Widows (2018 film)

Based on the British TV series from 1983 to 1985, Widows is the story of a group of women whose husbands had been killed in a botched heist forcing the women to carry out a heist of their own to pay back the money their husbands had stolen. Directed by Steve McQueen and screenplay by McQueen and Gillian Flynn, the film is an unconventional heist drama that involves the widows of a few men as they learn in pulling a heist as they deal with all sorts of forces in the world of politics and crime. Starring Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Carrie Coon, Jacki Weaver, Robert Duvall, and Liam Neeson. Widows is a gripping and eerie film from Steve McQueen.

A group of women, whose husbands had been killed following a botched heist, learn they owe a man who is running for office $2 million forcing them to embark on a heist to pay him back as they only have one month to do the job. It’s a film with a simple premise that play into a trio of women whose husbands had been killed in a heist while one of the widows chooses to not be involved as none of them have an idea of how to carry out a bigger heist to owe this man the money their husbands had stolen. The film’s screenplay by Steve McQueen and Gillian Flynn has a straightforward narrative with some flashback sequences that play into the events of the botched heist and the life of one of the widows in Veronica Rawlings (Viola Davis) who is still in shock not just over what her husband Harry (Liam Neeson) did but also the fact that they lost a son a decade earlier.

Being caught in the middle of a contentious election race for alderman at a small area in Chicago between Jack Mulligan (Colin Farrell) and a crime boss in Jamal Manning (Brian Tyree Henry) as the latter is trying to become legitimate. Veronica realizes that Harry and his crew had stolen $2 million from Manning who confronts Veronica in wanting his money back with his brother Jatemme (Daniel Kaluuya) keeping an eye on her as he’s also his brother’s enforcer. Left with just a book of all of Harry’s plans for the heists including one that was supposed to be the next heist, Veronica decides to contact the other widows that include clothing store owner Linda Pirelli (Michelle Rodriguez) and Alice Gunner (Elizabeth Debicki) as neither women nor Veronica have a clue in trying to plan a heist as they are willing to learn from Harry’s book. While Linda and Alice are given assignments in to get certain things despite their lack of knowledge, they do see the bigger picture with Alice feeling resentful towards her late husband for putting her in debt knowing what he did.

Alice however wasn’t sure about what her husband did as she reluctantly becomes an escort as she and Linda both help Veronica with the heist as Linda would bring in her kids’ babysitter Belle (Cynthia Erivo) who discovered a key connection between the botched heist, Mulligan, and Manning at the beauty shop she works at. The screenplay doesn’t just play into the motivations of these women but also this underbelly of corruption from both Manning and Mulligan as the latter is trying to fill in the role that his father Tom (Robert Duvall) had been sitting at as he’s trying to maintain his own ideals into his son. It raises questions into the heist that Harry and his crew were involved in as did they know it would involve this contentious political race? This forces the widows to answer these questions themselves as well as deal with all of the chaos and loss they had to endure.

McQueen’s direction is definitely intense in terms of the tight visuals and compositions he creates as well as that air of suspense that occurs for the heist scenes in the film. Shot on location in Chicago, McQueen uses the location to create this air of social divide from the spacious and comfortable penthouses and posh homes that Veronica, the Mulligans, and Alice lived in to the more working-class and poor environment that Linda, Belle, and Manning is at. McQueen would use wide shots to play into the locations as well as some intricate tracking and long shots for scenes that establish some of the drama such as an off-screen conversation between Mulligan and his campaign manager Siobhan (Molly Gunz) as it is presented in one take. It’s one of the more unconventional elements McQueen would create as it adds to this drama over the idea of ambition and who it would impact for all of the wrong reasons.

McQueen’s usage of close-ups add to the drama as it relates to loss which include a few flashback scenes involving Veronica as it relates to her marriage but also events that impacted her marriage to Harry such as the death of their son Marcus (Josiah Shefee). It’s not just Veronica that feels lost but also Linda and Alice where the former meets a man asking him about a building blueprint as he had just lost his wife as it’s a moment of two people who are both coping with loss. For Alice despite being in an abusive relationship with her husband, she is defined by being in a marriage and has a need for companionship but has to come to terms that she needs to live for herself. McQueen does maintain this need for feminism in the film as it is clear that they’re living in a world driven by men though Mulligan’s duty for campaigning is really masterminded by Siobhan.

