Shame exemplifies a recent trend in cinema to portray an emotion – or a moment in time – rather than a narrative or a story. Dialogue and plot development may be minimum but the audience is shown a realistic and intense exposé about the effects of addiction on individuals and relationships. There really is no moral, other than the message: “this is out there, it is what it is and we need to be aware of it and deal with it.”
Michael Fassbender stars Brandon, initially a seemingly successful executive whose life gradually comes apart after his sister Sissy, played by Carey Mulligan, moves in. Little by little, Brandon’s choices perpetuate a cycle of sex-addiction and self-harm but director Steve McQueen does not want to simply report these events; he wants to show the desperation of the protagonist who seeks comfort by further destroying themselves. Brandon travels through New York City seeking solace but eight million people speaking eight hundred languages carry on regardless.
As he did in his previous film Hunger, McQueen reveals his film in pieces. Long close-ups or extensive trailing shots far outlast the minimal dialogue which enables the viewer to observe Brandon’s fall in detail. Peering at a life in disarray proves unsettling and occasionally uncomfortable. McQueen could easily adopt a subjective tone but he remains objective, sticking to the bare bones of the subject (something that we see again from Fassbender, star of Hunger).
Glass and mirrors play an important part of the film’s symbolism. Sometimes the world is observing Brandon’s behaviour but choosing to ignore it; at other times friends and acquaintances are given a close look but ultimately refusing to help. He looks at himself through clear mirrors early in the film but begins to see himself through blurred and warped reflections as he continues to deteriorate. The barriers between Brandon and others or Brandon and himself represent how he sees the world and himself.
The actors who play the two siblings, Fassbender and Mulligan, contribute engaging performances. Fassbender does not go to the same extent as he did to portray Bobby Sands but he is firmly committed to revealing Brandon’s deepest secrets to the audience. Confident, yet flawed. Sincere, yet depraved. Loving, yet angry. Brandon is not a one-note character but a complicated person trying to figure their way out of a tough predicament.
Mulligan creates another compelling character, hopeful but vulnerable like Jenny Mellor. Despite her best efforts, she always hurts herself. Sissy is a talented singer, if she can stay out of her own way and her despair engenders sympathy while her inability cope elicits frustration. Mulligan plays a strong supporting role in the film.
Shame is not a pretty film but is one that suits the times. So many people are hindered by their own struggles and badly need help. This film shows how hard it can be to deliver that help and make a difference. ***½