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Future Classic Movie: Hunger (2008)

First, I would like to thank Paula of Paula’s Cinema Club for asking me to take part in the blogathon, Future Classic Movies. Here is the Rule of Engagement:

The job is to predict at least one movie from 2000 to the present that will endure 30-40+ years into the future, much like CASABLANCA or GONE WITH THE WIND have done today. Bonus predictions could be who will be hosting on this channel and how will movies be delivered to the consumer (hologram, chip in the brain, etc.).

After much deliberation and back and forth, I have decided on Steve McQueen’s 2008 feature film debut Hunger. I have only seen it once and the experience had such an impact on me that I cannot imagine that this film will be forgotten by any and all who see it.

Simply stated this is an amazing debut for the Turner Prize winner; he handles the film with a level of confidence that you would expect in someone very experienced. For me this is a perfect example of cinema as an art form. Hunger features Michael Fassbender (in his breakthrough performance) and Liam Cunningham (The Guard).

The story is a very controversial one that centers on IRA member Bobby Sands (Fassbender), who along with his fellow imprisoned IRA members embarked on a hunger strike. This series of events would lead to Sands’ demise.

Not to diminish the political impact or significance of the events surrounding the film, but this is part of the reason that I feel the film will continue to be a source of debate in the decades to come.

As a work of cinematic art, McQueen uses very few words to tell us an emotionally charged story, often in disturbingly graphic detail, about the conditions the inmates placed themselves under. On a more esoteric level, the piece is on a statement on the lengths an individual (or group of individuals) will go to for a set of convicted beliefs. McQueen also manages to tow the fine line of not necessarily taking sides with the issue. In fact, in the film’s only dialogue – heavy scene between Sands and Liam Cunningham’s priest’s demonstrates the fine line between passion, conviction and irrational fervor.

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A Dangerous Method (2011) directed by David Cronenberg

UK Promotional Poster

A Dangerous Method is a historical drama based on the stage play The Talking Cure by playwright Christopher Hampton * (Dangerous Liaisons -play and screenplay, Atonement – screenplay). David Cronenberg, director of sci-fi thrillers Videodrome and The Fly (1986), and most recently of A History of Violence and Eastern Promises fame, directs the cast which includes Keira Knightley, Viggo Mortensen as Sigmund Freud, Michael Fassbender as Carl Jung and Vincent Cassel as Otto Gross.

A Dangerous Method tells the story of the relationship between Jung and Sabina Spielrein (Knightley), a patient he is treating for a psychosexual dysfunction. His fascination with the nature of her condition leads him to employ the analytical method of Freud (“the talking cure”). He goes to Vienna where he finally gets a chance to meet his idol and ‘father figure.’ Although the two gentlemen get along, there is an air of tension about; the film portrays this as being partly down to Freud’ possible resentment of the comfort in which Jung lives, courtesy of his wife’s wealth.

Back home in Switzerland Jung and Spielrein’s doctor-patient relationship develops into a friendship and eventually leads to a sexual relationship. The consummation of this relationship, one could imply, is as a result of Jung’s conversation about human nature and desire with Otto Gross, who himself is referred to Jung by Freud.

It is at this point that Jung’s relationship with Spielrein takes center stage and its implications become one of the primary drivers that place a wedge between Freud and Jung.

Not necessarily know for fully straight-on dramatic pieces, much less one based on historical events, this is a change of pace for David Cronenberg. I like to think of this as a kindler, gentler Cronenberg, even if the subject matter, which deals with psychoanalysis and sexual repression/expression, is quite layered and complex.

Christopher Hampton’s intimate knowledge of the source material shines through and allows the film to be adapted and expanded cinematically. Too often when a story is translated from stage to screen, it presents a great challenge for the screenwriter – how to make the environs, which are initially dramatized for the restrictive space of a theater’s stage, breathe.

Viggo Mortensen transforms himself (yet again), this time as the father of psychoanalysis. So much of his portrayal of Freud is in the nuanced looks, glances and expressions. These nuances told me more than any speech or soliloquy could possibly have. I am not sure another actor would be able to pull it off.  It has been often stated that some director-actor pairs create something special on screen. In my opinion, this film confirms what I already know about the pairing of Cronenberg and Mortensen – they are such a pair.

Fassbender’s Carl Jung is a man who despite all efforts to repress his desire, finally surrenders. Similarly, you can see the tension and anguish on his face and in his body. This is yet another in a string of performances where Mr. Fassbender takes full possession of his character.