McQueen’s approach to the violence is unsettling such as a scene of Jatemme confronting a couple of young men over the film’s opening heist scene which is told with a sense of immediacy. The scene has McQueen present everything in one take as he knows when to pull the trigger and then some as it is shocking while the film’s climatic heist is more about location and timing rather than violence. Still, it is followed by an aftermath about who runs the show in terms of the heist but these are women who aren’t from the world of crime and they don’t play by the rules since they don’t know nor care about the rules of the underworld. Even as it involves powerful forces who are trying to maintain some idea of power yet those who are impacted by this play of power would eventually reap from what they sow. Overall, McQueen crafts a rapturous yet astonishing film about a group of widows who plan a heist to pay back the money their husbands stole from men of power.

Cinematographer Sean Bobbitt does brilliant work with the film’s cinematography for its usage of dreamy yet naturalistic lighting for some of the daytime exterior scenes at Veronica’s apartment as well as the usage of low-key lights for some of interior/exterior scenes at night. Editor Joe Walker does amazing work with the editing as its usage of rhythmic cuts and montages help play into the drama as well as in some of the suspenseful moments where it doesn’t emphasize too much on style in favor of something more controlled in its execution. Production designer Adam Stockhausen, with art directors Gregory S. Hooper and Heather Ratliff plus set decorator Elizabeth Keenan, does fantastic work with the look of the homes of the widows as well as the home office of Manning and the posh home of the Mulligans. Costume designer Jenny Eagan does nice work with the costumes from the posh clothes that Veronica and Alice wears to the more casual look of Linda and Belle.

Special effects supervisor Michael Gaspar and visual effects supervisor Lars Andersen do terrific work with some of the film’s big effects as it relates to the film’s first heist scene as well as a key moment during the film’s climax. Sound editors Paul Cotterell and James Harrison do superb work with the sound as it captures the atmosphere of the violence in the opening scenes as well as some of the crowd moments and the conversation between Mulligan and Siobhan in their car off-screen. The film’s music by Hans Zimmer is excellent for its low-key yet eerie score that feature some heavy string arrangements as well as some ambient-based pieces while music supervisor Ian Neil provides a soundtrack that is mostly diegetic as it include songs by Nina Simone, W.A.S.P., Al Green, Michael Jackson, Procol Harum, and a few others plus a song by Sade that is performed in the film’s final credits.

The casting by Francine Maisler, Mickie Paskal, and Jennifer Rudnicke is great as it feature some notable small roles from Alejandro Verdin and Bailey Rhyse Walters as Linda’s kids, Bailee Brewer as Belle’s daughter, Adam Wesley Brown as an auction guy helping Alice find a van, Philip Rayburn Smith as a grieving man Linda meets about blueprints, Josiah Sheffie as Veronica and Harry’s late son Marcus, Matt Walsh as a securities man that Veronica blackmails, Adepero Oduye as a hair salon woman who is Belle’s boss, Jon Michael Wheel as a reverend Manning tries to win over, Molly Kunz as Mulligan’s campaign manager Siobhan, Coburn Goss as one of the thieves in the heist who is married to the fourth widow that is not involved, Jon Bernthal as Alice’s husband Florek, Manuel Garcia-Rulfo as Linda’s husband Carlos, Kevin J. O’Connor as a friend of Harry who provides Veronica some information about her husband, Lukas Haas as a real estate developer Alice would sleep with for money, and Garrett Dillahunt in a terrific small role as Veronica’s driver Bash who offers to help Veronica with the heist. 

Liam Neeson is superb in a small role as Veronica’s husband Harry Rawlings as a master thief who has organized everything yet is mysteriously killed believing that he’s been set-up. Robert Duvall is fantastic as Mulligan’s son Tom as a government official who is forced to step down due to health issues while trying to maintain some of his old ideals where he finds himself not agreeing with his son who has bigger ideas.  Carrie Coon is excellent as Amanda Nunn as a widow whose husband was killed in the heist as she has no interest helping Veronica in favor of her own safety while also carrying a secret about the heist. Jacki Weaver is brilliant as Alice’s mother as a woman who is trying to instill Alice ideas of being a housewife as well as suggest Alice to become an escort. Brian Tyree Henry is amazing as the crime boss Jamal Manning as a man that is eager to enter politics to be influential and have power. 

Daniel Kaluuya is incredible as Jamal’s younger brother and enforcer Jatemme as a man that is watching over what Veronica does while taking of things that need to be taken care of with ruthless aggression. Colin Farrell is marvelous as Jack Mulligan as a politician who is taking over his father’s position as he is reluctant to be involved with politics yet realizes that it would give him a lot of power of wanting to make change in his ward.  Cynthia Erivo is remarkable as Belle as a hairdresser who also works as a babysitter for Linda who also takes part in the heist after a discovery she made about Mulligan and what he’s trying to do proving that she’s a formidable ally. 

