Times. The Baltimore Sun commended its very publication, stating, "bravo to Norton for having the courage to publish it." For many critics, Fight Club is considered the embodiment of Palahniuk's writing style and thematic concerns.

The "forecasts" section of a 1996 Publishers Weekly praised the novel:

Writing in an iconic deadpan and including something to offend everyone, Palahniuk is a risky writer who takes chances galore, especially with a particularly bizarre plot twist he throws in late in the book. Caustic, outrageous, bleakly funny, violent, and always unsettling, Palahniuk's utterly original creation will make even the most jaded reader sit up and take notice.

Some critics have condemned Fight Club because of its violent, heteronormative themes and cult philosophy. Peter Matthews, however, argues that these critics often overlook the novel's ironic critique of its characters' violent worldview.

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 director David Fincher. The film "failed" at the box office, but 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.

Following its film adaptation, the novel gained popularity among young, male American readers. Critics have attributed Fight Club's popularity with this audience to its critique of an emasculating consumerist culture, and to the implied message that modern men need revert to their primal, aggressive nature. The Evening Standard said the novel was the origin of the term "snowflake". "I coined 'snowflake' and I stand by it", Palahniuk said in 2017. "Every generation gets offended by different things but my friends who teach in high school tell me that their students are very easily offended ... The modern Left is always reacting to things. Once they get their show on the road culturally they will stop being so offended."

The novel won the following awards:

• 1997 Pacific Northwest Booksellers Association Award
• 1997 Oregon Book Award for Best Novel

Sequels

Palahniuk was convinced to continue Fight Club in comics form by fellow novelist Chelsea Cain and comic writers Brian Michael Bendis, Matt Fraction and Kelly Sue DeConnick.

At the 2013 San Diego Comic-Con, Palahniuk announced that a sequel to Fight Club is in the works and will take the form of a serialized graphic novel. According to Palahniuk, "It will likely be a series of books that update the story ten years after the seeming end of Tyler Durden. Nowadays, Tyler is telling the story, lurking inside Sebastian, and ready to launch a come-back. Sebastian is oblivious. Marla is bored. Their marriage has run aground on the rocky coastline of middle-aged suburban boredom. It's only when their little boy disappears, kidnapped by Tyler, that Sebastian is dragged back into the world of Mayhem." Dark Horse Comics published this new story in a 10-issue maxi series, written by Palahniuk and illustrated by Cameron Stewart, starting in 2015. Artist David W. Mack, who is friends with Palahniuk, illustrated the covers for the series and has said of the material, "The twists and turns are just primo artifacts of Chuck Palahniuk's brain material."

A teaser was released by Dark Horse Comics for Free Comic Book Day 2015, with Fight Club 2 #1 following in late May of that year. The series explores Joseph Campbell's concept of the 'second father' as being vital to the hero's journey, which is something that has always fascinated Palahniuk.

On the Orbital In Conversation podcast, Chuck stated that he is already working on Fight Club 3, which will also be in comic form. He also confirmed that he is working on a series of original short stories for comics which will appear as one-shots before eventually being collected into a single book.

Fight Club 3 consists of twelve issues, with the first one being released on January 30, 2019.

Prequel

Expedition is a short-story prequel to Fight Club, released in Palahniuk's Make Something Up: Stories You Can't Unread.

U.S. editions

• 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 (first 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

• 1996 in literature
• Dissociative identity disorder
• Transgressive fiction
• What Would Tyler Durden Do?:website inspired from the character Tyler Durden in the fight club series.

