The first rule is; you don't talk about fight club
If you ever watched David Fincher’s 1999 movie Fight Club and thought, “We should start a fight club!” then congratulations, you have missed the main points of Fight Club.
The motive Fight Club is so effortless to misunderstand is that Fincher superbly unites the narrator’s depression and Tyler’s appeal. The narrator is a victim of capitalism, unable to forge actual human connections so alternatively he fills his life with stuff.
Then you have Tyler who, at the outset, espouses an appealing philosophy. Tyler represents “freedom” from the present day world. He isn’t structured on anything. He steals the fats he desires for cleaning soap and works abnormal jobs that allow him to pull juvenile pranks on the world. Tyler, portrayed with utmost self belief by Pitt, has the whole thing figured out and speaks to a post-capitalist malaise where men, trapped by crummy jobs and “cheated” out the matters they had been promised, can solely experience alive through beating the crap out of each other in darkened basements.
The ending is convenient to misread, as the whole thing that got here before it is already known as into question. However, the destruction of the constructions that the Narrator watches with Marla seems to actually be unfolding, and Fight Club's protagonist seems to have entirely regained control of himself. This means that Fight Club's ending should be regarded free of the cynical eye that its twist casts over most of the film's events.