Shame (2012)

Sitting in the theatre watching Steve McQueen’s new film, the sexually charged ‘Shame’, I enjoyed it quite a bit. After the screening, I was walking with another film critic and he asked what I thought. Now, normally this would be a straightforward question, but in trying to explain what I thought, I actually wasn’t sure how to respond.

There are many things in Shame that are absolutely breathtaking. Michael Fassbender, for one, is simply outstanding. He gives a subtle, stripped-down and absolutely brutal performance as Brandon: a man who needs sex –not wants – needs to have it. He hardly says anything but you can’t take your eyes off him. One minute he’s quiet and controlled, seeming to have things completely in hand, next moment he has succumbed to a terrifying burst of rage.

Shame hints at a conventional movie narrative a fair bit more than McQueen’s previous film ‘Hunger’. But it’s first and foremost a visual and sonic symphony: a journey through New York where words are mostly redundant. I would say we get 12 or so minutes into the film before anyone actually says anything, concentrating on a tense and powerful scene showing Brandon (Fassbender) trying to pick up a married woman on the subway. When we do arrive at the first words of the film, it’s only Brandon asking a co-worker what happened to his porn-infested computer.

Both Brandon and Sissy (Carey Mulligan), his drunken, slutty and suicidal sister, are on self-destructive paths but we never learn about their pasts and seemingly don’t need to know.
Sissy’s arrival in Manhattan is the catalyst of Shame. Before his sister arrives, Brandon’s life is a carefully measured series of quick sexual encounters with strangers, prostitutes, and women on the subway. There are cracks in the veneer of his life, like his office computer, infected by a virus caught from the mass amount of porn he’s been downloading. His life has a very definite pattern and these periodic cracks are akin to a stopwatch counting down to his impending, escapable doom.

Sissy is the polar opposite of her brother. Brandon, some sort of business professional, wears low-key blues and greys, while Sissy, a struggling nightclub singer, dons a bright red hat and vintage leopard print coat. Everything about him is designed to blend; everything about her is designed to stand out. She falls desperately in love at the drop of a hat, is loud, moved by momentary passions and drives Brandon absolutely crazy with the chaos of her life.

Fassbender and Mulligan both give immense, irresistible performances as people drowning in a sea of sexuality and self-hatred. Shame isn’t an easy film to sit through, to describe or to figure out but it’s riveting and spectacular cinema.

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Jane Eyre (2011)

There's been many, many takes on the story of Jane Eyre with the most recent being the 2006 version starring Ruth Wilson and Toby Stephens. This time Sin Nombre (2009) director Cary Fukunaga has a go, producing a film that is gloomy, depressing, but also enjoyable.

For those of you who don't know the story; Jane Eyre (Mia Wasikowska) is a very self-assured governess who happens to fall in love with her new employer, Mr Rochester (Michael Fassbender). But not is all as it seems as Mr Rochester tries to hide his terrible secret.

Jane is first seen in childhood played by Amelia Clarkson, who shows great spirit and determination despite of the callousness shown to her, first by her Auntie (Sally Hawkins) and then from the orphanage who try and groom her into the woman she will eventually become. This chapter really helps the audience see the type of Woman Jane will become before she is sent to work at the Thronfield estate and Mr Rochester. As plain and quite sad looking Jane, Wasikowska (Wasi to her friends) manages to show great restraint in her performance. There's no doubting Mia is a naturally beautiful woman but is able to hide it well. The real beauty comes from the fact that she manages to exude that sense of authority but also seem child like in her own skin-especially when she is around Mr Rochester. Few leading men at the moment could play the variety of roles that Fassbender has over the last few years. As Mr Rochester you never know what to expect, he can be very charming and warm one minute and evil and sinister the next. Of course if Fukunaga stuck closely to the book, we'd of got a fat balding man (don't hear to many ladies complaining about Fassbender getting the role). The film also has a talented supporting cast with Jamie Bell and Judi Dench giving good, if somewhat routine performances.

Early on in the film, Jane seems more the victim then his saviour. It's only until later in the film we finally see her real strength and gradually see a role reversal, with Mr Rochester seeming weak and unable to cope without Jane. It's just a shame the chemistry isn't quite there between the two brilliant actors. No matter how you look at it, Jane is still very young (passing for 19 but easily looks 16) whereas Mr Rochester could pass for 40. It's also a shame that the film doesn't show a more darker side. Yes the film has a dark feel to it but fails to explore the midnight screams and the secret room in enough detail. I think this would've enhanced the audiences experience and done something a little different to other film versions.

There's no doubting Jane Eyre is a beautiful film to look at and shows just how gloomy and depressing England can be. It's just a shame the leads don't quite match, with the ending also failing to live up to the build-up. The costume drama seems to be a very niche drama but despite that general definition, the style often refers to English period pieces and Jane Eyre is no different. This won't detract fans of the genre but is unlikely to convert any new fans.

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