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 . "