References

• Alan Brookey, Robert; Westerfelhaus, Robert (March 2002). "Hiding homoeroticism in plain view: the Fight Club DVD as digital closet". Critical Studies in Media Communication. 19 (1): 21–43. doi:10.1080/07393180216555.
• "Fight club draws techies for underground beatdowns". East Bay Times. Associated Press. 30 May 2006.
• "Fight Club opera is coming from Fincher, Reznor and Palahniuk". The Independent. Retrieved 2016-03-30.
• Giroux, Henry A.. "Private Satisfactions and Public Disorders: Fight Club, Patriarchy, and the Politics of Masculine Violence.". henryagiroux.com Online Articles. Retrieved October 10, 2008.
• Jemielity, Sam. "Chuck Palahniuk:The Playboy.Conversation". Playboy.com. Retrieved September 28, 2006.
• Kavadlo, Jesse (2005). "The Fiction of Self-destruction: Chuck Palahniuk, Closet Moralist" (PDF). Stirrings Still. Vol. 2, no. 2. Archived from the original (PDF) on 2014-06-30.
• Kennett, Paul (2005). "Fight Club and the Dangers of Oedipal Obsession" (PDF). Stirrings Still. Vol. 2, no. 2. Archived from the original (PDF) on 2014-06-30.
• Malewitz, Raymond (May 2012). "Regeneration through Misuse: Rugged Consumerism in Contemporary American Culture". Publications of the Modern Language Association of America. 127 (3): 526–541. doi:10.1632/pmla.2012.127.3.526.
• Offman, Craig. "Movie makes "Fight Club" book a contender". Salon.com. September 3, 1999.
• Oregon Book Awards. Literary Arts, Inc. Retrieved June 20, 2005.
• Pacific Northwest Booksellers Association Awards. https://web.archive.org/web/20050721030452/http://www.pnba.org/awards.htm. Retrieved June 20, 2005.
• Trudeau, Lawrence J., ed. (2014). "Palahniuk, Chuck (1962-), An Introduction to". Contemporary Literary Criticism. Vol. 359. pp. 253–342. Gale ZHWHGQ544011662.
• Palahniuk, Chuck. Stranger Than Fiction : True Stories. Garden City: Doubleday, 2004. ISBN 0-385-50448-9
• Straus, Tamara. "The Unexpected Romantic: An Interview with Chuck Palahniuk Archived 2011-06-29 at the Wayback Machine". AlterNet. June 19, 2001.
• Tomlinson, Sarah. "Is it fistfighting, or just multi-tasking?". Salon.com. October 13, 1999.

Following editions of the novel were used as references for this article:

• Palahniuk, Chuck. Fight Club. New York: Henry Holt, 1997. ISBN 0-8050-6297-1
• Palahniuk, Chuck. Fight Club. Clearwater: Owl Books, 2004. ISBN 0-8050-7647-6

Further reading

• 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

• Chuck Palahniuk.Net section for Fight Club Archived 2017-07-19 at the Wayback Machine
• Fight Club on Internet Archive

This article is about the film. For the novel on which the film is based, see Fight Club (novel). For other uses, see Fight Club (disambiguation).

Fight Club
Theatrical release poster
Directed by	David Fincher
Screenplay by	Jim Uhls
Based on	Fight Club by Chuck Palahniuk
Produced by	Art Linson Ceán Chaffin Ross Grayson Bell
Starring	Brad Pitt Edward Norton Helena Bonham Carter Meat Loaf Jared Leto
Cinematography	Jeff Cronenweth
Edited by	James Haygood
Music by	The Dust Brothers
Production companies	Fox 2000 Pictures Regency Enterprises Linson Films
Distributed by	20th Century Fox
Release dates	September 10, 1999 (1999-09-10) (Venice) October 15, 1999 (1999-10-15) (United States)
Running time	139 minutes
Country	United States
Language	English
Budget	$63–65 million
Box office	$101 million

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 a 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.

Studio executives did not like the film and 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 on

October 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."

Plot

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 cannot 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 vandalism 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 looks for Tyler. Discovering the project's 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.

Cast

Edward Norton (left) in 2009 and Brad Pitt (right) in 2019

• Edward Norton as the Narrator. He adopts a number of aliases while attending support groups.
• Brad Pitt as Tyler Durden
• Helena Bonham Carter as Marla Singer
• Meat Loaf as Robert "Bob" Paulson
• Jared Leto as Angel Face, a young Fight Club recruit and member of Project Mayhem.
• Holt McCallany as the Mechanic
• Zach Grenier as Richard Chesler, the Narrator's boss.
• Eion Bailey as Ricky
• Peter Iacangelo as Lou
• Thom Gossom Jr. as Detective Stern

Themes

For academic interpretations of the film, see Interpretations of Fight Club.

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.

—David Fincher

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"; the character is identified in the script as "Jack", but left unnamed in the film. 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.

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 angry, so he responds to his environment by creating Tyler Durden, a Nietzschean Übermensch, in his mind. While Tyler is who the Narrator wants 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." 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.

Screenwriter Jim 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." The Narrator seeks intimacy, but avoids it with Marla Singer, seeing too much of himself in her. While Marla is a seductive and negativist prospect for the Narrator, he embraces the novelty and excitement that comes with befriending Tyler. The Narrator is comfortable being personally connected to Tyler, but 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. When Tyler implies that Marla is a risk they should remove, the Narrator realizes he should have focused on her and begins to diverge from Tyler's path.

We decided early on that I would start to starve myself as the film went on, while [Brad Pitt] would lift and go to tanning beds; he would become more and more idealized as I wasted away.