Michelle Rodriguez is great as Linda Perelli as a clothing store owner who loses her business because of her husband’s dealings prompting her to join Veronica while dealing with her own grief as well as the difficulty of understanding what needs to be done. Elizabeth Debicki is sensational as Alice Gunner as a housewife who is initially reluctant to take part in the heist as she is someone used to being abused only to realize that things will get worse as she starts to help out. Finally, there’s Viola Davis in a phenomenal performance as Veronica Rawlings as a woman ravaged by grief as she is aware of what will happen to her as she decides to take action after finding her husband’s book prompting her to lead a heist with a few other women despite their inexperience as it’s a performance that has Davis show some strength and determination making it a career-defining feat for her.

Widows is a magnificent film from Steve McQueen. Featuring a great ensemble cast, haunting visuals, a chilling music score, intense editing, and a riveting story about ambition, power, and its impact on those who become directly involved. It’s a film that is an exploration of women dealing with the world of men that takes advantage of them forcing them to carry out a heist that many believe they couldn’t pull off as well as showing who has the power in a world that is corrupt and unruly. In the end, Widows is an outstanding film from Steve McQueen.

Steve McQueen Films: Hunger (2008 film) - Shame (2011 film) - 12 Years a Slave - The Auteurs #52: Steve McQueen

© thevoid99 2018

The Auteurs #52: Steve McQueen

One of the more recent filmmakers in the past decade to make a name for himself, Steve McQueen is a figure that captures some of the dark aspects of humanity and the struggle from within. Though he didn’t start out in the world of film but rather in the world of art, McQueen would find ways to use the medium film as an artistic tool where he has already amassed a trio of celebrated works. Despite only making three feature films so far in his career, McQueen is already becoming a fascinating figure in the world of film and art though refusing to define himself in both worlds.

Born in London England in October 9, 1969, Steven Rodney McQueen was raised into a family of Grenadian and Trinidadian where he was born in the Hanwell section of West London. While he would endure dyslexia and lazy eye in his childhood as well as racism during his years at Drayton Manor High School, it was through the world of art as he would eventually go to Ealing, Hammersmith and West London College for a period and then furthered his studies at Chelsea College of Arts and at Goldsmith College. It was during a later tenure at the University of London where McQueen became interested in the world of film as he was invited to attend the Tisch School of the Arts in New York City. Yet, his experience at Tisch was disappointing where he returned to Britain where he would learn about filmmaking by himself as well as through the world of art.

More can be read here at Cinema Axis.

© thevoid99 2016

12 Years a Slave

Based on the autobiography by Solomon Northup, 12 Years a Slave is the true story of Northup’s life where he was a free black man living in the North until he is kidnapped in Washington, D.C. where he is sold as a slave as he endures hardships for 12 years. Directed by Steve McQueen and screenplay by John Ridley, the film is an exploration into a man who endures the worst kind of cruelty towards humanity as he deals with the world of slavery as Northup is played by Chiwetel Ejiofor. Also starring Michael Fassbender, Benedict Cumberbatch, Paul Dano, Paul Giamatti, Sarah Paulson, Alfre Woodard, Lupita Nyong’o, Michael K. Williams, Scott McNairy, and Brad Pitt. 12 Years a Slave is a harrowing yet visceral film from Steve McQueen.

The film is this simple story about a man named Solomon Northup who lived a decent life in Saratoga, New York in 1841 where he is asked by two men to play for a show in Washington, D.C. where he accepts the offer until he wakes up in chains as he’s sold to slavery where he endures cruelty under different masters for 12 years. It’s a film that explores a man who had this very good life in the North where he finds himself in a world that is very different in the South where blacks are treated as a form of property by their masters. The 12-year journey that Northup encounters where he’s called Platt, he doesn’t just see the cruelty of slavery but also how dangerous he is as he’s a man that is educated where slaves tell him to keep his head down and just do your work so there won’t be anymore trouble. Still, he just couldn’t comprehend the atrocities that he sees and endures in the 12 years of being a slave.

John Ridley’s screenplay definitely explores the 12 years of Northup’s life where its first scene is Northup as a slave cutting down sugar canes for another master as he then reflects on the life he had. Much of the film’s first half showcases bits of Northup’s life as a free man while revealing how he had been tricked by two men (Scoot McNairy and Taran Killam) into doing a show for them where he wakes up the next morning in chains. Ridley’s script is largely told from Northup’s perspective as he watches the world he’s in as he has to see a woman named Eliza (Adepero Oduye) be separated from her children as they’re also sold to slavery. Northup’s encounter with slavery has him endure the supervision of different masters where the first is this Baptist preacher in William Ford (Benedict Cumberbatch) who is much kinder to his slave though he’s unaware of the cruelty that his slave overseer in John Tibeats (Paul Dano) who always undermine things and treats Northup with disdain.

