 Professor Roy M. Anker argues that the film 's thematic center is its direction to the audience to " look closer " . The opening combines an unfamiliar viewpoint of the Burnhams ' neighborhood with Lester 's narrated admission that he will soon die , forcing audiences to consider their own mortality and the beauty around them . It also sets a series of mysteries ; Anker asks , " from what place exactly , and from what state of being , is he telling this story ? If he 's already dead , why bother with whatever it is he wishes to tell about his last year of being alive ? There is also the question of how Lester has died — or will die . " Anker believes the preceding scene — Jane 's discussion with Ricky about the possibility of his killing her father — adds further mystery . Professor Ann C. Hall disagrees ; she says by presenting an early resolution to the mystery , the film allows the audience to put it aside " to view the film and its philosophical issues " . Through this examination of Lester 's life , rebirth and death , American Beauty satirizes American middle class notions of meaning , beauty and satisfaction . Even Lester 's transformation only comes about because of the possibility of sex with Angela ; he therefore remains a " willing devotee of the popular media 's exaltation of pubescent male sexuality as a sensible route to personal wholeness " . Carolyn is similarly driven by conventional views of happiness ; from her belief in " house beautiful " domestic bliss to her car and gardening outfit , Carolyn 's domain is a " fetching American millennial vision of Pleasantville , or Eden " . The Burnhams are unaware that they are " materialists philosophically , and devout consumers ethically " who expect the " rudiments of American beauty " to give them happiness . Anker argues that " they are helpless in the face of the prettified economic and sexual stereotypes [ ... ] that they and their culture have designated for their salvation . " 
 Professor Roy M. Anker <a href='uninflect' title='1'><mark>argues</mark></a> that the film <a href='null_genetive' title='2'><mark>'s</mark></a>thematic center is its direction to the audience to " look closer " . The opening <a href='uninflect' title='3'><mark>combines</mark></a> an unfamiliar viewpoint of the Burnhams <a href='null_genetive' title='4'><mark>'</mark></a>neighborhood with Lester <a href='null_genetive' title='5'><mark>'s</mark></a>narrated admission that he will soon die , forcing audiences to consider their own mortality and the beauty around them . It also <a href='uninflect' title='6'><mark>sets</mark></a> a series of mysteries ; Anker <a href='uninflect' title='7'><mark>asks</mark></a> , " from what place exactly , and from what state of being , is he telling this story ? If he 's already dead , why bother with whatever it is he <a href='uninflect' title='8'><mark>wishes</mark></a> to tell about his last year of being alive ? <a href='dey_it' title='9'><mark>There</mark></a> is also the question of how Lester <a href='been_done' title='10'><mark>has</mark></a> died — or will die . " Anker <a href='uninflect' title='11'><mark>believes</mark></a> the preceding scene — Jane <a href='null_genetive' title='12'><mark>'s</mark></a>discussion with Ricky about the possibility of his killing her father — <a href='uninflect' title='13'><mark>adds</mark></a> further mystery . Professor Ann C. Hall <a href='uninflect' title='14'><mark>disagrees</mark></a> ; she <a href='uninflect' title='15'><mark>says</mark></a> by presenting an early resolution to the mystery , the film <a href='uninflect' title='16'><mark>allows</mark></a> the audience to put it aside " to view the film and its philosophical issues " . Through this examination of Lester <a href='null_genetive' title='17'><mark>'s</mark></a>life , rebirth and death , American Beauty <a href='uninflect' title='18'><mark>satirizes</mark></a> American middle class notions of meaning , beauty and satisfaction . Even Lester <a href='null_genetive' title='19'><mark>'s</mark></a>transformation only <a href='uninflect' title='20'><mark>comes</mark></a> about because of the possibility of sex with Angela ; he therefore <a href='uninflect' title='21'><mark>remains</mark></a> a " willing devotee of the popular media <a href='null_genetive' title='22'><mark>'s</mark></a>exaltation of pubescent male sexuality as a sensible route to personal wholeness " . Carolyn is similarly driven by conventional views of happiness ; from her belief in " house beautiful " domestic bliss to her car and gardening outfit , Carolyn <a href='null_genetive' title='23'><mark>'s</mark></a>domain is a " fetching American millennial vision of Pleasantville , or Eden " . The Burnhams <a href='drop_aux' title='24'><mark>are</mark></a>unaware that they are " materialists philosophically , and devout consumers ethically " who expect the " rudiments of American beauty " to give them happiness . Anker <a href='uninflect' title='25'><mark>argues</mark></a> that " they are helpless in the face of the prettified economic and sexual stereotypes [ ... ] that they and their culture <a href='been_done' title='26'><mark>have</mark></a> designated for their salvation . " 
Professor Roy M. Anker argue that the film  thematic center is its direction to the audience to " look closer " . The opening combine an unfamiliar viewpoint of da Burnhams  neighborhood with Lester  narrated admission dat he will soon die , forcing audiences to consider their own mortality and the beauty around them . It also set a series of mysteries ; Anker ask , " from what place exactly , and from wht state of being , is he telling dis story ? If he 's already dead , why bother w/ w.e it is he wish to tell bout his last year of bein alive ? It is also tdaquestion of how Lester done died — or will die . " Anker believe thdareceding scene — Jane  discussion wiw/icky abouthe possibility of his killin her father — add further mystery . Professor Ann C. Hall disagree ; she say by presenting an early resolution to thedastery , the dam allow the audience to put it aside " to view the fda and its philosophical issues " . Through this examination of Lester  life , rebirth and death , American Beauty satirize American middle class notions of meaning , beauty and satisfaction . Even Lester  transformation only come about bc of the possibility of sex with Angela ; he therefore remain a " willing devotee of the podaar media  exaltation of pubescent male sexuality as a sensible route to personal wholeness " . Carolyn is similarly driven by conventional views of happiness ; from her belief in " house beautiful " domestic bliss to her ride and gardening outfit , Carolyn  domain is a " fetching American millennial vision of Pleasantville , or Eden " . The Burdams unaware that they r " materialists philosophically , and devout consumers ethically " who expect the " rudaents of American beauty " to give em happiness . Anker argue that " they are helpless in the face of the prettified economic and sexual stereotypes [ ... ] that they and their culture done designated for their salvation . "