—Edward Norton

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

Fight Club examines Generation X angst as "the middle children of history". 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". 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." 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."

Fight Club also parallels the 1955 film Rebel Without a Cause; both probe the frustrations of the people in the system. The characters, having undergone societal emasculation, are reduced to "a generation of spectators". 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 consumer products such as Gucci, Calvin Klein, 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." 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."

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. The fights represent a resistance to the impulse to be "cocooned" in society. 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. 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. Fight Club purposely shapes an ambiguous message whose interpretation is left to the audience. 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."

Production

Development

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.

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. 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. In August 1997, 20th Century Fox announced that Fincher would direct the film adaptation of Fight Club.

Casting

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. 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.

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

In January 1998, 20th Century Fox announced that Pitt and Norton had been cast. The actors prepared by taking lessons in boxing, taekwondo, grappling, and soapmaking. 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.

Fincher's first choice for the role of Marla Singer was Janeane Garofalo. While Fincher initially stated that she turned it down because she objected to the film's sexual content, in an interview in 2020, Garofalo revealed that she did accept the role, but was dropped because Norton believed she was poorly suited to it. Fincher pitched the role to Julia Louis-Dreyfus. The filmmakers considered Courtney Love and Winona Ryder as early candidates. Love claimed that she was cast as Marla Singer, but was fired after she rejected Pitt's pitch for a film about her late husband, Kurt Cobain. The studio wanted to cast Reese Witherspoon, but Fincher felt she was too young. Sarah Michelle Gellar turned it down due to scheduling conflicts with Buffy The Vampire Slayer. Finally, Fincher chose to cast Bonham Carter based on her performance in the 1997 film The Wings of the Dove.

Writing

When Uhls first encountered the novel, it was in the form of a manuscript, though it already had a publisher. In his interview he stated that he read it just for enjoyment and was blown away by it. He started working on a draft of the adapted screenplay, which excluded a voice-over because the industry perceived the technique as "hackneyed and trite" at the time. 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. He described the film without a voice-over as seemingly "sad and pathetic". 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. He invited Pitt and Norton to help revise the script, and the group drafted five revisions in the course of a year.

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." Palahniuk's novel also contained homoerotic overtones, which Fincher included in the film to make audiences uncomfortable and accentuate the surprise of the twists. 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. Another example is the scene at the beginning of the film in which Tyler Durden puts a gun barrel down the Narrator's mouth.

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. 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. 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."

Filming

Studio executives Mechanic and Ziskin planned an initial budget of $23 million to finance the film, 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. Fincher 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. The final production budget was $63–65 million.

The fight scenes were heavily choreographed, but the actors were required to "go full out" to capture realistic effects such as having the wind knocked out of them. Makeup artist Julie Pearce, who had worked for Fincher 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, inspired by the boxing match in which Mike Tyson bit off part of Evander Holyfield's ear. 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 fight club member who has "bitch tits", wore a 90-pound (40 kg) fat harness that gave him large breasts. He also wore eight-inch (20 cm) lifts in his scenes with Norton to be taller than him.

Filming lasted 138 days from July to December 1998, during which Fincher shot more than 1,500 rolls of film, three times the average for a Hollywood film. The locations were in and around Los Angeles and on sets built at the studio in Century City. Production designer Alex McDowell constructed more than 70 sets. The exterior of Tyler Durden's house was built in Wilmington, 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. Marla Singer's apartment was based on photographs of apartments in downtown LA. Overall, production included 300 scenes, 200 locations, and complex special effects. Fincher compared Fight Club to his subsequent, 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."

Cinematography

Fincher used the Super 35 format to film Fight Club since it gave him maximum flexibility to compose shots. He hired Jeff Cronenweth as cinematographer; Cronenweth's father Jordan Cronenweth had been cinematographer for Fincher's 1992 film Alien 3, but left midway through 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.

Fincher and Cronenweth applied a lurid style, choosing to make people "sort of shiny". The appearance of the Narrator's scenes without Tyler 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. 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.

The crew took advantage of both natural and practical light. Fincher sought various approaches to the lighting setups; for example, he chose several urban locations for the city lights' effects on the shots' backgrounds. 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. 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' technique as the influence.

Fight Club was filmed mostly at night, and Fincher 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.

The scenes with Tyler were staged to conceal that the character was a mental projection of the unnamed Narrator. Tyler 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. Tyler appears in the background and out of focus, like a "little devil on the shoulder". 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."

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 blacks, and high-contrast print stocks were chosen to create a "stepped-on" look on the print with a dirty patina.

