| title-Why Men Love American Psycho | |
| ---end-title--- | |
| american psycho is a warning more than | |
| 20 years after its release and american | |
| psycho continues to maintain its | |
| cultural grip when i look at youtube | |
| profiles twitter handles and instagram | |
| profiles i'm often met with the site of | |
| patrick bateman when i go online i see | |
| american psycho memes continuing to spread | |
| like wildfire | |
| [Music] | |
| this is because american psycho is one | |
| of the only films that expertly taps | |
| into the psyche of men it's a film that | |
| leaves you questioning your sense of | |
| reality it's a film that shows us the | |
| consequences of masking our personality | |
| our opinions and true self it shows us | |
| the hollowness of our atomized cities | |
| and soul-crushing workspaces and most | |
| importantly it shows us the absurdity of | |
| the post-modern era where everyone | |
| dresses the same talks the same has the | |
| same opinions as the same plastic masks | |
| covering their shriveled core | |
| the movie begins in a high-end | |
| restaurant where the waiters sound | |
| exactly the same rabbit with herb french | |
| fries our pasta tonight is a split rare | |
| roasted partridge rest in raspberry | |
| cooling with a sorrel the movie then | |
| cuts to a table with patrick bateman and | |
| his wall street associates where they | |
| engage in a superficial conversation | |
| the chicks restaurant why aren't we | |
| doors yet each of these yuppies are | |
| trapped inside of their bubble now this | |
| might not seem important but this sets | |
| the scene for the whole film the key | |
| theme in this film is that no one | |
| actually knows each other they don't see | |
| each other they all put up their masks | |
| and see each other's facades but i'll | |
| talk more on that later in the next | |
| scene they all go off to a nightclub | |
| where patrick bateman goes to the bar to | |
| order a drink there patrick bateman has | |
| met with an aggressive bar lady and this | |
| is where we see bateman's inner thoughts | |
| come to the surface | |
| and play around with your blood | |
| but her non-responsive attitude makes it | |
| seem as though this is all within side | |
| patrick's head this scene gives us an | |
| excellent look about what this movie is | |
| all about it's a movie about personas | |
| and the shadow self a trope that has | |
| been played on throughout history | |
| through the biblical stories of angels | |
| and demons to the yin and the yang these | |
| are all metaphors that are key to | |
| understanding our own psychological and | |
| societal development the pathway | |
| to | |
| completion as a human being is through the | |
| is through the um | |
| embodiment of the monster | |
| embodiment of the monster that's the | |
| discovery of the shadow it's the theme | |
| of personas which this whole film is | |
| about the persona is the mask you wear | |
| in public that you think you are but | |
| you're not the persona contains all the | |
| things that modern culture says is good | |
| and the shadow itself contains | |
| everything that's not part of that a | |
| path to a greater character to a more | |
| effectual approach to life lies in | |
| integrating those elements of our psyche | |
| that for too long have been repressed | |
| and denied and as we see throughout the | |
| film the bifurcation between patrick's | |
| shadow self and his public persona | |
| becomes increasingly problematic | |
| the film then cuts the infamous scene of | |
| bateman's morning beautification routine | |
| with all his layers of conditioners gels | |
| exfoliators and ice packs the film makes | |
| a key point in showing the plasticness | |
| and the absurdity of the efforts we go | |
| to for crafting our polish public | |
| persona because we go to all of this | |
| effort to hide our authentic self | |
| there is an idea of a patrick bateman | |
| some kind of abstraction | |
| but there is no real me | |
| only an entity something illusory and | |
| this is seen everywhere within the film | |
| where we see the bland staleness of | |
| modern metropolises with skyscrapers | |
| buildings all being carbon copies of one | |
| another with each office within each | |
| building being the same artificial box | |
| with the same artificial lighting with | |
| all the people in these offices looking | |
| talking and acting identically to one | |
| another | |
| the cinematography and atmosphere is | |
| perfectly designed to resemble the | |
| monotonous drone of post-modern america | |
| where you live in a box and work for an | |
| uncaring machine that demands | |
| productivity where no natural behavior | |
| is allowed neither in the office or with | |
| the people around you where everyone's | |
| wearing the exact same clothes they | |
| don't want to wear everyone showing up | |
| to a job they don't want to do and have | |
