 Professor Roy M. <unk> argues that the film 's thematic center is its direction to the audience to " look closer " . The opening combines an unfamiliar viewpoint of the <unk> ' 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 ; <unk> asks , " from what place exactly , and from what state of being , is he telling this story ? If he 's already dead , why <unk> 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 . " <unk> believes the preceding scene — Jane 's discussion with Ricky about the possibility of his killing her father — adds further mystery . Professor Ann C. Hall <unk> ; 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 , <unk> and death , American Beauty <unk> 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 <unk> of <unk> male sexuality as a sensible route to personal <unk> " . Carolyn is similarly driven by conventional views of happiness ; from her belief in " house beautiful " domestic <unk> to her car and <unk> outfit , Carolyn 's domain is a " <unk> American <unk> vision of <unk> , or Eden " . The <unk> are unaware that they are " <unk> philosophically , and devout consumers <unk> " who expect the " <unk> of American beauty " to give them happiness . <unk> argues that " they are helpless in the face of the <unk> economic and sexual stereotypes [ ... ] that they and their culture have designated for their salvation . " 
