Phantom Thread

Written, directed, and shot by Paul Thomas Anderson, Phantom Thread is the story of a fashion designer who finds his muse in his need to design clothes for women during period of couture in 1950s London. The film is an exploration into the world of fashion and a man’s desire to create the perfect clothing for women as well as dealing with the women in his life who want what is best for him. Starring Daniel Day-Lewis, Vicky Krieps, and Lesley Manville. Phantom Thread is a ravishing and evocative film from Paul Thomas Anderson.

The film follows a fashion designer who creates clothes for some of richest and most powerful women in London during the 1950s as he finds a muse in a waitress from the British countryside as he has her modeling clothes for her as well as have help create these dresses. Along the way, the character of Reynolds Woodcock (Daniel Day-Lewis) deals with his need to create the perfect dresses with his sister Cyril (Lesley Manville) looking over the business and ensuring everything goes well. Even as they deal with the new presence in their house in Alma (Vicky Krieps) who would work sewing these dresses as well as be a model. Yet, Alma wants to do more not knowing about Woodcock’s routines as it’s something he needs in his time to create. Paul Thomas Anderson’s screenplay doesn’t just explore the obsession and need to create perfection in these dresses but also the need to feel appreciated for his work as he often works for some of the most important women in Europe.

While much of the film’s narrative is told from Alma’s perspective as she tells the story of how she met Woodcock one day when he goes to the country. It also establishes the world that Woodcock lives in as he spends much of his time during breakfast sketching ideas for dresses with Cyril sitting by silently knowing not to make any noise during that time. It’s something Alma would eventually understand as she would also realize she isn’t the first person to become a muse for Woodcock as they come and go. Her simple beauty and naiveté is what would attract Woodcock to her as he takes her to his country home after dinner to have her try on a dress with Cyril making notes of her measurements. She wouldn’t just be a muse/seamstress for Woodcock while working with other seamstresses but also someone who appreciates what he does when a dress he makes for one of his rich clients is treated with disrespect that angers Woodcock.

While much of the film’s narrative is straightforward, it’s Anderson’s study of the characters that are unique where he establishes them as who they are and the role they play into this very demanding world of high fashion. Woodcock is the artist who takes his time trying to create these gorgeous dresses as he would spend days to weeks trying to figure out the right material and measurements. Cyril’s role is in the business as well as making sure everything is in place where her brother isn’t distracted though she has to remind him of the people he’s working for as they pay for the house they live in. Though Cyril is a bit wary of Alma’s presence, she is welcoming to it to ensure that her brother can get ideas but warns Alma of disrupting routines and to not create any kind of chaos that could be surprising. Alma is someone who does follow the beat of her own drum as she wants to be more than just a collaborator to Woodcock. Yet, she would become frustrated as it would occur late in the second act through a simple act as it would play with Woodcock’s own state of mind and later his own emotions that would come to play in the film’s third act.

Anderson’s direction does bear elements of style in terms of the compositions he creates but also display an air of simplicity in the way he presents this very posh world of couture fashion. Shot largely on location in London and various parts of Great Britain along with bits of Switzerland, Anderson would display this world with a meticulous approach to his close-ups in how dresses are sewn as well as the great attention to detail in the measurements as well as the type of fabric that is needed. While there are also some wide shots for some of the film’s locations and a few of the dramatic scenes in the film. Much of Anderson’s direction emphasizes on close-ups and medium shots to play into the interaction with the characters as well as these elements of precise movements of how people come into the Woodcock house. Even as Anderson establishes the importance of Woodcock’s routine from the moment he gets out of bed, the clothes he decides to wear for the day, doing his sketches during breakfast, and working with his seamstresses on the dresses as he treats them quite fairly.