While Northup would also work briefly under the supervision of Judge Turner (Bryan Batt) during a seasonal break, Northup would endure the worst under Edwin Epps (Michael Fassbender). Epps is this very unique individual whom Ford describes as a man who is willing to break slaves to the core as he has a very sick fascination with the slave Patsey (Lupita Nyong’o) whom he seduces much to the chagrin of his wife (Sarah Paulson) who loathes Patsey. It all plays to Northup dealing with Epps as well as the harsh conditions he endure as a slave picking cotton where if he picked less than the day before. He will get whipped as it’s just one of the many punishments he has to deal with yet clings to some sense of hope as he desperately tries to write a letter to his family and friends in the North but the presence of Epps has him feel uneasy. The film’s third act doesn’t just play into Northup’s sense of hopelessness but also the things he has to do where he does find some hope in a Canadian carpenter named Samuel Bass (Brad Pitt) who learns about Northup’s situation as he would be a key proponent into Northup getting his freedom.

Steve McQueen’s direction is very evocative in the way he presents a world that is beautiful but has this air of ugliness that is prominent throughout for the fact that it’s a film about slavery. A lot of McQueen’s direction is filled with these intoxicating images that mixes beauty and horror while knowing how to put an actor in a frame or to use a close-up to express something by doing very little. Shot on location in New Orleans and other parts of Louisiana, McQueen’s portrait of the American South is very seductive in its beauty yet has this sense of harshness where it’s a place where a slave’s attempt to runaway is more treacherous where Northup would attempt that only to see what will happen as he would never do it again.

There’s also some intimate moments in McQueen’s direction such as the scene of Northup being chained inside a prison cell where it’s very dark with little light to showcase the horror that is to come. Even as McQueen doesn’t shy away from the brutality of the whippings and such where there’s some very chilling scenes that includes one of the most brutal sequences of whipping where it’s the sound of a whip hitting flesh that is the most unsettling. McQueen’s framing and some of the long shots he creates are just a marvel to watch in not just some of the drama that plays out but also some of the sense of terror that occurs. Though there are bits of humor in the film, it’s only just small bits as it plays into the drama and turmoil that Solomon Northup endures as the film’s ending is an absolute tearjerker. Overall, McQueen creates a very exhilarating yet haunting film about a man who endures the cruelty of slavery.

Cinematographer Sean Bobbitt does some amazing work with the film‘s photography from the look of the Louisiana swamp landscapes and scenes set in the forest with its use of natural lights to some of the shadings and lighting schemes he uses for some of the film‘s interiors as well as the scenes set at night. Editor Joe Walker does brilliant work with the editing with its use of jump-cuts, rhythmic cuts, and dissolves to play into that sense of horror and drama that Northup endures. Production designer Adam Stockhausen, with set decorator Alice Baker and art director David Stein, does fantastic work with the set pieces from the plantations that Northup works at to the look of the homes and places that Northup lived before his capture.

Costume designer Patricia Norris does superb work with the costumes from the dresses the mistresses wear as well as the suits that the men wear as well as the rags the slaves have to wear. Sound editors Ryan Collins and Robert Jackson do excellent work with the sound work from the way dialogue is meshed in certain scenes to some sound effects that occur in the film such as the whippings and such to play into the sense of power in those moments. The film’s music by Hans Zimmer is phenomenal for its mixture of low-key orchestral music to some tremendous pieces that mixes some haunting percussions and string arrangements that play into the terror that occurs in the film.

The casting by Francine Maisler is incredible for the ensemble that is created as it features some notable small appearances from Quvenzhane Wallis and Cameron Zeigler as Northup’s children, Kelsey Scott as Northup’s wife Anne, Michael K. Williams as slave Northup meets early in the film, Garret Dillahunt as a drunkard who works with Northup picking Cotton, Dwight Henry as a slave Northup befriends in Uncle Dwight, Bryan Batt as the fair-minded slave master Judge Turner who would get Northup a job at a party, Liza J. Bennett as Ford’s wife, Chris Chalk as a slave Northup meets who tells him to not act too smart, and J.D. Evermore as Ford’s overseer Chapin who is forced to watch the action of Tibeats.

