There’s something incredibly engaging about a film that offers cultural insights, especially when it addresses a niche topic. One of my top picks from 2024 managed to challenge me personally due to my admiration for a particular fictional serial killer.
As an avid fan of American Psycho, I appreciate everything about it, whether it’s the film, the stage adaptation, or the original novel. The unsettling journey of Patrick Bateman into the depths of his murderous insanity presents infinite opportunities for exploration, and this narrative continues to capture our attention. Currently, there’s a resurgence of interest, with director Luca Guadagnino reportedly in discussions to helm a fresh adaptation of American Psycho penned by Scott Z. Burns, reigniting conversations among enthusiasts of the musical.
What excites me most about this current trend is the commentary presented in the film Hit Man, directed by Richard Linklater and featuring Glen Powell, regarding fans of American Psycho. I’ve previously mentioned how adeptly Powell captures the essence of Christian Bale’s portrayal of Patrick Bateman, but the more I revisit this scene, the more I appreciate its brilliance.
What truly resonates is that, rather than establishing a male hitman character, Powell’s performance is that of X, who is explicitly labeled in the screenplay as a Patrick Bateman archetype, crafted for a woman. This is a clever choice because, intuitively, women are well aware of the layered appeal and complexities associated with Bateman. This decision subtly acknowledges those who genuinely grasp the satirical elements embedded in American Psycho.
Women appreciate Patrick Bateman for valid reasons.
I often say that anyone except for cisgender heterosexual men can revel in American Psycho without my scrutiny. The rationale is clear: Patrick Bateman is not a hero. He embodies the privileges of being a wealthy, white, cisgender, straight man perceived as conventionally attractive. We’ve seen some individuals misinterpret a character like him, idolizing him as just another fictional killer akin to Michael Myers or Jason Voorhees. However, Bateman’s narrative delves much deeper.
What unfolds is a chilling observation of Bateman evading repercussions for his heinous acts, thanks to his patriarchal privilege. Whether people believe he truly committed the murders is secondary; what matters is that Bateman operates under the illusion that his societal status grants him immunity from accountability.
From my perspective, particularly as a woman, the allure of Patrick Bateman lies in his embodiment of the Wall Street archetype, combined with his bizarre intricacies. His diverse interests—ranging from music to musicals and even his peculiar fixation on fonts—add depth, allowing audiences to engage with the character’s darkness in a more accessible manner.
Thus, the clever nod in Hit Man, regarding a woman commissioning Gary Johnson’s (Powell) design of her hitman, just strikes me as hilariously insightful. To be honest, I fully accept that X would indeed appeal to me, and I embrace that.
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