Also serving as the film’s cinematography, Anderson would try to capture every bit of detail into the look of the film including the way dresses are presented under natural lighting as the photography kind of harkens back to the days of Technicolor of the late 1940s/early 1950s. For the scenes in the countryside, it is presented in a much more different light where Anderson goes for something that is more natural as it would emphasize the growing tension between Woodcock and Alma. Notably in the third act where despite their fondness for each other, their differences in age and social backgrounds would come into play such as a New Year’s Eve party sequence is where Alma fits totally right in with Woodcock feeling out of sorts. Anderson’s usage of wide shots and tracking camera shots play into Woodcock’s own confusion that would eventually force him to contend with changing times that would emerge in fashion during the 1950s. Still, Anderson focuses on the relationship between the creator and his muse and the role they play for each other with Alma playing a role that is bigger than she realized. Overall, Anderson crafts an intoxicating and rapturous film about the mind of a fashion designer and the muse who inspires him.

Editor Dylan Tichenor does brilliant work with the editing as it display elements of style in its approach to jump-cuts and dissolves while knowing when not to cut during some of the film’s dramatic moments that includes some tense scenes in the third act. Production designer Mark Tildesley, with set decorator Veronique Melery and supervising art director Denis Schnegg, does amazing work with the look of the Woodcock home in London as well as the house in the country and some of the places he, Alma, and Cyril go to. Costume designer Mark Bridges does incredible work with the costumes from the look of Woodcock’s suits and clothes that he wears to the gorgeous dresses that he creates as it looks and breathes color where they act as characters of their own as it’s a major highlight of the film. Makeup designer Paul Engelen does fantastic work with much of the film’s minimal makeup that play into the style that women wore during the 1950s.

Special effects supervisor Chris Reynolds and visual effects supervisor Marc Massicotte do terrific work with a few of the film’s visual effects as it mainly consists of set-dressing for a few of the film’s locations. Sound designer Christopher Scarabosio and sound editor Matthew Wood do excellent work with the sound from the sparse approach to how objects sound during breakfast which would annoy Woodcock to some of the quieter moments in the film. The film’s music by Jonny Greenwood is phenomenal for its rich orchestral score with elements of lush string and piano pieces in the film that add to the elegance of the times while the music would include some classical pieces as well as some of the pop standards of the time before the arrival of rock n’ roll.

The casting by Cassandra Kulukundis is marvelous as it feature some notable small roles from Camilla Rutherford as Woodcock’s muse early in the film, Lujza Richter as the Belgium royal Princess Mona Braganza, Gina McKee as one of the Woodcock’s rich clients in Countess Henrietta Harding, Silas Carson as a rich man in Rubio Guerrero, Harriet Sansom Harris as a rich woman that is marrying Guerrero only to take poor care of the dress that Woodcock created, Emma Clandon as the picture of Woodcock’s mother, and Brian Gleeson as Dr. Robert Hardy as a young doctor who comes in to look over Woodcock as he befriends Alma. Lesley Manville is remarkable as Cyril as Woodcock’s sister and business manager who runs everything as well as ensuring that her brother’s routine keeps on going while being sympathetic to Alma’s needs in wanting to loosen things in his life.

Vicky Krieps is radiant as Alma as a young waitress who becomes Woodcock’s new muse/collaborator as she helps run bits of the household and does what she needs to be done as it’s a performance that has this mixture of naiveté and curiosity of a simple woman in a world that she’s new to but understands her role but wants to do more. Finally, there’s Daniel Day-Lewis in a tremendous performance as Reynolds Woodcock as this fashion designer that is intent on creating the best dresses for some of the most important women in the world. It’s a performance that has Day-Lewis provide bits of humor into his performance but also this air of obsession to achieve perfection with great care as well as displaying something has him be aloof in small moments. Day-Lewis would display amazing chemistry with Krieps and Manville in the way he deals with them while also showing vulnerability in the scene where Woodcock talks to Alma about his mother and her wedding dress which is something he cares so much about. If this performance is to be the last performance that he ever does. At least he is going on top.