| no connection for where every week | |
| you're trying to fill that hole in the | |
| sad shadow of a life that you're left | |
| with and this is what the film warns of | |
| because when you're consumed in the | |
| sterile culture that rewards lukewarm | |
| morality above all else you're | |
| programmed to never incorporate your | |
| shadow self which denicia was a key part | |
| of self-development he described this | |
| process as going beyond good and evil | |
| but this can only be done when you | |
| loosen your mask and escape the confines | |
| of conventional expectations to do this | |
| as a man you need aggression and | |
| expression for your own self-development | |
| but in a culture that erodes authentic | |
| self-expression and rewards material | |
| conformity we start to see the | |
| consequences of this begin to manifest | |
| and this is exactly what american psycho | |
| taps into | |
| we see this in the next scene where | |
| patrick is with his fiance on another | |
| night out in this scene it quickly | |
| becomes obvious that their relationship | |
| is only a social mask to keep up their | |
| public appearances to fit in with the | |
| rest | |
| because i want to fit | |
| in | |
| with the whole night out being another | |
| means of blending in and conforming as | |
| they walk in everything is comedically | |
| shallow patrick's supposed friend is | |
| kissing his wife patrick is indifferent | |
| about it as he's having his own affair | |
| and the person he's with is drugged out | |
| of their mind because for these people | |
| to release their shadow self they have | |
| to gratify their immediate impulses to | |
| feel some sort of connection and the | |
| holiness of this whole situation is | |
| perfectly summed up with patrick | |
| bateman's social justice corporate | |
| political speech | |
| and oppose racial discrimination and | |
| promote civil rights while also | |
| promoting equal rights for women | |
| most importantly we have to promote | |
| general social concern | |
| we have to encourage a return | |
| to traditional moral values he's just | |
| forced into being another walking | |
| talking clone of this corporate culture | |
| births where the most bland and trite | |
| opinions are the only way to keep up the | |
| public persona but meanwhile deep inside | |
| everyone is living a completely opposite | |
| life to their supposed values for | |
| example bateman talks about returning to | |
| traditional moral values and everyone | |
| agrees with them while simultaneously | |
| taking drugs having affairs and hating | |
| each other with their connections to one | |
| another being as fake as their masks and | |
| this hypocrisy continues to unravel as | |
| the film goes on the first sign of this | |
| hypocrisy comes in the next scene the | |
| laundrette where after just talking | |
| about moral values and cohesion and | |
| concern for others beyond sheets are | |
| covered in blood or while bateman is | |
| screaming at the workers | |
| listen i cannot understand you | |
| crazy you're a fool i can't cope with | |
| the stupid fishy because we're seeing | |
| bateman's real shadow side the bateman | |
| that isn't covered up by a mask where | |
| all his repressed tension is released | |
| yet as soon as he's faced with someone | |
| in the same social hierarchy as him his | |
| whole demeanor changes reverting back to | |
| the polished and plastic person he was | |
| when talking about social justice this | |
| theme of patrick without the mask is a | |
| hilarious sideswipe of the post-modern | |
| corporate culture where the most | |
| outrageous behavior comes from those | |
| preaching social justice the most it's | |
| exactly the life these sociopathic | |
| hollywood executives and politicians | |
| live preaching to the public these | |
| flimsy platitudes all whilst being the | |
| most morally bankrupt people of all | |
| because you're a hillary supporter yeah | |
| i am a hillary supporter and they know | |
| that if sexual assault allegations | |
| exposed a dark reputation | |
| the movie mogul had long tried to hide | |
| harassment | |
| sexual abuse of women is a widespread | |
| pervasive issue the independent | |
| investigation has concluded | |
| that governor andrew cuomo | |
| sexually harassed multiple women | |
| and in doing so violated federal | |
| and state law however in american psycho | |
| this is representative of bateman | |
| watching porn murdering people having | |
| affairs with drug-added women | |
| again you're dating the biggest dickweed | |
| in new york | |
| which leads on to one of my favorite | |
| scenes of the film the hilarious card | |
| scene where no one can recognize each | |
| other where everyone's card is exactly | |
| the same where everyone has exactly the | |
| same job titles because everyone is the | |
| same everything is trying to fit into | |
