Jack:Somehow, I realise all of this — the gun, the bombs, the revolution — is really about Marla Singer.Some have asked: HOW?Chuck Palahniuk, the author of the original book, said, „And the whole story is about a man reaching the point where he can commit to a woman…‟
Narrator is attracted to Marla because she is “trying to reach bottom”, but he is also angry with herbecause she “reflects my lie”. Attending the support groups, pretending to be dying, pretending tobe letting all the material concerns go was his lie. Marla gets in the way of Narrator‟s escape andthus becomes a catalyst for his self-destruction.
Marla‟s link to destruction in Fincher‟s movie can be explored through the editing of themovie chapter “Jack‟s Nice Neat Flaming Shit.” (24 minutes in)
The film chapter “Chemical Burn.” Tyler is teaching Narrator how to make soap. Stripped of the homoeroticismelement in the novel, Fincher focuses on the self-destructive goal the burn symbolizes. Narrator tries to useguided mediation to escape the pain that he feels. When Narrator goes into his cave, a shot of Narrator staringdown at Marla lasts for less than a second. This is the first moment in the film that Narrator has allowed himselfto give into his desire for her. (59 minutes in)
This desire is marred however by the surroundingdestruction. As Narrator leans down to kiss Marla, sheopens her mouth and exhales a quantity of smoke. Narratorchokes on the smoke and a vision of fire accompanied by asmall explosion of sound that represent the pain Narrator isfeeling. Tyler slaps Narrator across the face exclaiming, “Thisis the greatest moment of your life man, and you‟re offsomewhere missing it” (1:03:04). Fincher does not use Marlaas a source of destruction but rather as a source ofdesire. Marla is still connected with the destruction because itis only when Narrator is encountering destruction, facing hisgreatest fears and pain, that he is strong enough to be withMarla.
discovery of Marla as desire becomes evident after doing a behavior analysis of Narrator in scenes that showMarla leaving. The first leaving incident occurs in the film chapter “Marla.” Narrator tries to exude a dislike towardMarla, in telling her goodbye he states, “Well, let‟s not make a big thing out of it, okay”
Another film scene of facial expressions giving away the true emotions of Narrator occurs at59:41. At Tyler‟s behest, Narrator has kicked Marla out of the Paper Street house. Narratorassumes an unfriendly demeanor and wears a stern, hard expression. As Marla walks away, thecamera switches to Narrator, his head tilts to see her better, the hard squint of his eyes relax, andhe drops the angry purse of his lips. The camera again flashes to Marla‟s retreating back and thenreturns to Narrator. The camera focusing on the Narrator pulls in slightly which causes theaudience is to pay attention to Narrator‟s face, which softens completely, jaw relaxing and mouthopening slightly. The face Narrator now wears is one of realization and hurt; he does not like thefact that she has left.
The end of the film: Marla is once again at the heart of the destruction. Narrator andMarla stand alone, holding hands, watching the buildings explode.copyright November 2009 ‘you make me happy’
A Generation of Men Raised by Women:Gender Constructs in Fight ClubMarla Singer and the narrator‟s (Jack‟s) respective femininity and masculinity aredependent on that of the other. Jack cannot be masculine while Marla exhibits overlymasculine traits; Marla cannot be feminine while Jack exhibits overly feminine traits.