Phantom Thread is a spectacular film from Paul Thomas Anderson that features great performances from Daniel Day-Lewis, Vicky Krieps, and Lesley Manville. Along with its gorgeous visuals, breathtaking costumes, intricate sound design, and Jonny Greenwood’s sumptuous score. It’s a film that explores a world that is unique in its time and a man’s willingness to create something special with the help of a young woman from another world. In the end, Phantom Thread is a magnificent film from Paul Thomas Anderson.

P.T. Anderson Films: Hard Eight/Sydney - Boogie Nights - Magnolia - Punch-Drunk Love - There Will Be Blood - The Master - Inherent Vice - Junun - Licorice Pizza - One Battle After Another

Related: The Short Films & Videos of P.T. Anderson - The Auteurs #15: Paul Thomas Anderson

© thevoid99 2018

Wonderland (1999 film)

Originally Written and Posted at Epinions.com on 5/27/07 w/ Additional Edits & Revisions.

Directed by Michael Winterbottom and written by Laurence Coriat, Wonderland is an ensemble-based feature about three sisters and their parents preparing for Guy Fawkes Day while dealing with their own individual lives. The film reveals the dysfunctions and loneliness in family life as sisters often coming together to talk about real-life problems. With an all-star cast that includes Gina McKee, Molly Parker, Shirley Henderson, Ian Hart, and Stuart Townshend. Wonderland is a powerful, poignant family drama from Michael Winterbottom.

It's another typical Thursday night for Nadia (Gina McKee) as she looks for love at a party. Her older sister Molly (Molly Parker) is late in her pregnancy as she talks to her older sister Debbie (Shirley Henderson) who is dealing with life as a singler mother to her 11-year old son Jack (Peter Marfleet). While Nadia would often babysit Jack for Debbie who is also trying to find love after divorcing Dan (Ian Hart), Nadia's love-life gets a boost when she meets a photographer named Tim (Stuart Townshend). Outside of London, the youngest brother of the sisters in Darren (Enzo Cilenti) is taking a trip with his girlfriend Melanie (Sarah-Jane Potts) as he's been estranged from his family for years. Their parents in Eddie (John Simm) and Eileen (Kika Markham) are going through issues over Eileen's frustrations towards a barking dog next door.

A young shy man named Franklyn (David Fahm), whom Nadia sort of knows, is trying to live alone while Molly's husband Eddie (John Simm) is dealing with the upcoming birth of his first child as he finds himself unhappy with his job. It's Saturday where Dan takes Jack for the weekend while Debbie is at work where things don't go well due to Dan's lack of attentiveness towards Jack. Molly learns that Eddie has quit his job as he wanders around London as she becomes very emotional over what is going on. Notably as Nadia's date with Tim doesn't go well while her parents' marriage is falling apart after Bill decides to spend a day with Eileen's friend Donna. With Eddie still gone, Nadia and Debbie try to comfort Molly while Nadia's bad date with Tim has her thinking about an encounter with Dan. Jack is suddenly missing where the family comes together despite all of the turmoil that is happening.

While family life isn't always easy and at times, very lonely. Director Michael Winterbottom chooses to convey realism in a documentary-like fashion in his approach to the film. The theme of the film is indeed loneliness and the urge to connect with people. A family as unique as the ones in this film are portrayed with sympathy and complexity. They don't make the right choices sometimes and they let things get in the way.

Yet, Winterbottom lets the audience to relate to the characters and get to know them in the film's first act. The structure of the screenplay is set on a weekend where the Thursday-Friday segment reveals on who these people are and how they're dealing with everyday stuff. The second act reveals more of those troubles and alienation and this is where the story really begins. By the third act, we see everyone be more human as well as secrets into why this family who aren't often together trying to seek some form of happiness.

It's Winterbottom's direction that really brings life to the film. He observes every moment captured on film. Whether it's Franklyn wanting to get the attention of Nadia, Nadia seeking love, or Eddie struggling with the arrival of a child and a huge responsibility that comes with it.

