"And suddenly I realize that all of this the guns, the bombs, the revolution, has something to do with a girl named Marla Singer." - Narrator. Marla Singer is the main female character is this film. She is his match. She reflects the Narrator. They are both people who are on the edge. They are disillusioned with their lives and are looking for an escape. Yet, she seems to be ok with that. This is the main reason why the Narrator cannot feel comfortable with her.

When the Narrator first meets Marla, he is at one of his support groups. He goes to them because he cannot feel anything, he is devoid of emotion. He gets a release from these groups that he c

annot get in real life. The catharsis he receives is not even based on his own feelings, but on the feelings he gets from the people around him. This is why when Marla starts joining the groups he can no longer feel. "Her lie reflected my lie and suddenly I couldn't sleep."

Being a consumer is a central theme to the film. It is what they are trying to reject. Consumerism is directly linked to what would be considered a woman's domain AKA shopping and the domestic world. By rejecting objects they are trying to connect even further to their male primal selves; to the man that existed before society put constraints on them. At the beginning of the film, the Narrator is ordering dust ruffles from a catalog. He says, "We used to read pornography. Now it was the Horchow collection." This is another example of the Narrator's lack of masculinity. He spends his time trying to figure out "What kind of dining set defines me" not masturbating to naked women. He uses generalized terms such as we in reference to this, making it clear that it is not just him but his generation of young male professionals who thinks this way. Once all of his worldly possessions are destroyed, he is one step closer to becoming a "man".

It is the dominance of the masculine that causes the conflict in this movie. Too much of a feminine side and one is rendered weak and impotent. There needs to be a balance achieved in order for life to work.

Once the Narrator finds out he is Tyler and that Tyler has planned to destroy these building he goes and makes the attempt to stop him and to keep Marla safe. He finally takes some control over his life. He tells Marla that she needs to get out of town in order to be safe and admits that he really cares for her. This is a gigantic leap for him to admit to his emotions. She however still is not sure of what is going on but at least she knows how he feels. The Narrator then fights it out with Tyler over the control of the Narrator's body. Tyler however wins the physical bout. It is not until the Narrator uses his brain to understand that Tyler is a figment of his imagination that he can get rid of him. He shoots himself thereby killing Tyler. Marla finds the Narrator with a bullet wound in his face. Her anger towards him immediately slips away, because she realizes that he is vulnerable too. By this point, the Narrator realizes that Tyler is part of him too and that all this has escalated so far because Tyler lacks a feminine side. There needs to be a balance between the masculine and feminine side in all people and in the end the Narrator achieves this balance. In this achievement, he and Marla end up as equals. The buildings fall down around them and he takes her hand, showing that even though the world is crashing down around them everything is going to be ok because they finally found each other. And more importantly he has found himself.

There is a scopophilic moment in the film. One night the Narrator is walking home and when he looks through a chain link fence, he sees her stepping out of one of the support groups. He stares at her, pauses, takes a breath, and continues to walk. It is clear that he still has feelings for her even though he has not seen her a few weeks. He is not ogling her or getting a kick from looking at her. That would not make sense for the character since it is so feminized. Instead, he gives off a feeling of longing, another sign of vulnerability.

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