Steve McQueen’s second film is all about one man’s sexual desire and what he does to get what he craves.
UK/USA
3*
Director:
Steve McQueen
Screenwriters:
Steve McQueen
Abi Morgan
Director of Photography:
Sean Bobbitt
Running time: 100 minutes
He looks them up and down, everywhere he goes: women, men, couples – they all find him seductive. He goes after them, and he gets what he wants, every time.
Shame is the story of Brandon Sullivan, a young executive who is the poster boy for unapologetic hedonism until he is confronted with the more serious demands of intimacy from two women in his life: his sister and a co-worker looking for more than a fling.
In one of the first scenes of the film, Sullivan watches a young woman sitting opposite him on the New York subway. She returns his gaze, clearly enjoying the attention, though trying to hide her excitement in this public space. At the next stop, she gets up and grabs onto the pole next to him: She is wearing a wedding ring. But he doesn’t relent and instead pursues her down the tunnels of the underground.
Brandon is physically in very good shape, clean-cut and well-coiffed and has a good job downtown and an apartment near Gramercy Park in Manhattan, but the ever-present windows and glass dividers separate him from the rest of civilization. He is used to being in charge of his life, and especially his sex life: He prefers to pay for sex in his own apartment or seek it out in public spaces, where people can be easily discarded but never permits a greater measure of intimacy. When he is not out in bars looking for fun, he sits in his spotless apartment and masturbates in front of his computer screen. He is young and enjoys one-night stands and the general remoteness of his sex partners, sometimes a world away in front of a webcam.
He is forward without being aggressive and plays off his good looks and charm; he knows how to speak to a woman, and almost always he benefits from a comparison with his womanising boss, David. David compliments himself as a way to pick up girls, while Brandon compliments the girls themselves and is much more successful than his pal, even when David is the one doling out one pickup line after another.
Brandon’s bachelor lifestyle is upended, however, when his drama-queen sister, Sissy, arrives to stay with him for a few nights. Not only does she invade his privacy and walk in on him while he’s polishing his family jewels in the bathroom, but she represents a genuine attack on his licentious way of living. The very first evening at his place, she spends hours crying on the phone while she speaks to her boyfriend, telling him how much she loves him. It goes without saying this is the kind of debasement of which Brandon would never allow himself to be a victim.
The relationship between Brandon and his needy sister is evidently a toxic one, and there are hints of a traumatic childhood that are never elaborated on. The tension between them is made all the more agonising by the use of very long takes, one of director Steve McQueen’s trademarks. We know this situation won’t end well, but until the end we have no idea where all of this is headed.
One reason for our disorientation is the structure of the film. At various intervals, McQueen expertly weaves together two, sometimes three different storylines and timeframes to create a mystery guided by our impressions. These obscurities are sometimes quickly resolved and add another level of slight discomfort to the proceedings on-screen.
Shame is McQueen’s second feature film, and while it is in many respects more conventional than his début masterpiece, Hunger, in which Michael Fassbender (who plays the lead in Shame) starred as the Irish republican Bobby Sands, the director doesn’t nail the material the way one would have expected. Technically, the film is beyond reproach, but unlike Hunger, which is set almost entirely inside the Maze prison outside Belfast, the technical aspects of Shame do not engender an experience capable of encompassing an equally flaccid narrative, this time set all over New York City.
There are moments of cinematic grandeur, but the film is also the victim of the director’s fear of explaining too much, and, in the end, too much is left unsaid and unshown. That is a real shame.