It's in that direction, that is almost similar to the improvisation styles of both Britain's Mike Leigh and the late American director Robert Altman, where the audience get to see these characters and how they're connected in some way. Even the shots of London reminds the audience of where they are and how vast this city is where people try to find something and as big as it is, it's also easy to feel very lonely there. Winterbottom surpasses the expectations of what is needed in a family drama or an ensemble drama. He chooses to capture a moment, even when audiences know it's going to be happy or sad.

Helping Winterbottom in his documentary-like vision is cinematographer Sean Bobbitt. Using 16mm film and with low light, the film has a grainy yet homemade feel that adds not just a sense of realism but also style as if the audience themselves are immersed in the moments. Bobbitt's photography is exquisite in its authenticity that includes for the fact that all the camera work is hand-held. Production designer Mark Tildesley helps create the look of working-class London with its array of appliances and such along with the pictures and posters that surround Franklyn's room. Costume designer Natalie Ward also adds to the look of the working-class by not choosing anything flashy or expensive but rather the clothes that everyday people wear.

Editor Trevor Waite brings a lot of style to the film's editing with some wonderful speed sequences to convey the energy and loneliness of the characters while slowing things down at times. With uses of jump-cuts and perspective cuts, the editing is stylized yet works to convey the drama and observation of Winterbottom's direction. Sound editors Louis Bertini and Ian Wilson help capture the feel of London with natural sounds and a feel from the fireworks and the noises that the audience can feel right at home.

The film's soundtrack features cuts by acts like Pulp, Massive Attack, James, Faithless, the Jam, Ali, Alisha's Attic, and Dusty Springfield. The songs in the film are often played in the background on a radio or something just to give it a feel of realism or as someone's personal soundtrack. A lot of the music is performed by composer Michael Nyman. Nyman's score is really a highlight of the film. Nyman adds a somber yet delicate touch to some of the film's piano cuts to convey the loneliness and struggles of everyday life. Then there's his orchestral work with is filled with huge arrangements and power that isn't manipulative or overdone. It's very real and also emotional to convey where the characters are at the point of the story. If there's anyone other than Winterbottom that should be commended for his work, it's Michael Nyman.

Then there's the film's wonderful ensemble cast features memorable small performances from Sarah-Jane Potts as Darren's girlfriend Melanie, Ellen Thomas as Franklyn's frustrated but caring mother Donna, and Ian Hart as Jack's irresponsible, pub-going father Dan. Peter Marfleet is great as the neglected Jack who is forced to fend for himself when his own father isn't doing a lot while having to grow up quickly that his parents aren't always there despite the fact that they along with his immediate family do care for him.

Enzo Cilenti is also good as Darren, the son who is estranged from the family as he spends the weekend with his girlfriend though is desperate to reconnect with the family he left. Stuart Townshend is also in fine form as a flirtatious photographer who seems to be the right guy for Nadia but is also very shady in his own intentions. David Fahm is excellent as the shy, lonely Franklyn who often hides in his own room while often seeing Nadia from afar as he tries to find the courage to speak to her.

Kika Markham is excellent as Eileen, a frustrated, agitated woman who seems to find fault in a lot of things while dealing with a barking dog next door. Jack Shepherd is also excellent as Bill, who seems to be overwhelmed in his rocky marriage as well as being the only man in the house. Shepherd's performance is amazing for how he tries to deal with all the turmoil as well as his wife's own cruelty. John Simm is great as Eddie who is trying to deal with the new changes in his life while wandering London looking for some answers about his upcoming new role as a father.

