when you see something like that, it’s like god is looking right at you, just for a second—and if you’re careful, you can look right back (11. 825)

Premiering on this day at Grauman’s Egyptian Theatre in Hollywood on this day in 1999 (in general release 17 September), probably no other film has waned in its critical reception and reappraisal since Gone with The Wind, now almost singular dismissed and regarded as not ageing well, the award-winning Sam Mendes and Alan Ball collaboration about repression, renunciation, conformity and fragile masculinity is nonetheless an artfully crafted if unsophisticated time-capsule that captures the Zeitgeist of fin de siècle ideas of as-yet unrecognised privilege, normative behaviour and attitudes that still reverberate and are relatable a quarter of a century on. Its stellar initial accolades, 9/11 which made much seem trivial that came before, benighted stereotypes and actor Kevin Spacey being cancelled for atrocious behaviour that mirrored the protagonist of the movie certainly didn’t help its problematic legacy. Straddling the enduring (when and if it comes time for critical reevaluation) dichotomy between the message of the meaning of life versus the hollowness of suburbia and sabotaging one’s life and being unable to deal with the consequences, American Beauty relates the archetype of a stranger coming to town in the form of the Fitts, an authoritarian, retired Marine colonel with an ill wife and withdrawn teenaged son who documents everything one his camcorder and pays for his expensive hobby by selling marijuana, to the notionally progressive and liberal picket-fenced community of middle-aged Lester Burnham, unhappy with his career and loveless marriage, and their gay neighbours. In parallel with his wife beginning an affair with a coworker, Burnham becomes infatuated with a classmate of his daughter which sets of a chain of events that that leads him to quit his job, blackmail his former boss, buying a classic car, and taking work as a short-order cook—deportment that might be excused as a “mid-life crisis” in unenlightened times. The 2000 MTV Movie Awards had nominated the film for its Best Kiss category but the studio rejected the overture, not wanting to glorify the “inappropriate” nature of the congress between a forty-two year old man and a sixteen-year old girl. …look closer