SHAME

Handsome and debonair mid-thirty something man and bombshell redhead exchange glances, actually stares, on a New York subway train.  Cut to said man sauntering naked around his upscale flat, checking phone messages.  Cut to man instructing random call girl the delicate intricacies of proper bra removal.  Back to the subway.  More nakedness, some visually explicit sex, subway, and title card ‘Shame’ appears.

British director/artist Steve McQueen teams up again (‘Hunger’) with Michael Fassbender (‘Inglourious Basterds’, ‘X-Men: First Class’) for his sophomore full length feature.  The film focuses on the life of sex-addict and NYC executive Brandon and how his sexual impulses intensify when his manipulative co-dependent sister (Carey Mulligan) moves in with him. 

Immediately after the opening sequence Sissy, his sister, appears and drives, or to a lesser extent supports, Brandon’s actions.  We see Sissy crying the first night at Brandon’s on the phone over what we believe to be a man leaving her.  She begs him to stay, but to no avail.  Mulligan really paints her character’s picture in this scene.  Brandon can hear the commotion from his room but is more annoyed than concerned.  Later on Sissy sleeps with one of Brandon’s co-workers after meeting him for the first time earlier that night, we can tell he’s a loser and most likely so can Sissy, but her utter disregard for this fact reinforces her co-dependence.  Again Mulligan is at her best here, bringing a bi-polaresque brilliance to Sissy, one she carries throughout the film.

We don’t get much background on Brandon throughout the film.  His addiction and inability or unwillingness to connect with not only his sister but anyone in his life is not explained until well into the second act, where he takes a girl from the office on a date.  He explains his longest relationship he’s ever had was four months, long for him he says.  Does this stem from some sort of childhood trauma?  Someone who broke his heart?  We’ll never know. 

We do know it seems Brandon wants to make an effort to connect, at very least with this woman, a crucial development within the storyline.  Unfortunately Brandon’s tendencies, possibly a predisposed nature McQueen is trying to examine, prevail.  In a moment of attempted intimacy with the unnamed co-worker Brandon is unable to “perform” and she leaves hastily, Brandon more disappointed than embarrassed.  The remaining half hour of the film is a physco-sexual odyssey, one which my description or analysis would bring little justice to; it simply has to be witnessed.  Fassbender plays well off his supporting cast.  Brandon’s disgust of society and its inhabitants is apparent in Fassbender’s every expression, and it is only in his efforts to ensnare his “victims” do we see his sly, devilish grin mistaken for charm. 

As with most films trying to tackle such a delicate subject, while still being taken seriously and being effective, much praise has to go to McQueen.  His view of the darker side of the New York nightlife is especially impressive.  His use of muted colors and natural light is very similar to ‘Hunger’.  McQueen again opts for an array of long sequences without cuts, this time with more effectiveness.  He spares all expense for style, but is no slouch on the substance (he also co-wrote the script).  McQueen reminds us why he was recognized at Cannes three years ago.

‘Shame’ uses Brandon’s sexually explicit encounters to uncover the reason why this film matters, the inability of its main character to adapt and find emotional connection or salvation.  It is a vital message, and never has it been displayed so eloquently, shamelessly amongst the fleshy excess.

Grade: A+

Oscar Chances:

(Similar to ‘Melancholia’, very little commercial appeal, NC-17 rating)

Best Picture: Long Shot

Best Director (McQueen): Long Shot

Best Actor (Fassbender): Possible

Best Supporting Actress (Mulligan): Possible