review by Julie Patron
Shame 2011
Watched Jun 02, 2012
Julie’s review:
Shame, Shame, what to say about Shame?
Control.
The almost extreme extent to which Steve McQueen has really bent the filmic medium to his will, creating a pretty well-defined style in only two films. Although still not a traditional narrative, and maybe not even a full character portrait (or is that the point?), Shame is still something slightly more than an experimental art piece, it is definitely cinematic. McQueen's filmmaking is more of the same as we saw from Hunger, and all at once more refined, more controlled, more restrained, more expressive. He is refusing to work within established boundaries, and instead is creating products that are very much their own thing.
The characters McQueen creates in Brandon, Cissy, and even the boss, David, are characters who all struggle with control, and their inability to control (to varying extents) their needs. Brandon can control every aspect of his life, except for his constant need to fuck. His environment, his appearance, his lifestyle, his emotions, are all carefully controlled - until Cissy shows up. I think that the shame comes not directly from his sexual addiction, but from the loss of control that this addiction causes.
Michael Fassbender as Brandon is a wonder. Watching him portray the slipping effortlessness of being Brandon, to the serious strain of keeping himself in check, to losing all control and surrendering to self-destruction, rage, pleasure, despair - a stellar, nuanced, intense performance.
Carey Mulligan was excellent as Cissy, able to capture what a hot mess of a person she is, innocent yet weary, someone who does not see the point in the type of control over life that Brandon so desperately clings to.
I've also been thinking about Shame in relation to Melancholia - both films that take, as their subject and title, a singular emotion. Both films that take place in fairly insular worlds. Both films that address, or at least bring up, some sort of alienation of the super rich and outwardly successful (is this a real issue that needs that to be addressed? Moving on...). But whereas Shame left me feeling no emotion, which I think was intentional, Melancholia left me feeling all of the emotion. The scope and scale of these films are different, both equally valid, but on these counts I do not love Shame like I love Melancholia. I think it's excellent, and I recommend it highly, but I still found myself craving some emotional connection with the film. That probably was the point.
@Julie I was interested by your connection between whether he stayed as being related to whether he had changed. I think it's perfectly possible that he could have gotten off with her, and tried to strike up a relationship, not just to have sex.
Personally, I looked at it in contrast to the earlier scene. In that, his gaze was predatory, and piercing, and she was profoundly uncomfortable, while at the end he simply looks at her, looks down, and then back up at her, and she's smiling. He seemed to me to be much more cautious and uncertain then before. I see it as him moving forward, but maybe I'm just an optimist.
@Craig hm interesting. I didn't actually notice it at the time, but thinking back on it, I think I can see what you're saying about the rhythm. Still, I think it was more important to be able to see both parties at all times, instead of a standard shot/reverse shot style. If I watch this again, I'll keep an eye on the rhythm though. Thanks!
@amberfool Good point, and also - not my connection, really - I'm not sure I would have even thought about it too much if I hadn't been listening to the slashfilmcast review where they really focus on it. I guess I hadn't thought about it too much (did he get off or not) because, like you, I also really picked up on the difference in his nonverbal cues, and yea, I thought it was a hopeful ending.
This is a great review, Julie, as always.
I completely agree with you about a lack of emotional connection with the film. At no point did I feel sympathy or hatred for anyone. But I hadn't thought of it in the way you pointed out as regards that perhaps being the point of the film.
If you think about it, it's a very hard line for a film to tread successfully, yet Shame manages it.
Aw thanks Steve! Good point, and I agree - to have a film with which I felt so little emotional connection but that I still found to be super compelling...fantastic.
Julie, sorry I haven't replied sooner. I would say that while this movie is definitely character-driven and not at all a traditional guy-working-toward-goal narrative, the story beats are identical to one of the more traditional style. Brandon's situation is introduced, his sister shows up and introduces the conflict that Brandon struggles with, and he eventually is or is not overcome by this change (trying not to spoil it). Structurally, it's the same as every other movie in the way the three acts play out, but the way McQueen was able to tell the story with primarily internal conflict only is as good as I have ever seen in this style of film.
Oh hey, no problem. Good points - I definitely see what you're talking about. Thanks
Extremely well written review of a severely disturbing film. I think you were spot on in the last line. The film was meant to be disconnected emotionally from the audience much like Brandon is with the people around him. And thus the extreme emotional out pour at the end of having lead such an empty, hollow life.
Thank you! Great comment, wish I had something more to add =)
Thank you Julie:) You needn't. Your last few lines said it all perfectly and concisely.