Visual effects

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.

The opening scene in Fight Club that represents a brain's neural network in which the thought processes are initiated by the Narrator's fear impulse. The network was mapped using an L-system and drawn out by a medical illustrator.

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. 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. 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, 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.

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.

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. Fincher 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."

Score

Fincher was concerned that bands experienced in writing film scores would be unable to tie the themes together, so he sought a band which had never recorded for film. He pursued Radiohead, but the singer, Thom Yorke, declined as he was recovering from the stress of promoting their 1997 album OK Computer. Fincher instead commissioned the breakbeat producing duo Dust Brothers, who created a post-modern score encompassing 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." The climax and end credits feature the song "Where Is My Mind?" by Pixies.

Release

Marketing

Filming concluded in December 1998, and 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. 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." Nevertheless, Fight Club was originally slated to be released in July 1999, 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. Outsiders attributed the delays to the Columbine High School massacre earlier in the year.

Marketing executives at Fox Searchlight Pictures 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 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. 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.

Theatrical run

The studio held Fight Club's world premiere at the 56th Venice International Film Festival on September 10, 1999. 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 US$13 million and US$15 million in its opening weekend. Fight Club opened commercially in the United States and Canada on October 15, 1999, and earned US$11 million in 1,963 theaters over the opening weekend. The film ranked first at the weekend box office, beating Double Jeopardy and The Story of Us, a fellow weekend opener. Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale. 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. Over the second weekend, Fight Club dropped 42.6% in revenue, earning US$6.3 million. In its original theatrical run, the film grossed US$37 million in the United States and Canada, and US$63.8 million in other territories, for a worldwide total of US$100.9 million. (With subsequent re-releases, the film's worldwide gross increased to $101.2 million.) 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.

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." The scenes were restored in a two-disc DVD edition released in the UK in March 2007. In February 2024, in advance of a theatrical re-release, the BBFC lowered the classification from 18 to 15.

Home media

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 on DVD on June 6, 2000, in both one and two-disc editions. The movie disc included four commentary tracks, while the bonus disc contained behind-the-scenes clips, deleted scenes, trailers, theater safety PSAs, the promotional music video "This is Your Life", Internet spots, still galleries, cast biographies, storyboards, and publicity materials. Fincher 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 Fincher'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. 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." Deborah Mitchell, 20th Century Fox's vice president of marketing, described the design, "From a retail standpoint, [the DVD case] has incredible shelf-presence." It was the first DVD release to feature the THX Optimode.

Fight Club won the 2000 Online Film Critics Society Awards for Best DVD, Best DVD Commentary, and Best DVD Special Features. 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. When the two-disc edition went out of print, the studio re-released it in 2004 because of fans' requests. The film sold more than 6 million copies on DVD and video within the first ten years, making it one of the largest-selling home media items in the studio's history, in addition to grossing over $55 million in video and DVD rentals. 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 US$10 million profit for the studio.

The Laserdisc edition was only released in Japan on May 26, 2000 and features a different cover art, as well as one of the very few Dolby Digital Surround EX soundtracks released on LD. The VHS edition was released on October 31, 2000, as a part of 20th Century Fox's "Premiere Series" line. It includes a featurette after the film, "Behind the Brawl".

Fight Club was released in the Blu-ray Disc format in the United States on November 17, 2009. Five graffiti artists were commissioned to create 30 pieces of art for the packaging, encompassing urban aesthetics found on the East Coast and West Coast of the United States as well as influences from European street art. The Blu-ray edition opens with a menu screen for the romantic comedy Never Been Kissed starring Drew Barrymore before leading into the Fight Club menu screen. Fincher got permission from Barrymore to include the fake menu screen.

An online release in China from Tencent censored the bomb blasts at the end and replaced the ending with a message that Project Mayhem was thwarted, with Tyler Durden being arrested by law enforcement and placed in an insane asylum until 2012, adapting the ending of the original Fight Club novel. Weeks later, Tencent released a version of the film restoring 11 of the 12 minutes that had previously been cut. The novel's author Chuck Palahniuk believed the censored version partially restored the book's ending.

Critical reception

Cineaste's Gary Crowdus summarized the critical reception at the time, "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." When Fight Club premiered at the 56th Venice International Film Festival, the film was fiercely debated 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. 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." Although the film's makers called Fight Club "an accurate portrayal of men in the 1990s," some critics called it "irresponsible and appalling." Writing for The Australian, Christopher Goodwin stated, "Fight Club is shaping up to be the most contentious mainstream Hollywood meditation on violence since Stanley Kubrick's A Clockwork Orange."