Other noteworthy performances include Scoot McNairy and Taran Killam as the two men who would trick and drug Northup into a job that would lead to his enslavement while Alfre Woodard is wonderful as a plantation mistress whom Patsey likes to drink tea with. Paul Giamatti is terrific as the slave trader Theophilius Freeman who does things to sell the slaves and presents them in the most cruel ways. Adepero Oduye is superb as the slave Eliza who deals with being separated from her children as she reminds Northup of the cruelty he has to face as a slave. Paul Dano is excellent as the slave master John Tibeats who sings a very horrific song while feeling threatened by Northup for being someone who can speak his mind and please Ford. Brad Pitt is amazing in a small yet cruel role as Samuel Bass who works with Northup during his time with Epps as he learns about his plight.

Sarah Paulson is brilliant as Mrs. Epps as a woman who loathes Patsey as she treats her with the worst kind of cruelty as she someone who proves to be just as extreme as her husband. Benedict Cumberbatch is marvelous as the kind William Ford who is intrigued by Northup as he gives him a violin while dealing with the cruelty of Tibeats as he makes an uneasy decision about giving Northup up. Lupita Nyong’o is tremendous as Patsey as this young slave woman who becomes this object of desire for Epps as she faces some of the most horrific moments a slave has to endure as it’s a performance that is just unforgettable to watch.

Michael Fassbender is remarkable as the cruel yet twisted plantation owner Edwin Epps who is a man that is just extreme in the way he treats his slaves as well as having this sick desire towards Patsey. There’s also this very haunting presence that Fassbender presents as a man who could probably kill someone as well as being ignorant about his ideas of the world. Finally, there’s Chiwetel Ejiofor in an outstanding performance as Solomon Northup. Ejiofor brings a sense of grounding to a man who faces a world that is different from the one he had lived in as he tries not to do anything yet is aware of how much of a threat he is. There’s also that sense of sadness and determination in Ejiofor’s performance to display a man who deals with not just loss but also the hopelessness of not being able to return home as it’s really a performance for the ages.

12 Years a Slave is a magnificent film from Steve McQueen that features a tour-de-force performance from Chiwetel Ejiofor. Along with a great supporting cast and some amazing technical work from cinematographer Sean Bobbit and music composer Hans Zimmer. It’s a film that explores not just the horrific atrocity of slavery but also from the perspective of a free black man who is captured and endures this horror for 12 years as it’s told by McQueen and screenwriter John Ridley at its most visceral. In the end, 12 Years a Slave is a massively astonishing film from Steve McQueen.

Steve McQueen Films: Hunger - Shame - Widows (2018 film) - The Auteurs #52: Steve McQueen

© thevoid99 2013

Shame (2011 film)

Directed by Steve McQueen and written by McQueen and Abi Morgan, Shame is the story of a 30-something yuppie who struggles with his addiction to sex until the arrival of his younger yet troubled sister that only causes more problems. The film is an exploration into a man’s addiction as well as the broken relationship between himself and his sister. Starring Michael Fassbender, Carey Mulligan, Nicole Beharie, and James Badge Dale. Shame is a gripping yet eerie film from Steve McQueen.

Brandon Sullivan (Michael Fassbender) is an Irish-born yuppie who works as an ad executive for his friend/boss David (James Badge Dale) in New York City. Brandon is also a sex addict whose addiction is becoming impossible to endure as he continually has sex with various women while watching internet porn and masturbating constantly. Brandon’s troubled life is then hampered by the arrival of more troublesome sister in Sissy (Carey Mulligan) who makes an unexpected visit. Sissy’s presence in Brandon’s world only adds to chaos of Brandon’s life as he and David go to see Sissy sing at a nightclub where would have sex with David.

While Brandon has become attracted towards a secretary in Marianne (Nicole Beharie), he struggles to control his addiction as he tries to start a relationship with her. Instead, it becomes more complicated after David had found lots of porn in Brandon’s work computer during a check-up on the computers in the company. Things eventually gets worse when Sissy’s messy lifestyle and dependant behavior starts to get to him. Particularly when Sissy realizes that he has a problem as it eventually leads to dire consequences for the two siblings.

The film is about a sex addict’s tumultuous life as he struggles to maintain his addiction as well as the presence of his more troubled younger sister. Still, it’s also about people who are definitely unable to really get their shit together. Steve McQueen and co-writer Abi Morgan create a script that explores this man’s world as he’s often obsessed with sex from the way he encounters women to his need to fulfill his addiction through internet porn and masturbation. While Brandon Sullivan isn’t exactly in denial that he has a problem, he’s unable to be open about it while dealing with the fact that he really can’t control it. An attempt to try a normal relationship with a secretary would only have him realize the emptiness of his own life. Still, this attempt to connect would only realize that being with a woman he seems to care for wouldn’t really be enough.

