Shame Is Startling, Provocative & Unyielding
By Michelle McGlynn
Director Steve McQueen’s second feature Shame sees him pair up with Michael Fassbender once again. The duo worked together on McQueen’s directorial debut Hunger in 2008. For a second time they have produced a controversial piece of cinema. More than this, they have managed to infuse Shame with the same harsh, unflinching veracity as was found in Hunger.
Brandon Sullivan (Fassbender) is what can loosely be described as a sex addict. Sullivan’s daily routine seems to inevitably follow the same path: a constant pursuit for moments of orgasm. He lives alone in his Manhattan apartment and works in a high-tech firm, his social life consists of occasionally going to bars with colleagues. Whether in his apartment, at work or out at a bar Sullivan’s location is of no real relevance to him. Sullivan is completely disconnected from his surroundings, his company and perhaps most especially, himself. Sullivan achieves orgasm through masturbation, pornography, encounters with women he meets and prostitutes. Yet, at no point does he feel pleasure. He doesn’t even seem to experience a moment of relief from his self-destruction. Sullivan’s solitary routine is disturbed when his sister Sissy comes to stay with him. Sissy is, in most ways, the opposite of her brother but she is equally haunted and attempts to find escape in forms of self-harm. McQueen does not attempt to provide the audience with a back story, there is no effort to give reason for Sullivan’s behaviour. There is only an illusion to a shared past which has affected brother and sister deeply. “We’re not bad people. We just come from a bad place” states Sissy. Sissy’s presence sees the usually calm, unaffected Sullivan spiral rapidly downward climaxing in a night of utter excess.
Michael Fassbender’s performance is provocative, intense and commanding. McQueen knows when to give him free reign. Brandon is not a particularly sympathetic character but somehow Fassbender pulls you in. The most haunting and disturbing scenes are often those in which there is not one word uttered. Fassbender has the ability to communicate so much with a look or an expression.
Carey Mulligan is brilliant as Sissy. Sissy provides a passion, and an urgency which is otherwise missing. Mulligan is also credited with one of the most memorable scenes of the movie. Mulligan performs the well known song “New York, New York” in a bar, but never has the song sounded so haunting, so desperately lonely. The scene lasts for just short of five minutes and Mulligan is mesmerizing from start to finish.
Brandon Sullivan (Fassbender) is what can loosely be described as a sex addict. Sullivan’s daily routine seems to inevitably follow the same path: a constant pursuit for moments of orgasm. He lives alone in his Manhattan apartment and works in a high-tech firm, his social life consists of occasionally going to bars with colleagues. Whether in his apartment, at work or out at a bar Sullivan’s location is of no real relevance to him. Sullivan is completely disconnected from his surroundings, his company and perhaps most especially, himself. Sullivan achieves orgasm through masturbation, pornography, encounters with women he meets and prostitutes. Yet, at no point does he feel pleasure. He doesn’t even seem to experience a moment of relief from his self-destruction. Sullivan’s solitary routine is disturbed when his sister Sissy comes to stay with him. Sissy is, in most ways, the opposite of her brother but she is equally haunted and attempts to find escape in forms of self-harm. McQueen does not attempt to provide the audience with a back story, there is no effort to give reason for Sullivan’s behaviour. There is only an illusion to a shared past which has affected brother and sister deeply. “We’re not bad people. We just come from a bad place” states Sissy. Sissy’s presence sees the usually calm, unaffected Sullivan spiral rapidly downward climaxing in a night of utter excess.
Michael Fassbender’s performance is provocative, intense and commanding. McQueen knows when to give him free reign. Brandon is not a particularly sympathetic character but somehow Fassbender pulls you in. The most haunting and disturbing scenes are often those in which there is not one word uttered. Fassbender has the ability to communicate so much with a look or an expression.
Carey Mulligan is brilliant as Sissy. Sissy provides a passion, and an urgency which is otherwise missing. Mulligan is also credited with one of the most memorable scenes of the movie. Mulligan performs the well known song “New York, New York” in a bar, but never has the song sounded so haunting, so desperately lonely. The scene lasts for just short of five minutes and Mulligan is mesmerizing from start to finish.
Shame is intense and at times difficult to watch. Once again, McQueen provides audiences with a startling, provocative and unyielding film which stays with you long after leaving the theatre.
