But despite the split-personality gimmick, I think Fight Club is a neat political fable, similar to The Tide.
Fight club, from the emotional catharsis of one or two people, to the spiritual interaction of a group of unwilling people, to the fanatical loyalty of a group of desperadoes, the film is very easy to deal with, only relying on a smart, humorous and rigorous core full of Chrisma The characters prop up an underground, anarchic terrorist organization that expands around the world. Fortunately, there are enough details to support this unstoppable spread:
First, the mystery. The spiritual leader sleeps only one hour a day, undergoes a grooming every three years, and no details about the organization and plans can be discussed and leaked to anyone. Mysticism underpins a sense of holiness, which can even elevate an organization to a religion.
Second, the threshold. The conditions for entering the secret base are the tests of rejection, starvation, and exhaustion, no matter how absurd and meaningless this test may be, as long as it is rigorous, it supports all "starters" as members of a high-threshold group. Self-confidence and pride, and this collective pride is the force that destroys and rebuilds morality and law.
Third, fairness. Even leaders who break the rules will be punished, which means that the dictatorship will be broken, and a new system of equality and justice will be established, which will have eternal charm for everyone.
Fourth, and most importantly, the possibility of starting over. For unhappy little staff, cooks, security guards, little policemen, there is not much to lose, but destroying the established economic division of the entire world means bringing everyone back to the starting line and reliving the possibility of life. Vested interests become the original sin, and destruction is a flood of looting, just as unreasonable as God's choice.
This sabotage plan can actually spread indefinitely, and its termination is because it touched Jack's bottom line and the screenwriter's bottom line - human life. Jack learns to contradict his boss, threaten, frame, watch fellows fight with strangers, sabotage, and insult government officials, all with a taste of black humor. But Bob's death was unacceptable. "He is a man, his name is Robert Paulson." It is a very simple and plain logic. Personal dignity cannot be completely overridden, and the loss of life means all possible ends rather than a new beginning. So the protagonist really starts to realize how out of control the scene is.
It has always been this bottom line that determines the audience's evaluation. If Tyler really shot a headshot instead of joking "run, Forrest, run" when he caught the little Asian person, the movie may have lost its appeal long ago because of the obvious contradiction between good and evil. And if Tyler doesn't reveal that the security guards in the building are all insiders, and no one will die in the explosion, then the explosion scene at the end of the film is absolutely impossible to exist at the same time as the happy ending, and Jack's inability is not in line with the consistent style of American blockbusters. .
The problem is, human life is not the bottom line for everyone. Beyond Jack's control is the members inventing a new logic: sacrifice gives a person a name, a basis for existence and a meaning. If the word "sacrifice" really trumps the meaning that a mediocre life can create, the destruction of the established order will always have the moral force to support it. The loss of the bottom line does not mean that redemption is impossible. It means that there is no need for redemption. Screenwriters and directors are so optimistic, but in fact, maybe all of us have no ability and qualifications for redemption.
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