| the sterile environment devoid of | |
| authenticity and personality they only | |
| see each other's facades that has | |
| manifested out of conformity and | |
| cowardice | |
| ellen has mistaken me for this [ __ ] | |
| marcus halberstram it seems logical | |
| because marcus also works at pnp and in | |
| fact does the same exact thing i do | |
| marcus and i even go to the same barber | |
| although i have a slightly better | |
| haircut the slightest difference has | |
| become so important in this world where | |
| natural behavior is dissolved that | |
| patrick almost has a nervous breakdown | |
| over paul allen's business card peaceful | |
| thickness op-ed | |
| oh my god | |
| it even has a watermark | |
| [Music] | |
| to release this pent-up anger and | |
| borrowed up frustration patrick goes out | |
| to find a homeless man in order for | |
| patrick to reaffirm his ego and assert | |
| his place in the social hierarchy bateman | |
| love simple rates the homeless man | |
| before bruce lee stabbing him to death | |
| you know bad you smell eureka [ __ ] do | |
| you know that | |
| [Music] | |
| bateman's public mask is becoming too | |
| heavy to handle as the culture and | |
| lifestyle of postmodern new york is | |
| becoming unbearable for bateman and i'd | |
| argue this is what the film is trying to | |
| tell us it's a warning of how toxic | |
| corporate culture saturates our psyche | |
| and most importantly stunts our | |
| emotional development the absurdity of | |
| this post-modern lifestyle is then | |
| perfectly summed up at the christmas | |
| party where everyone looks the same and | |
| is only caring about business | |
| hey hamilton have a holly jolly | |
| christmas is alan still handling the | |
| fisher account where patrick bateman is | |
| disgusted by how disconnected and | |
| neurotic the party is and at this point | |
| he can't help but let his mask slip | |
| patrick you're such a grinch what does | |
| mr grinch want for christmas | |
| and don't say breast implants again | |
| patrick goes over to paul allen and | |
| invites him for dinner paul agrees but | |
| only on the condition that he wants to | |
| meet patrick's fiance while bateman only | |
| wants to meet paul allen for his own | |
| personal agenda however throughout the | |
| dinner as they become more and more | |
| inebriated the mask slips off for both | |
| of the characters with their inner | |
| thoughts bubbling up to the surface | |
| great ass goes out with that loser | |
| patrick vapin what a dork | |
| another martini paul with bateman feeling | |
| inferior after being caught a door can | |
| seem the success of paul allen brings a | |
| wave of pressure that his mask can no | |
| longer handle | |
| [Music] | |
| the shallowness and ridiculousness of | |
| this whole situation is then perfectly | |
| summed up at the scene of bateman | |
| dragging paul's dead body into his car | |
| as he's dragging away this body bag his | |
| colleague notices him but only to | |
| question the brand of bag rather than to | |
| question the morbid intentions the bag | |
| is being used for | |
| where did you get that overnight bag | |
| [Music] | |
| sean paul gautier however in the | |
| following scene it pans back to bateman | |
| in his office just where he started | |
| before listening to music in his own | |
| little world almost to him that all of | |
| this was just a fantasy inside of his | |
| head it's this pattern of daytime | |
| monotony a nightly release that repeats | |
| throughout the film and that's why i | |
| believe the killings throughout this | |
| film are a metaphor for bateman releasing | |
| his shadow self it's all to escape the | |
| drab meaningless culture that is eroding | |
| his inner self and i think this is why | |
| so many men flock to american psycho | |
| because so many men find themselves | |
| repeating a similar pattern a pattern of | |
| wearing your mask through the day and | |
| stifling your inner self to releasing | |
| the shadow at night through excessive | |
| hedonistic behavior but to fully | |
| understand why this happens we first | |
| need to understand the looking glass | |
| self sociologist charles cooley | |
| theorized that people develop their | |
| sense of identity through their | |
| perception of others views using social | |
| interaction as a type of mirror people | |
| use the judgments they receive from | |
| others and the culture around them to | |
| measure their own character values and | |
| behavior so when you have a looking | |
| glass that erodes character humor and | |
| authentic self-expression your identity | |
| erodes and you become invisible to those | |
| around you and if you can't express your | |
| abilities human character you may start | |
| to feel a profound sense of emptiness a | |
| sense of worthlessness and | |
| soul-destroying nihilism and patrick | |
| bateman represents this everyday | |
