Released in 1999, Sam Mendes’ American Beauty is one of my favourite films, and achieved the rare double of receiving both critical and commercial acclaim. A big screen debut for both director Mendes and writer Alan Ball, it was nominated for eight Oscars, and won five. It’s a film of some depth, taking an everyday suburban existence and examining its appearances and relationships in terms of (amongst other things) personal fulfilment, family ties, the concepts of beauty and freedom. The tag line of the film was ‘look closer’ – and guided by Mendes’ skilled direction, you do.

At Jane’s cheerleading performance, where Lester and Carolyn attend to try to be ‘supportive,’ Lester first catches sight of Angela (Mena Suvari), fellow cheerleader and Jane’s best friend and is smitten by her beauty. He overhears a conversation between them where Angela comments (mainly to gross out Jane) she would sleep with him if he worked out, and he is snapped from his lethargy into starting an exercise regime. If he can attract an 18 year old girl, what else might he be able to do? Has he still ‘got it?’ He sets about changing his life in a dramatic fashion, in what to the casual observer might be viewed a typical mid life crisis, as his life and attitudes regress to his college years. Carolyn is appalled, and sees Lester’s transformation into a self assured, carefree alter ego as a direct confrontation, and yet more pressure on her. When rival realtor Buddy comments incredulously that his estranged wife views being driven to succeed as some kind of character flaw, she senses a kindred spirit.

The pacing and construction of many scenes is elegant and artistic, no doubt a debt to Mendes’ roots as a theatre director and there is a real beauty to some of the shots, as we’re invited to observe the superficial beauty on display, before exposing the underlying true nature of a situation. The barbed conversations between Lester and Carolyn across the picture perfect dining table are a classic example. In another scene, Ricky’s filming of a dead bird and describing it as beautiful to an incredulous Angela and an intrigued Jane seems to demonstrate that there are two camps here, those that are content and reassured with the superficial, and those who want some deeper meaning. Of course, it’s not that simple in real life, and thankfully proves more complex as the film develops.

You’d be forgiven for thinking this was Spacey’s film, and his Oscar-winning performance is undoubtedly a star turn amongst a strong showing from the whole cast. I’ve seen the film a fair few times now, and some new subtlety in a particular scene seems to come to my attention every time. His enthusiastic pursuit of a body his daughter’s best friend will find attractive is a bit disturbing, but placed in the context of the other changes he’s making in his life does make a kind of sense, but he’s skilled enough to bring a warmth and depth to Lester that stops you from dismissing him as a purely pathetic specimen. His worm that turns routine is excellent, and I’m sure guys of a certain age will watch some of these scenes and wonder ‘what if I…’ His exchanges with Annette Bening are not savage in the ‘Who’s afraid of Virginia Woolf’ mould, but are funny, tragic and believable.