Rounding out the ‘big three,’ Keira Knightley turns in a solid performance as Sabina, a woman who starts off as a ‘mad woman’ to a refined but still passionate doctor who affects Jung and Freud in ways they could not imagine. I have always been a fan of Ms. Knightley and she seems to be coming into her own as a thespian who is constantly seeking to challenge herself with complex and demanding roles.

In an all too brief appearance as Otto Gross, Vincent Cassel’s “and” credit is more than deserved. In his brief time on screen, he accomplished what was asked of him – he turns the tables on the doctor-patient interaction and in his talks with Jung creates a point of crises in Jung from which there was no turning back.

Last, but certainly not least, lying in the background of the film but ever present is the lovely musical score by Howard Shore, frequent Cronenberg collaborator who is a three-time Academy Award and two-time Golden Globe winner for his work on Peter Jackson’s The Lord of the Rings trilogy; he was also nominated for a Golden Globe Award for his score for The Aviator, directed by Martin Scorcese.

Solid direction, fantastic writing and very fine performances, courtesy of an outstanding cast, make this film a must see.

* The play itself is based on the book, A Very Dangerous Method, written by John Kerr.

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Shame (2011), directed by Steve McQueen

Abbot Genser/Fox Searchlight Pictures

On its surface, Shame appears to be a straightforward dramatic piece about a man battling with sexual addiction. Encapsulating it so succinctly in these terms really does the film a disservice. The lead character, Brandon (Michael Fassbender), obviously has a problem, but the way I see it, this problem is the symptom and not necessarily the issue that needs to be directly addressed.

The sexuality DOES feature prominently throughout the story, but this is not a film exclusively about that subject. The clue to the story is in the title. This ‘shame’ applies to both Brandon AND his sister, Sissy (Carey Mulligan). Something about their disordered upbringing leads them to two very different places in life and ways of expressing their pain. At its core, they are both are self-harming – Sissy’s actions are more visibly destructive while Brandon’s turmoil is internal; in many ways it is more painful to watch.

Photo Courtesy of Fox Searchlight

We get a glimpse into just how messed up Brandon’s ability to emotionally connect with others is in his attempt at some sort of normal relationship with Marianne (Nicole Beharie), a work colleague. The mutual attraction and fascination with one another is obvious, so one would expect it to result in a satisfying ‘encounter.’ However, it should come as no surprise that things don’t fall neatly into place and the sequential scenes of (1) the failed attempt at consummation and (2) Brandon’s actions after Marianne leaves wonderfully illustrate exactly how out of balance his life has become.

Photo Courtesy of Fox Searchlight

While the story is clearly told from Brandon’s point of view, I felt it was as much Sissy’s story. After all, they are siblings and have a shared experience and dysfunction which stems from someplace really dark (and scary) from what the audience can gather.

At this point, it has just dawned upon me that I have not really gone into details about the plot (what Brandon does for a living, what has made him and his sister this way, etc.). In the film, these are not given much specific attention and are not really outlined.  On some level, this is all irrelevant.

Shame is an emotional, visceral piece that draws you in based on the strength of the performances of the leads; leads that strike a very fine balance between dealing (or not) with their troubles and trying to get on with their lives.

And, as in life, there are those much needed moments of levity. In Shame these moments come mostly in the form of Brandon’s boss, Dave (James Badge Dale).

It is obvious from his second outing as a film director that Steve McQueen is able to create visually arresting, raw films that leave his audience captivated.  As compared to his debut, Hunger, I feel that Shame is a little more attainable to its audience. I liked Hunger, but it was a tough watch. It was very sparse on dialogue and very heavy on visuals, some of which were disturbing at times. Shame definitely has its moments too, but I feel like this film is a more mainstream appeal. According to the Internet Movie Database (IMDB), McQueen’s next feature is Twelve Years a Slave, based on the true story of a free man kidnapped in New York and sold into slavery in the Deep South; it is scheduled for release in 2014. Media sources have listed Brad Pitt, (the underused) Chiwetel Ejiofor and Michael Fassbender as the principal leads.

In the end, Shame gives its audience pieces to the puzzle of these people’s complicated lives. At its conclusion, the narrative comes full circle (?) and we are left wondering what lies on the other side of the abyss that Brandon and Sissy have found themselves in. There may be a few hints there but only enough for us to speculate and always wonder.

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