Movies that are slightly off.
Johnny flees Manchester for London, to avoid a beating from the family of a girl he has raped. There he finds an old girlfriend, and spends some time homeless, spending much of his time ranting at strangers, and meeting characters in plights very much like his own.
How to review your favourite film, or even worse, how to review your favourite film when that film is Mike Leigh's Naked?
Naked starts of rough and only gets bleeker. But that's only a small part of what makes this a masterpiece.
First and foremost Naked is abouth David Thewlis' character Johnny, unenmployed both by choice and by circumstance, who personifies the ugly side most commonly shoved under the carpet in favour of the success stories. Yes, we're talking post-Thatcher Britain, but as far as I can tell there's many similairities to present time, and the world Leigh shows us is not limited to a certain era. But it might be limited to big cities.
Johnny is a man who…
Naked couldn't be more apt a title. Each character is stripped down to their core, sheerly acting out of impulse, and unable to hide behind any realm of theatrics. Urges come to their externally once simply well-posed selves and consume them, but not out of a blatant choice, more so just a dwindling down respect for conformity. Beings mope around the streets East London, unafraid to vent because Thatcher's era has ended and the aftermath is an individually segregated bustle. There Mike Leigh sets Johnny to his bleak Salinger-esque odyssey into the peeled-back essence of brokenness.
The nakedness isn't limited to strictly the people. Leigh seems to take everything down to an encapsulation to bareness; the walls inside the seedy…
It's difficult to figure out where to begin with Naked as there's so much to be unpacked within each of its chapters. To strip it down to the basics, the film is about an everyday philosopher named Johnny who both questions and embodies life's endless hardships. A whiskered and skinny David Thewlis plays this deep-thinker whose bad life choices are etched onto his scruffy, unwashed face. He's a thoroughly beaten down individual and a vagrant but his lack of definitive back-story makes him all the more enigmatic.
Mike Leigh's films have a kind of anti-realism to them. They're so ripped around the edges and grimy that they transcend the worst lifestyle you can possibly comprehend. This sounds like the most…
Years ago, the first time I saw this, I watched it dozens and dozens of times in a row because I loved it so much. It took me awhile to get over my little Naked addiction. I take that back, not an addiction, but It's an obsession I'll admit.
I think that obsession has returned but can you blame me?
Ok you can blame me, but whether it's the first time or the the 100th time (it's probably the 666th time I've seen this, just a guess) I've always loved this film. I love the philosophy within the rich dialogue. I love how no matter how many times I see this, I still get lost in the dialogue. Always manages…
Naked is the perfect specimen of a film where the sum equals the parts. That may sound easy to do, but I've never seen a film do it better than this one does. When I say that, I don't mean that it's exactly as good as the camera work, the script, the acting, directing and so forth lead to. I mean that every aspect of this film perfectly reflects the character and the world he sees.
The camera work is fairly straightforward and stays pretty much out of the way. It's involved enough to create the sense of motion in the dialogue or pacing of the mind of the character but without ever being distracting. Thewlis, for his part, plays…
Mike Leigh peels back the glossy veneer of London, magnifying the rips in the wallpaper, the cracks in the wall, the chipped hole patterns dotted across the concrete. Modern life in a Tory led Britain is shown as a society stripped naked of its value, where its underbelly scrapes a living from the floor and the head sneers down at its working body through its amoral snout.
The only conscience we are given is through a broken tap, pouring out a rapid stream of thought from the mouth of a sewer rat, a wandering Mancunian motormouth prophet. His disruptive intelligence is as misapplied as it is misunderstood, an idealist unwilling to compromise with the degeneration of the world around him.…
I literally am speechless.
Can't think of a more fucked up feature.
BLEAK. The "Maggie!" segment was brilliant "real folks" levity amid the depression, a la early Milos Forman. Lots of unresolved rape, which is a bit unusual, from both our sympathetic and unsympathetic characters. Thewlis in the lead is a powerhouse.
A macabre, stark and brilliantly unconventional film with sharp dialogue and a throughly committed and astounding performance from David Thewlis.
I hadn't heard of this film at all until a few months ago when someone (I don't even remember who!) was raving about David Thewlis' performance in it, but it definitely seemed like a difficult watch - I approached it with some trepidation when Chewie recommended it. And while it's certainly about a great number of people who range from borderline dislikeable to absolutely horrible and features a lot of highly dysfunctional "relationships" among working class (and below) Brits, I found it surprisingly witty, compelling, and even enjoyable, though enjoyable seems like a weird word to use.
David Thewlis' character Johnny starts the film off raping a woman in an alley, so yeah, that gives you SOME idea of what…
Being human is excruciating.
I should be praising David Thewlis (deservingly so), but Katrin Cartlidge gets all my love. Desperately human.
- "What is a "proper relationship"?"
- "Living with someone who talks to you after they banged you."
Mike Leigh's "Taxi Driver." A nicotine-stained howl into the abyss, a scoundrel treating London, rendered dank and unforgiving by cinematographer Dick Pope, as his personal River Styx. David Thewlis is at once a motor-mouthed wretch, a rakish emotional con-man, a monster reeking of desperation and lust. I need to let this one ruminate for a while, but Leigh's a master at playing his insights into humanity in a variety of keys.
David Thewlis plays to perfection a role that Malcolm McDowell would have played 20 years earlier in Mike Leigh's troubling, near-masterpiece. The topic is hopelessness and anarchic nihilism (as opposed to the familial unity of most of his films), but Leigh views it through eyes which are essentially and profoundly humanist creating a distinct and often uneasy tension.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…