Molly Parker is amazing as the pregnant Molly who is anxious awaiting for her new child but when she learns Eddie quits his job and disappears, Parker's performance is amazing in reveal her sadness and anger. Shirley Henderson is also great as the eldest yet irresponsible Debbie who is more interested in sleeping with other man than taking care of her own son. When Jack gets lost, Henderson reveals the depth of her performance as she realizes her own faults and such. Gina McKee is also great in her role as the youngest sister Nadia who seeks companionship with men only to find disappointments and heartbreak while dealing with her own role as a sister, aunt, and daughter.

Wonderland is a powerful yet very complex family-ensemble drama from Michael Winterbottom. The film is among one of Winterbottom's finest films as well as a truly intricate and compelling portrait of a dysfunctional family told with many layers by screenwriter Laurence Coriat. Featuring a truly outstanding ensemble cast, it is truly one of the great films of the 1990s as Wonderland is an engrossing yet hypnotic film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2012

In the Loop

Based on the British TV show The Thick of It, In the Loop is the story of a British government official who makes an offhand comment on TV as things go out of control as both American and British government officials try to sort things out as they’re on the verge of a war with the Middle East. Directed by Armando Iannucci and written by Iannucci, Jesse Armstrong, Simon Blackwell, and Tony Roche with additional material from Ian Martin. The film is a black-comedy satire that explores the backstage world of politics as people try to prevent or start a war. Starring Peter Capaldi, Tom Hollander, Gina McKee, Mimi Kennedy, Anna Chlumsky, Chris Addison, Steve Coogan, David Rasche, and James Gandolfini. In the Loop is a whimsical yet very witty political comedy from Armando Iannucci.

After an interview with International Development minister Simon Foster (Tom Hollander) for the BBC goes bad due to comments made by Foster. Malcolm Tucker (Peter Capaldi), the director of communications for the prime minister, goes on damage control over Foster’s comments as he confronts Foster and communications director Judy Molloy (Gina McKee) over what happened. With Foster’s comments getting into more trouble about a possible war happening, it only worsens when U.S. officials led by U.S. Assistant Secretary of State for Diplomacy officer Karen Clark (Mimi Kennedy) visits where Foster attends the meeting and becomes mocked.

Tucker sends Foster and his new assistant Toby (Chris Addison) to Washington D.C. to meet up with Clark and U.S. Assistant Secretary of State for Policy official Linton Barwick (David Rasche) for a meeting with war council that’s to include Lt. General Miller (James Gandolfini). Foster and Toby deal with Clark and her assistant Liza Weld (Anna Chlumsky) as Clark wants Liza to get some information from Toby whom they had known each other since college. After a meeting with the war council where Foster ends up looking more like a fool and information is leaked to the press. With Foster and Toby working for a local constituent building where they deal with a local (Steve Coogan), Toby gets himself into trouble while Foster’s shenanigans has his being mocked by the press.

With Tucker sending Foster and Toby back to the U.S. where they’re to travel to New York City for a United Nations meeting, Tucker and Molloy join them while Tucker sends Senior Press Officer Jamie MacDonald to find out who sent out the leak. The brash MacDonald confronts Diplomacy Director of Foreign Office official Michael Rodgers (James Smith) and Rodgers’ secretary Suzy (Olivia Poulet) about the leak while Foster makes a decision about his political career. In the U.N., more complications arose as Foster becomes aware of what he’s been doing while Tucker would make moves that would help save face for the British government.

The film is a satire on political strategy that involves the mistake of an official’s comment leading to problems between U.S. and British relations as they all try to smooth things out. In a game of manipulative politics, a communications director gets this official in the U.S. along with an assistant where they end up being played in a game of strategy where the U.S. try to be on top of things. The screenplay delves into this world where everyone in the game of politics try to outdo who while using people in the process for their own gain. Throughout the film, there’s characters who clearly find out they’re being used while some are willing to be involved.