The presence of Sissy would only complicate things as she is just as fucked up and as troublesome as he is. Yet, she knows that while is not really afraid to admit that she is fucked up. She is a very irresponsible person who creates messes and often gets into lots of trouble. The reason she is dependent on Brandon is because she’s unable to really take care of herself as she’s been through another bad relationship and in need to be with someone. There is a hint of a possible incestuous connection between the siblings but McQueen and Morgan choose to remain ambiguous with that relationship as they create this ominous character study as well as a compelling look into the world of sex addiction.

McQueen’s direction is truly mesmerizing for the way he dwells into the complicated life of this man. While there’s a lot of intimate yet somber moments in the way McQueen presents the relationship between Brandon and Sissy. It’s the way McQueen frames the two of them that really gives the film something different and engrossing. Notably the scene of Brandon and Sissy arguing while they’re sitting on the couch as McQueen shoots from the back of their heads as they’re watching TV. Another moment is Brandon’s date with Marianne as it slowly goes into a close-up as they’re having a conversation that is often interrupted by a waiter. The direction is very stylish for that framing while using New York City as a backdrop for a world that is vibrant but also unsettling.

One notable scene is where McQueen shoots Brandon running throughout the city in a tracking shot with one take as his camera is following him. There’s a lot of long takes that happens yet McQueen allows his actors to play things out naturally. Then there’s McQueen’s approach to sex and nudity where it is quite graphic with a lot of full-frontal nudity, male and female. While some might feel the sexual content delves into pornography. That’s not true considering that there’s no shots of penetration or anything that graphic as the sex is quite stylized. Still, it’s all about subtext as McQueen starts the film off with a scene of Brandon staring at this beautiful woman in a subway train while it’s inter-cut with him having sex or doing other sexual-related activities. The overall work that McQueen does is marvelous as well as entrancing as he creates a very stunning portrayal of a man in deep trouble.

Cinematographer Sean Bobbitt does a spectacular job with the film‘s photography from the very entrancing yet lush look of the NYC nighttime exteriors including some very beautiful interiors for some nighttime interiors including Sissy‘s club performance. Bobbitt also does some amazing daytime exteriors and interiors that includes a lot of non-sunlight shots to complement the mood of Brandon in his empty life. Editor Joe Walker does excellent work with the editing in creating that wonderful montage of Brandon’s sexual lifestyle as he stares at a woman in a subway while utilizing a large degree of styles to create a very methodical pace that allows the viewer to be engrossed in the story.

Production designer Judy Becker, along with set decorator Heather Loeffler and art director Charles Kulsziski, does a great job with the look of Brandon‘s apartment that is quite colorless and cold in its look to exemplify his life. Costume designer David C. Robinson does fantastic work with the sound from the suits and clothes that Brandon wears to the more stylish array of wardrobe that Sissy wears such as her red hat and leopard-spotted coat. Sound designer Glenn Freemantle does brilliant work with the sound to capture the atmosphere of the locations including the way music is played at Brandon’s apartment.

The film’s score by Harry Escott is magnificent for the way it plays to the drama with its orchestral swell and arrangements that is just eerie as well as some more ominous pieces played such as Brandon‘s run across the city. Music supervisor Ian Neill does terrific work with the soundtrack as it features a mixture of classical music, dance-club music including disco pieces by Chic and Blondie along with Tom Tom Club, and a devastating rendition of New York, New York sung by Carey Mulligan.

The casting by Avy Kaufman is superb for the cast that is assembled as the film features some memorable small roles from Elizabeth Masucci as a working woman David tries to flirt with, Amy Hargreaves as a woman Brandon has sex with at a hotel, and Lucy Walters as the beautiful woman Brandon eyes at the subway. Nicole Beharie is very good as the secretary Marianne that Brandon tries to connect with in a non-sexual manner while James Bade Dale is stellar as Brandon’s energetic and charming boss David.

Carey Mulligan is astounding in her role as the very fragile Sissy as Mulligan brings a very fiery performance to a young woman that is a mess. There’s some humor to the way her character interacts with Brandon while there’s also a sadness to her. Notably Mulligan’s singing of New York, New York that displays her vulnerability as her overall work is truly one of the most devastating performances displayed for any young actress. Finally there’s Michael Fassbender in a towering yet harrowing performance as sex addict Brandon Sullivan. Unafraid to show himself naked, there is a wonderful sense of restraint to Fassbender’s performance in the way he looks at a woman as a possible conquest. There is also an intensity in the way he tries to vent his anger as well as a charm when he tries to connect with Marianne. It’s definitely Fassbender at his best in what is certainly a very difficult yet mesmerizing performance for the Irish-German actor.

