2011, 18, Directed by Steve McQueen
Starring: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie
Starring: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie
Re-teaming with Steve McQueen, his director of Hunger, Michael Fassbender delivers a searing performance that will place him on a pedestal with the best of them. He plays New York dwelling Brandon, a regular guy to the naked eye, but suffers on the inside from an addiction to sex. Sitting on a tube, he catches the eye contact of a female passenger who notices and responds to the glance with a coy smile. Brandon resumes the gaze in the same stance throughout this unspoken interaction, fuelled by sexual desire and nothing more. As the female passenger becomes awkward, Brandon’s desire turns to need. Maybe it’s this requirement that propels him to pursue her as she flees the train at her stop – but one thing is for sure: it is not the thrill of the chase -Brandon needs sex, and it is this locked-away thought that weighs him down.
Harsher truths come to surface with the introduction of Brandon’s sister Sissy, a vivacious yet extremely conflicted lost soul who disrupts Brandon’s everyday routine. Carey Mulligan plays her, offering something different to anything she has offered before. Her character could have grated in lesser hands, much like she does on her disinterested brother, but Mulligan balances her wittier side with her more affected one in an impressive way. It could be that she is overlooked by most due to smaller screen time, trumped by Fassbender’s towering powerhouse, but without her energetic streak, Shame could have been the bleakest of black holes. The intensity of events overwhelm, especially as the film reaches its dramatic climax, much assisted by the several facets Fassbender - unfairly robbed of an Oscar nomination - brings to Brandon. He’s so set in his antics that he cons himself into believing there is nothing wrong with his lifestyle – a thought that could possibly drift into the viewer’s head countless times. It is this suppression that plants this intensity, yet as the suppression lifts, the tension only grows. McQueen, from a script by himself and Abi Morgan, classily directs from afar. Sustained shots, recurring shots, visceral shots – these are all thrown the way of the audience. In a standout elongated scene where Mulligan sings New York, New York in a dimly-lit bar, the camera flits from close-ups of her face to Brandon’s, emotions he never knew had flowing from him. This showcases the talent of all involved in Shame. Here is a film that could never have taken an easy way out to get across what it wanted to say. The film, a character study with a serious focal point, needed the collaboration between McQueen, Fassbender and Mulligan to work on the level that it does. Deeply affecting filmmaking that – for a film about sex – proves quite unsexy.
Harsher truths come to surface with the introduction of Brandon’s sister Sissy, a vivacious yet extremely conflicted lost soul who disrupts Brandon’s everyday routine. Carey Mulligan plays her, offering something different to anything she has offered before. Her character could have grated in lesser hands, much like she does on her disinterested brother, but Mulligan balances her wittier side with her more affected one in an impressive way. It could be that she is overlooked by most due to smaller screen time, trumped by Fassbender’s towering powerhouse, but without her energetic streak, Shame could have been the bleakest of black holes. The intensity of events overwhelm, especially as the film reaches its dramatic climax, much assisted by the several facets Fassbender - unfairly robbed of an Oscar nomination - brings to Brandon. He’s so set in his antics that he cons himself into believing there is nothing wrong with his lifestyle – a thought that could possibly drift into the viewer’s head countless times. It is this suppression that plants this intensity, yet as the suppression lifts, the tension only grows. McQueen, from a script by himself and Abi Morgan, classily directs from afar. Sustained shots, recurring shots, visceral shots – these are all thrown the way of the audience. In a standout elongated scene where Mulligan sings New York, New York in a dimly-lit bar, the camera flits from close-ups of her face to Brandon’s, emotions he never knew had flowing from him. This showcases the talent of all involved in Shame. Here is a film that could never have taken an easy way out to get across what it wanted to say. The film, a character study with a serious focal point, needed the collaboration between McQueen, Fassbender and Mulligan to work on the level that it does. Deeply affecting filmmaking that – for a film about sex – proves quite unsexy.
4.5/5
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