The script is also very multi-layered for the fact that there’s a lot of characters with overlapping dialogue along with back-and-forth narratives that revolve around both British and U.S. political strategies as each faction figure out what to do. With a lot of the dialogue being fast, stylized, and often crass due to the more aggressive characters in the film. It adds to who these people are as they’re doing damage control where they become very confrontational and vulgar as they’re all trying to protect their territory. Caught in the middle of this damage control is this official who finds himself becoming a pawn as he would become more confused by the world of politics.

Armando Iannucci’s direction is truly engaging to watch in the way he goes for this very offbeat, cinema verite style that has a lot of intimate moments on the conversations where the camera is always there to see what is going on. Even if it involves someone in the background watching where Iannucci knows that a character in the background is either a target or is about to do something that will shake things up. While the film is essentially a satire, Iannucci doesn’t stray into silly gags or parodies but rather go for small moments of silliness while letting the actors just go all out in the characters they play no matter how despicable or idiotic they are. Overall, Iannucci creates a truly superb and very funny film about political damage control.

Cinematographer Jamie Cairney does an excellent job with the film‘s cinematography providing differing looks to the British and American locations with the British interior and exteriors being a bit more grimy while the American set pieces having more lights to complement their personalities. Editors Ant Boys and Billy Sneddon do nice work with the editing by capturing a lot of the intensity of the conversations that goes on with some rhythmic cutting as well as straightforward cuts to play up the more intimate moments of the film. Production designer Cristina Casali, along with set decorator Clare Keyte and art director Nick Dent, does fantastic work with the set pieces such as the offices of the British officials to the more spacious offices and conferences rooms of the American officials to contrast the two differing world of politics.

Costume designer Ros Little does a terrific job with the costumes in maintaining a look for all of the characters wearing suits and all sorts of business attire while Lt. General Miller maintains a uniform to emphasize his intimidating persona. Sound supervisor Tim Alban does a fine job with the sound to capture the intimacy of some of the private conversations to the more raucous world of the board meetings and such that occur in the film. The film’s score by Adem Illhan with the Elysian Quartet is pretty good as it’s very low-key with plaintive piano pieces to more thrilling orchestral arrangements to play up the humor and more tense dramatic moments of the film.

The casting by Sarah Crowe and Meredith Tucker is brilliant for the ensemble that is created for this film. In small but notable roles, Zach Woods as brown-nosing junior staffer, Paul Higgins as the very angry Scottish official Jamie MacDonald, Olivia Poulet as Toby’s girlfriend/civil servant Suzy, James Smith as a classical-music loving diplomacy director, Alex MacQueen as the British representative for the U.N., and Steve Coogan as angry local upset over a wall that’s to collapse on his mother’s garden. Anna Chlumsky is very good as the ambitious assistant Liza whose paper about war gets her a lot of attention while David Rasche is excellent as the smarmy U.S. official Linton Barwick. Gina McKee is wonderful as a communications director who helps try to smooth things out while Mimi Kennedy is terrific as a diplomacy official who tries to use Foster for her own gain.

Chris Addison is a delight to watch as the naïve assistant who goes way over his head in trying to help out Foster only to end up being a key player to further complicate matters. James Gandolfini is great as Lt. General Miller as a man unsure of his role while not wanting to go to war as he also tries to use Foster for his own political reasons. Tom Hollander is amazing as political official Simon Foster who unknowingly creates an incident where he becomes a pawn in a political game furthering his confusion about his role in politics. Finally, there’s Peter Capaldi in a magnificent performance as the ambitious yet terrifying Malcolm Tucker who bullies his way to do damage control while always being very intimidating to officials whether its British or American.

In the Loop is an extraordinary yet humorous film from Armando Iannucci. Featuring a fantastic ensemble cast led by Peter Capaldi, it’s a film that explores the world of foreign relations with biting satire and brash humor. While it’s not an easy film to follow through in terms of its subject matter and unconventional approach to comedy. It is the kind of film that is willing to explore the fallacy of politics and do it in a very witty manner. In the end, In the Loop is a masterfully-crafted comedy from Armando Iannucci.

