Addiction has been dealt with in a myriad of styles by many different directors; alcohol, drugs and smoking obsessions have all been depicted numerous times on the big screen. It is noticeable then, that when comparing sex addiction to these obsessions, it has not been shown nearly as much in film. This is arguably a reflection of our modern society, as there is almost a taboo-like trait surrounding sex addiction. And yet, it’s the subject matter of choice that ambitious director Steve McQueen has decided to unabashedly tackle. It’s also McQueen’s second feature, a follow-up to 2008’s Hunger (also starring Michael Fassbender), and it is one which is sure to be unavoidably divisive, particularly in its many graphic scenes. Does Shame penetrate the mind as well as the body? Read on for my review.
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Fassbender stars as Brandon, a New York executive who is addicted to all things sex, whether he be finding solace with hookers or porn. Brandon is well accustomed to his life, and the first act does a great job of introducing us to his world. It’s a world that’s about to get turned upside down thanks to the unexpected arrival of his younger sister, aptly named Sissy (Carey Mulligan). As Brandon craves sex, so too does Sissy long for attention. Crucially, their relationship is not based on lust, and this takes Brandon out of his routine.
The methods which McQueen utilises to capture the acting only augments the movie. Wordless scenes leave much to the imagination, at once bringing out the best in actors and actresses as they only have their facial expressions to draw on. In one absorbing scene, Brandon smiles at a woman on a train, who smiles back. But as the scene goes on, Brandon’s mask slips and his lust is there for all to see. Another standout sequence takes place in a classy bar, with Sissy singing ‘New York, New York’. Long shots of Brandon and Sissy occupy the screen, and it is sublimely acted by both Fassbender and Mulligan. These scenes are often backed up with a powerful orchestral score. It’s a technique that works well, although when the score is blended with club music the effect gets drowned and becomes irritating.
Fassbender delivers a tour de force as Brandon, a man longing to escape a cage of his own making but unsure of how to do so. One can only hope that his performance garners the Oscar glory it deserves. Mulligan is also excellent as the needy younger sister desperately trying to cling on to the brother-sister bond. These two characters are the focus of the film, but Nicole Beharie also makes a telling contribution as Marianne, Brandon’s secretary. The manner in which their relationship develops is thought-provoking; McQueen and co-writer Abi Morgan deserve credit for dealing with these issues so effectively.
‘Any Last Words?’ Bold and brilliant, Shame is the best film of 2012 thus far.
– SUPERB
Shame was screened at the Curzor Mayfair courtesy of Momentum Pictures in partnership with Premier PR.
Shame is in cinemas NOW.
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