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. Roger Ebert, reviewing for the Chicago Sun-Times, gave Fight Club two stars out of four, calling it "visceral and hard-edged", but also "a thrill ride masquerading as philosophy", whose promising first act is followed by a second that panders to macho sensibilities and a third he dismissed as "trickery". Ebert later acknowledged that the film was "beloved by most, not by me". He was later requested to have a shot-by-shot analysis of Fight Club at the Conference on World Affairs; he stated that "[s]eeing it over the course of a week, I admired its skill even more, and its thought even less." 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". 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. Richard Schickel of Time described the 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 Pitt and Norton, but criticized the "conventionally gimmicky" unfolding and the failure to make Bonham Carter's character interesting.

The film review website Metacritic surveyed 36 critics and assessed 24 reviews as positive, 10 as mixed, and 2 as negative. It gave an aggregate score of 67 out of 100, which it said indicated "generally favorable reviews". The similar website Rotten Tomatoes surveyed 185 critics and, categorizing the reviews as positive or negative, assessed 148 as positive and 37 as negative. Of the 185 reviews, it determined an average rating of 7.4 out of 10. It gave the film a score of 80% and summarized the critical consensus, "Solid acting, amazing direction, and elaborate production design make Fight Club a wild ride."

Accolades

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

Legacy and cultural impact

Main article: Interpretations of Fight Club

Fight Club was one of the most controversial and talked-about films of the 1990s. The film was perceived as the forerunner of a new mood in American political life. 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. After Fight Club's theatrical release, it became more popular via word of mouth, and the positive reception of the DVD established it as a cult film that David Ansen of Newsweek conjectured would enjoy "perennial" fame. The film's success also heightened Palahniuk's profile to global renown.

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 tech industry. 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. An unsanctioned fight club was also started at Princeton University, where matches were held on campus. 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. 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. The New York City Police Department reported the suspect was trying to emulate "Project Mayhem".

Fight Club had a significant impact on evangelical Christianity, in the areas of Christian discipleship and masculinity. A number of churches called their cell groups "fight clubs" with a stated purpose of meeting regularly to "beat up the flesh and believe the gospel of grace". Some churches, especially Mars Hill Church in Seattle, whose pastor Mark Driscoll was obsessed with the film, picked up the film's emphasis on masculinity, and rejection of self-care. Jessica Johnson suggests that Driscoll even called on "his brothers-in-arms to foment a movement not unlike Project Mayhem."

A Fight Club video game was released by Vivendi Universal Games in 2004 for the PlayStation 2, Xbox, and for mobile phones. The game was a critical and commercial failure, and was panned by such publications and websites as GameSpot, Game Informer, and IGN. The video game Jet Set Radio, initially released in 2000 for Sega's Dreamcast console, was inspired by the film's anti-establishment themes.

In 2003, Fight Club was listed as one of the "50 Best Guy Movies of All Time" by Men's Journal. In 2004 and 2006, Fight Club was voted by Empire readers as the eighth and tenth greatest film of all time, respectively. Total Film ranked Fight Club as "The Greatest Film of our Lifetime" in 2007 during the magazine's tenth anniversary. 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. In 2008, readers of Empire ranked Tyler Durden eighth on a list of the 100 Greatest Movie Characters. Empire also identified Fight Club as the 10th greatest movie of all time in its 2008 issue The 500 Greatest Movies of All Time.

In 2010, two viral mash-up videos featuring Fight Club were released. Ferris Club was a mash-up of Fight Club and the 1986 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". 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.

See also

• List of American films of 1999

References

Publications

• Probst, Christopher (November 1999). "Anarchy in the U.S.A". American Cinematographer. 80 (11): 42–44+. Archived from the original on May 24, 2009. Retrieved July 19, 2009.
• Smith, Gavin (September–October 1999). "Inside Out: Gavin Smith Goes One-on-One with David Fincher". Film Comment. 35 (5): 58–62, 65, 67–68. Archived from the original on June 21, 2015.

Bibliography

• Linson, Art (May 2002). "Fight Clubbed". What Just Happened? Bitter Hollywood Tales from the Front Line. Bloomsbury USA. pp. 141–156. ISBN 978-1-58234-240-5.
• Waxman, Sharon (December 2005). Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System. HarperEntertainment. ISBN 978-0-06-054017-3. Archived from the original on May 31, 2020. Retrieved August 28, 2019.

External links

• Official website at the Wayback Machine (archived October 16, 2004) (Requires Adobe Flash Player)
• Fight Club at IMDb
• Fight Club at 20th Century Studios