Related: The Death of Stalin

© thevoid99 2012

Naked (Expanded Criterion DVD Review)

Originally Written and Posted at Epinions.com on 8/23/05 w/ Extensive Revisions & Additional Content.

One of Britain's most celebrated and independent directors, Mike Leigh has made most of his films surrounding the working class and their dysfunctions around the world. Starting out with small features for BBC and for British cinema, Leigh's early films contained mostly dramatic insights on British, working-class citizens from the early 70s to the 80s. In 1989, Leigh finally gained international recognition with his 1989 drama High Hopes which was a satire of British society in the post-Margaret Thatcher world. 1990's Life is Sweet also showed his dark view of society by having a bulimic woman as his protagonist. Then in 1993, Leigh shook things up even more with a far more controversial film about an unemployed philosopher who embarks on a journey around his surroundings while belittling those who are weaker to him entitled Naked.

Written and directed by Leigh, Naked is a journey of sorts about a disenfranchised man who doesn't have a job but has an intellectual charm as he grabs a car, meets his ex-girlfriend's roommate, and wanders around London talking philosophy and having his way with women. The film is also a commentary on the post-Thatcher society where Britain is still in chaos with its protagonist meandering about everything he can think of while dealing with people in an emotional and mental way. Starring David Thewlis, Katrin Cartlidge, Lesley Sharp, Greg Cruttwell, Claire Skinner, Ewen Bremner, Gina McKee, and Susan Vidler. Naked is a brutal, harrowing journey that questions the moralities of the world through its troubling protagonist.

After raping a woman and stealing a car, Johnny (David Thewlis) drives from Manchester to London to meet up with his ex-girlfriend Louise (Lesley Sharp). Arriving at her flat, Johnny meets Louise's roommate Sophie (Katrin Cartlidge) where they befriend each other as they wait for Louise who isn't happy to see Johnny. While Sophie enjoys having Johnny around, Louise isn't sure though he isn't a totally bad guy in comparison to their brutish landlord Jeremy (Greg Cruttwell). After Sophie gets too close, Johnny leaves to venture around London as he encounters various people including an angry Scot named Archie (Ewen Bremner) and his girlfriend Maggie (Susan Vidler).

With Johnny's encounters with various people having go into existential and spiritual discussions as he converses with a nightwatchman named Brian (Peter Wight). The two men see a woman (Deborah MacLaren) where Johnny has sex with her as she struggles with her fading looks. Johnny continues to wander around London as he flirts with a depressed waitress (Gina McKee) and harass a chauffeur (Robert Putt) while going into various discussions about everything and anything. Back at Louise's flat, Jeremy pretending to be another man asks Sophie about another roommate named Sandra (Claire Skinner). Sophie's encounter with Jeremy proves to be horrifying as he's already harassed a masseuse (Carolina Giametta) and raped a waitress (Elizabeth Berrington).

When Louise returns home to see Jeremy, she and Sophie wait for Johnny to return only to see him beaten and battered. With Sophie more intent to cling onto Johnny, Louise deals with Jeremy while awaiting Sandra's return.

When watching a film like this right in front of you, do not expect to have any likeable or happy-like moments. Leigh's aim for the film is simply to convey a brutality driven by bleakness and the question of existence. In some ways, the film is also like The Odyssey by Homer, which was referenced in the film, since it's about a man's journey through London in trying to find answers about humanity while challenging those with his view of the world. It's not a film to watch at first viewing but it does leave the viewers talking. The film's treatment of women will definitely be something that many of its female viewers will be offended by but Leigh isn't being sexist since some of his characters are heroines. The treatment on women from the viewpoint of Johnny and Jeremy. Johnny may be abusive but he actually listens to women and comforts them with his charm and wit. Jeremy though is a full-on misogynist who takes carnal pleasure in abusing women.

