 According to the reviewer, Carolyn's preference for "Muzak" and "nutritious yet savory" food most likely symbolize:
He peers through tired eyes out the window at his manicured suburban tract-house lawn, where his wife, Carolyn (Annette Bening)--whose gardening clogs, he points out, are color-coordinated with the handles of her shears--snips roses (American beauties) and twitters about Miracle-Gro to a gay yuppie (Scott Bakula) on the other side of a white picket fence. Apparently, Lester doesn't realize that snipped roses are garden-variety symbols of castration, or he'd know what he has lost. Ambient noise falls away, the crowd disappears, and there she is, Lester's angel, writhing in slow motion--just for him. Later, Lester envisions her on a bed of red petals, then immersed in a bath of red petals. The movie is convinced, too--which is odd, since the fantasy of an underage cheerleader making a middle-aged man's wilted roses bloom is a tad ... primitive. It feels lustrously hip and aware, and a lot of critics are making big claims for it. A hotshot English theater director (his Cabaret revival is still on the boards in New York), Mendes gives the film a patina of New Age lyricism and layer upon layer of visual irony. A merican Beauty is so wittily written and gorgeously directed that you might think you're seeing something archetypal--maybe even the Great American Movie. (The colonel's idea of bliss is watching an old Ronald Reagan military picture on television: How's that for subtle?) A real-estate broker who fails to sell a big house (her only potential customers are blank-faced African-Americans, Indian-Americans, and surly lesbians), she wears a mask of perky efficiency and insists on listening to Muzak while she and her husband and daughter eat her "nutritious yet savory" dinners. It's amazing that Mendes and Ball get away with recycling so many stale and reactionary ideas under the all-purpose rubric of "black comedy." But it's also possible that those ideas have rarely been presented so seductively. Several months ago, Daniel Menaker in Slate in contemporary film in which the protagonist attempts to break through our cultural and technological anesthetization into "the real." That's the theme here, too, and it's extraordinarily potent, at times even heartbreaking. In movies like sex, lies, and videotape (1989), the protagonist has to put away the video camera to "get real"; in American Beauty , it's Ricky Fitts, the damaged stoner videomaker next door, who sees beauty where nonartists see only horror or nothingness.
 The characters' desperate desire to be perceived as ordinary
 The characters' desperate desire to be perceived as ordinary  The deterioration of the American nuclear family  The tendency for people to be consumed by what their values  The dangers of standing out in a society that demands conformity