Shame is a hypnotic yet disturbing drama from Steve McQueen featuring two marvelous performances in Michael Fassbender and Carey Mulligan. The film is definitely not for everyone’s taste as it is a very adult film in terms of its strong themes of addiction and human fragility. Particularly with the sexual content that doesn’t play out in being sexy rather in exemplifying a man’s troubled life. In the end, Shame is a stylish yet exhilarating film from Steve McQueen.

Steve McQueen Films: Hunger - 12 Years a Slave - Widows (2018 film) - The Auteurs #52: Steve McQueen

© thevoid99 2011

Hunger (2008 film)

Directed by Steve McQueen and written by McQueen and Enda Walsh, Hunger is the true story about IRA volunteer Bobby Sands leading a hunger strike at the Maze prison. The film is an exploration into a man trying to fight for what he believes in as he leads a wave of protest against the British. Starring Michael Fassbender as Bobby Sands along with Liam Cunningham. Hunger is a brutal yet harrowing portrayal of the 1981 Maze hunger strike from Steve McQueen.

It’s the winter of 1981 as a new IRA prisoner in Davey Gillen (Brian Milligan) has entered Maze prison where he shares a dilapidated cell with Gerry Campbell (Liam McMahon) as they’re currently on protest without washing themselves or their cells and refuse to wear clothes. The protest goes for quite a longtime as leading the pack is Bobby Sands who continues to fight off guards and prison riot officers after getting his hair cut horribly by guard Raymond Lohan (Stuart Graham). With their protest against the British failing once again, Sands talks to Father Dominic Moran about life and such and his reasons to hold a hunger strike as he’s willing to fight to the death for the cause.

The film is essentially a look into the 1981 Maze prison protests where Bobby Sands and a group of IRA prisoners take part in a series of protests that culminates with a hunger strike that lasts seven months and would cost lives in the process. Throughout the film, there’s looks at various characters including a few prisoners, their families, and a guard all in the first act before the film properly introduces Sand. The script that Steve McQueen and Enda Walsh create is a study of what was going on at the time and what eventually drove Sands into leading a hunger strike. While there’s not a lot of dialogue present in the film, with the exception of Sands and Father Moran’s conversation, the script does study of what Sands tries to do for the IRA cause and how would lead this hunger strike.

McQueen’s direction is very unflinching in how he presents the violence and the situations these men go through as prisoners. Living in cells where it’s literally covered in human shit as they refuse to wear clothes and clean themselves up as they sport beards and long hair. They would spill whatever urine they have on bowls to mess up the prison floor just to piss off the guards. Yet, the guards would beat them up with nightsticks, fists, or anything they can find but the prisoners can take it. There is nothing safe about the way McQueen presents the violence or the conditions these prisoners lived in. There’s a lot handheld shots in these violent moments while the camera is always showing something whether it’s from afar or very close to the action.

For the non-violent moments, McQueen’s direction ranges into various styles such as an unbroken shop of a guard mopping that goes on for a few minutes till he is close to the camera. There’s also lingering shots of nature scenes to comprehend the world that Sands is thinking about as well as a few shots of suburban homes in Northern Ireland as the film sort of begins with Raymond Lohan starting his day as he checks for car bombs under his car and then getting ready to work. It’s McQueen way of emphasizing what these guards are facing as a war is still indicated by the opening shot of protesters banging metal against the pavement. Then there’s this conversation scene between Sands and Father Moran where it’s this 17-minute unbroken take that has the camera remain still from afar for this conversation. While the whole scene takes more than 20 minutes, the 17 minutes of this one continuous shot is an indication of how engaging the direction is as McQueen creates a mesmerizing yet chilling film.

Cinematographer Sean Bobbitt does a brilliant job with the film‘s colorful cinematography from the dark yet haunting look of the shit-covered prison cells to the intense yet entrancing look of the hallways and visitor rooms that the prisoners would often see. Editor Joe Walker does an incredible job with the film’s editing in utilizing jump-cuts and other rhythmic cuts to emphasize the intensity of the violence along with more straightforward yet stylish cuts for the rest of the film in its methodical pacing. Production designer Tom McCullough and art director Brendan Rankin do brilliant work with the look of the prisons and shit-covered cells including the home of Raymond Lohan.