| repression of expression in a | |
| corporatized mega metropolis world where | |
| the cleanliness and sterile nature of | |
| everyday life becomes so unbearable that | |
| the um self becomes extreme where your | |
| shadow self metastasizes in response to | |
| your eroding identity you may want more | |
| power you may want control you may want | |
| to tell everyone what you really think | |
| is that all you ever have to contribute | |
| what about dinner | |
| or in the case of patrick bateman this | |
| may emerge in the form of murderous | |
| fantasies because patrick bateman's inner | |
| shadow is swallowing him up earth just | |
| opens up and swallows them this is why | |
| throughout the film we see patrick | |
| releasing his inner shadow at home | |
| watching either extreme porn and horror | |
| films in a casual manner just to fill | |
| something or using prostitutes and drugs | |
| which is why bateman later admits that | |
| he's not very good at controlling his | |
| willpower i don't want to ruin your | |
| willpower | |
| that's all right | |
| i'm not very good at controlling it | |
| anyway because the willpower to maintain | |
| the mask is unbearable the lashing out | |
| at his colleagues what's the matter no | |
| shiatsu this morning touching me | |
| hold on there little buddy the erratic | |
| behavior using hookers degrading those | |
| low in the social hierarchy and | |
| eventually breaking up with his fiance | |
| is all a coping mechanism they're not | |
| terribly important to me | |
| [Music] | |
| the cherry on top of all of this is that | |
| patrick realizes everyone around him is | |
| going through exactly the same thing | |
| everyone is so wrapped up in their own | |
| mask their extreme behavior can't help | |
| but unravel | |
| thanks patrick | |
| this struggle to escape the perfectly | |
| crafted public persona has ended up with | |
| a painting right here this painting is | |
| part of a collection called men of the | |
| cities as you can see all these | |
| paintings faces are hidden away with | |
| their colours being a bland black and | |
| white capturing the feeling of | |
| atomization and the need to escape the | |
| confines of their surroundings which is | |
| why these paintings serve as the perfect | |
| metaphor for what the film is trying to | |
| warn us of | |
| now all of this stuff is building up to | |
| the climax of the film where bateman is | |
| thrown into a full-on breakdown where | |
| his psyche becomes fully psychotic | |
| feeding a cat into an atm machine | |
| shooting police and anyone in his way | |
| [Music] | |
| but with all the overtop explosions the | |
| people he shoots never actually dying | |
| and the surroundings staying exactly the | |
| same the film points to the fact that | |
| this is just bateman's pent-up reverie of | |
| aggression and defiance of convention or | |
| in other words it's an extreme fantasy | |
| to imagine a world where he can release | |
| his extreme shadow self in the real | |
| world this repression reaches its climax | |
| with bateman's final phone call where his | |
| breakdown finally becomes visible to all | |
| of those around him | |
| patrick i can't hear you what am i doing | |
| she's sounding so big | |
| and yet the sad truth is no one cares | |
| patrick's lawyer doesn't recognize him | |
| don't you know who i am | |
| i'm not davis i'm patrick bateman | |
| the people around him continue the same | |
| superficial conversations now where do | |
| we have reservations | |
| i mean i'm not really hungry but i'd | |
| like to have reservations someplace the | |
| people around him are indifferent the | |
| culture uncaring and the cycle of | |
| repression repeats itself this blunt | |
| ending is in a way more disturbing than | |
| any of the murderous fantasies because | |
| it's real all the repression masks all | |
| the lives of quiet desperation is just | |
| part and parcel of life in the modern | |
| world where we've been taught that | |
| people who think differently are a | |
| danger to society and then they must be | |
| censored into silence where we are numb | |
| to a drab deluge of hollow meaningless | |
| plastic culture that shows us nothing | |
| but vicious hostility to anyone trying | |
| to express authenticity the whole point | |
| of this film is to show the fundamental | |
| importance of self-expression and human | |
| connection something that nihilistic | |
| materialism just can't replace we need | |
| friendship love and community all the | |
| things that the radical atomization and | |
| isolation of modern life destroys which | |
| is why american psycho serves as an | |
| essential message a message telling us | |
| to rethink the destruction of the | |
| institutions and traditions that | |
| supported the very things that foster | |
| prosperity and happiness but sadly this | |
| is a message that has become all too | |
| forgotten |