Posts Tagged ‘Hunger’

In light of the British Government’s Film Industry Review and David Cameron’s comments about Britain’s need to compete with Hollywood by producing more mainstream films, it is interesting to consider the theatrical release of Steve McQueen’s Shame, the other key British filmic event of last week. Shame is not by definition a mainstream film, but it is one that has garnered significant interest from both the media and the public in the UK and the USA. The film has become something of a sensation, presumably for two reasons – firstly it’s taboo subject matter of sex addiction and secondly the quality of its execution.

Sex addiction is not a subject that springs to mind when talking about box office success, but Shame had a very successful debut weekend in the states taking $361,181 in just 10 screens. This was the third best limited debut for an NC-17 film ever (following Bad Education and Lust, Caution). This tells us that audiences (specifically American audiences) are happy to pay for British films if they offer something challenging and unique. It’s opening weekend in the UK saw it selling out screens across the capital, with numerous screens in art house cinemas and multiplexes.

Following David Cameron’s statement last Wednesday the Guardian reported how former culture secretary Lord Smith, who is head of a panel evaluating the British film industry, proposed to take a significantly more tactful approach to the industry. With the release of Shame this seems appropriate. The tactic was to market the British film as a brand of quality assurance. Veteran director Stephen Frears reacted to this notion saying: “This country has been making intelligent films, films that are different from American films, for some time… If Lord Smith is now to say we need to keep doing more of the same, rather than trying to recreate Hollywood over here, that sounds eminently sensible.”

Becoming a brand of quality assurance is something that seems natural for British film to achieve at this point in time. With recent films including Tinker Tailor Soldier Spy, Kill List, Dreams of a Life, Senna, Wuthering Heights, Jane Eyre, The King’s Speech and of course Shame Britain is all set to put a stamp of individuality on the international film scene. It is a question of successfully marketing these projects to an audience outside Britain and developing the stamp of quality for years to come. With the talent currently emerging within the British film industry this seems achievable.

It is greatly encouraging to see the British government taking a serious interest in the film industry as part of the British economy. However, the notion that the British industry should attempt to emulate Hollywood by predicting what will earn the most money seems misguided. While The King’s Speech has been regularly discussed as a shining example of British box office success, it is important to remember that this was not a result of market research, but instead it was an independent film that captured the heart and minds of critics and cinema-goers.

As Shame shows us, British film has the capacity to tackle challenging human subjects with artistic and commercial credibility. Star of the film Michael Fassbender is now a significant Hollywood player, but it is important to remember where he came from. Shame director Steve McQueen’s previous film Hunger also starred Fassbender; this film is where Fassbender really made a name for himself. Britain must continue to provide talent like Fassbender the opportunity to shine in films like Hunger and Shame, because these films can make money and be more than a product of market research at the same time.

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With Hunger, Brit director Steve Mcqueen had the strong foundations of a real life event to draw upon. His reconstruction of Bobby Sands’ hunger strike in a Northern Irish prison cell was startlingly realised and uncompromising for a first time filmmaker. In Shame, he and co writer Abi Morgan have conjured an original story between them, and now we see McQueen working on his own initiative. Shame is another visually striking, stark and chilly film, this time centering on the topic of sex addiction.

Refreshingly, this is a film that doesn’t clutter itself with unnecessary sub threads or issues. It is simply trying to reflect the existence of someone suffering from the condition in the most effective way possible. McQueen and Morgan acknowledge this is an important issue and, perhaps, with the domination of the internet, a burgeoning concept.

The main players are Brandon (Michael Fassbender) and Sissy (Carey Mulligan) two Irish American siblings in New York.  Brandon is a high flying, attractive city worker with a pristeen apartment, while Sissy is a nomadic wild child who drops back into his life unexpectedly. We are quickly informed of their characters; Brandon is a sex addict, a compulsive user of pornography, prostitutes and flings, while Sissy is loose and craves attention. It is clear that something in their background had informed their unfortunate way of living, but we are barely given any hints.

Mulligan is good in her role, but Fassbender is towering. At turns charismatic, pathetic, tortured, and confused, Fassbender is De Niro like in his commitment to the role. You’d have trouble finding a current Hollywood actor willing to put themselves on show as nakedly as Fassbender does here. While his life seems stable and even flourishing, McQueen reveals Brandon as someone unable to practice intimacy, and in his sharp dress and minimalist apartment, someone unwilling to let go. This is perhaps where the film can relate to a wider audience.

Visually McQueen does not quite hit the heights of his previous effort, perhaps reining the stylistic flourishes in to focus more on the characters. Having said that, there is a terrific extended track across the nighttime streets, and like Hunger, the mise en scene is often almost Kubrickian in its sterility. While Shame is a difficult film to love, it transcends its original aim of reflecting sex addiction to create an authentic portrait of two people who are isolated and quietly struggling to function in society.

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