Costume designer Anushia Nieradzik does an excellent job with the look of the prison guards uniform as well as casual yet old-school clothes that the prisoners families wear. Makeup and hair designer Jacqueline Fowler does superb work with the look of some of the characters from the long shaggy hair to the look of the bruises they sport. Sound designer Paul Davies does a magnificent job with the sound work to capture the raucous nature of the prison including the riot guard beating scene and their chants which are truly intense to hear. The film’s music by David Holmes and Leo Abrahams is wonderful as it‘s only used sparsely in the film for a flashback scene as well as plaintive piano piece for the closing credits.

The casting by Gary Davy is terrific for the ensemble that is created for the film that includes small roles from Ben Peel as a young riot prison guard, Des McAleer and Helen Madden as Bobby’s parents, Ciaran Flynn as a young Bobby, Frank McCusker as the prison governor, Karen Hassan as Gerry’s girlfriend, Liam McMahon as the Gaelic-spouting Gerry Campbell, Stuart Graham as the tough prison guard Raymond Lohan, and Brian Milligan as the young prisoner Davey Gillen. Liam Cunningham is excellent in a wonderful supporting role as Father Dominic Moran who tries to deal with Sands’ decision for the hunger strike.

Finally, there’s Michael Fassbender in an enthralling performance as Bobby Sands. Fassbender’s performance is truly eerie in the way he allows himself to get beaten and be exposed while that conversation scene has him commanding it word for word. It’s a performance for the ages as Fassbender also brings a chilling physicality to the way he endures Sands’ hunger strike that is truly horrifying to watch in how Fassbender gets thinner with each passing moment. It’s definitely the performance that put Michael Fassbender’s name on the map.

The Region 1 DVD from the Criterion Collection in 2:35:1 theatrical aspect ratio for its widescreen format with 5.1 Surround Sound all supervised by director Steven McQueen. The film features numerous special features relating to the production of the film plus a BBC special on the Maze prison hunger strike and the film‘s theatrical trailer.

Steve McQueen’s 18-minute interview has him talking about his background as an artist and his interest towards film as he used his background as an artist and his own knowledge of the Maze prison hunger strike to make the film. McQueen knew that he didn’t want to sugarcoat what happened nor wanted to take sides into the politics of the film. McQueen discusses the famous conversation as he wanted the audience to observe every word that is happening. It is truly a compelling interview of how McQueen approached the filmmaking while wanting to go into deep with this story about one of Britain’s catastrophic events.

Michael Fassbender’s thirteen-and-a-half minute interview with film critic Jason Solomons has Fassbender talking about McQueen’s approach to directing actors as well as his own performance in the film. Fassbender revealed the diet he took to lose the weight for the film as filming was delayed for Fassbender to lose the weight. Fassbender also talks about the 17-minute one-shot conversation scene where he and Liam Cunningham spent days rehearsing that conversation to get it right.

The thirteen minute making-of documentary features interviews with McQueen and Fassbender plus co-writer Enda Walsh and actors such as Liam Cunningham about the film. The actors talk about McQueen’s approach to directing actors and his yearning to make it feel real. Notably as a lot of them are Irish and knew that McQueen wasn’t going to make some conventional film about the 1981 hunger strike. Notably as Fassbender revealed that in order to play Sands, he avoided any personal knowledge about him so he can interpret the character himself.

The 45-minute episode of the BBC program Panorama entitled “The Provos’ Last Card?” explores Maze prison hunger strike and the reaction between the people in Northern Ireland. The news report reveals more about the tension between the British and Irish as the hunger strikes has caused a lot problems for both sides. Featuring interviews with Irish leaders of the time as well as an in-depth look into the IRA’s manifesto into what it takes to become part of the group. The episode is a wonderful yet insightful piece that history buffs should see about the real life events that was happening in relation to Steve McQueen’s film.

The DVD also includes a booklet that features an essay from film critic Chris Drake about the film entitled On the Threshold. Drake discusses the film and how different it was from other films about Ireland’s war with the British such as Ken Loach’s The Wind that Shakes the Barley and Paul Greengrass’ Bloody Sunday. The essay also talks about Steve McQueen’s background as an artist which allowed him to be part of a new generation of artists turned filmmakers that included Damien Hirst and Sam Taylor-Wood. Yet, Drake suggests that the film speaks more volumes for what was saying at the time in relation to what is happening in Guantanamo Bay and other political prisons as it’s a great essay to accompany a great film.

Hunger is a powerful yet uncompromising film from Steve McQueen that features an astonishing performance from Michael Fassbender. While it’s not an easy film to watch due to the visceral approach to violence as well as McQueen’s emphasis not to sugarcoat anything. It is still a film that allows the viewer to give an idea of what was going on at the time while not choosing any political sides to the hunger strike. In the end, Hunger is an extraordinary yet hypnotic film from Steve McQueen.

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© thevoid99 2011