![]() The talent of the London director emerges bursting with the excess of zeal reserved for the movements of bodies, reminiscent of the Hellenistic sculptures, and which reserves moments of pure reflection such as Brandon’s night city runs, with Bach’s notes in the background, or for the worthy interpretation of New York, New York by Mulligan. The pure shame, whose title already represents the prologue, fosters animal instincts, hidden by an apparent bourgeois respectability, and only hints at the good feelings, inspired in the protagonist by an equally messed up sister, also looking for human warmth and interpreted by the magnificent Carey Mulligan. The questions, however, arise spontaneously: a wealthy man, who certainly has no difficulty attracting people, how can he have these problems? Probably in a disposable society, increasingly apathetic and amoral, where the key points that distinguished humanity until the end of the twentieth century are absent, we lack all the expectations of well-being that we forecasted: on the contrary, we can see contaminations of intents that previously we could experience only by reading literary works of the caliber of Frankenstein, written by McQueen’s “fellow citizen”, Mary Shelley. Set in an unusually gray New York, the context contributes to further anxiety in the narration of reprehensible and excessive actions, which conceal a cry of help and tenderness of a man who shows his body naked as well as his soul in pieces. Nevertheless Brandon, unable to establish true sentimental ties, deeply desires them ardently, but only manages to build occasional relationships and only by the mechanical act, substitute for love. If in the first work he faced the “material imprisonment” of the Irish activist Bobby Sands, played by Fassbender himself, and in 12 years a slave the deprivation of liberty of the unfortunate Solomon Northup, here is something more subtle, but effective in the same way: the mental enslavement to impulses without any control, something really equivalent to imprisonment.Īs the protagonist’s anguish goes up, the film acquires an uncommon empathic pathos. Detention is certainly the dominant theme in the first three McQueen films. This is precisely the theme treated by British director Steve McQueen, who after the hard and surprisingly vivid Hunger engages in the affective problems of a voluptuous Brandon Sullivan, aka Michael Fassbender. How a vintage Mark Renton would say: “what else do you need if you have an addiction?” and in fact it is exactly like that, whatever it may be, it manages to soothe the pain of the poor unfortunate. It is thanks to these cases that human behavior is undergoing an epochal and frankly negative change: all this can only create more room for behaviors that lead to addictions. And not because of the prevailing technology, but because of a sort of post-modernism similar to shifting sands, in which everyone is right and nobody is willing to review their beliefs. In today’s world, the human being is paradoxically more alone with himself. We recommend you to read it only after watching the movie, and not before, in order to preserve the pleasure of the first vision. This article reveals the explained plot and the detailed events in Steve McQueen’s movie Shame, revealing its meaning, symbols and storyline.
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