Leigh's been known for making a film, getting his actors together, and not bringing in a script leaving actors to improvise. That improvisation seems to work where the actors have a sense of themselves in what they want to do for the character while remaining true to the story. The film has several themes to pin-point on whether it's about the existence of humanity and conformity which is something Johnny wants to rebel against since he doesn't want to live by society's rules. The film may have a bleak outlook on the world and humanity, particularly in post-Thatcher Britain but Leigh chooses to try to find some glimmer of hope in the eyes of one man.

Leigh's improvisational writing and viewpoints that is in his script plays to his directing style since he aims for a gritty, brutal approach that makes the audience uncomfortable. Leigh is definitely confrontational in his directing style and his choices of locations for London and Manchester is inspiring for the fact that he refuses to show any kinds of landmarks and famed streets. Instead, Lee goes for the nitty-gritty by showing depressing places and dirty streets. It's really a film of the streets. Helping Lee capture that vision is his longtime cinematographer Dick Pope who brings a grainy, natural quality to the film without any kind of artificial light or anything glossy. Pope chooses to shoot London as it is as if the audience is there which is very colorless and very gray.

Helping the film in its interior looks of the apartments are production designers Alison Chitty and Steven Jones-Evans and art director Eve Stewart who decorate the film with such things for the characters whether it's the Greek statues or the anatomy posters for Sandra. Costume designer Lindy Hemming also shines for his drab, ordinary clothing for most of the cast but a Goth-punk like look for Sophie, and all black, trench-coat style look for Jeremy that is a precursor to what he would do with Batsuit in Batman Begins. Editor Jon Gregory manages to pull in a tight, leisurely-paced editing style to the film that makes the 130-minute feature seem to go with ease where Leigh's direction helps draw the audience into what's going on. The musical score of Andrew Dickson also captures the bleakness of its melancholia with its piano and harrowing string arrangements.

The film's large cast is wonderfully inspiring, especially if they're in a Mike Leigh film where they're given freedom to put themselves in characters. With such small stand out roles from Carolina Giammetta and Elizabeth Berrington as the women who are harassed by Jeremy to the roles of Darren Tunstall and Robert Putt as the working men that Johnny annoys. There is a wonderful moment in those performances including memorable ones from Ewen Bremner and Susan Vidler as the Scottish couple who are so dirty and misled, it's no wonder that Johnny takes pity on them though Bremner is more memorable for his twitch. Deborah MacLaren is excellent in her performance as the woman in the window who is desperately trying to relive her youth in a very powerful performance. Gina McKee is also amazing as the depressed cafe` waitress who is very sad by her loneliness as she is one of the rare women Johnny seems to take pity on without being abusive.

Peter Wight gives a memorable and excellent supporting performance as Brian, a morally night-watchman who listens to Johnny but is still convinced that there is more out there than Johnny's bleak view of the world. Wight makes his character more than just another of Johnny's intellectual conquest since he knows that Johnny has some great insight but he is really the shining light that Johnny doesn’t want to believe. Leigh regular Claire Skinner is excellent in her brief appearance as the uptight Sandra who couldn't believe in the state of things as she arrives in the final act of the film. Skinner's brief appearance is memorable for the fact that she is different from Louise and Sophie in terms of responsibility. Greg Cruttwell is wonderfully nasty and vile as Jeremy with his hatred towards women and his control in a performance that audiences will love to hate. Cruttwell brings in every ounce of disgust and obscene behavior that it's very convincing in a very disturbing performance.

The late Katrin Cartlidge is amazing as the aloof, stoned, desperate Sophie who seems to find the answer in her relationship with Johnny despite his flaws. Yet when Johnny leaves and she is forced to deal with Jeremy, she realizes her vulnerability and her own regrets into her lifestyle as she depends more and more on Johnny in a performance that is amazing for the gifted actress who is sorely missed. Lesley Sharp is really the film’s strongest female performance as Johnny's ex-girlfriend who doesn't really like having him around yet she knows of his good qualities. Sharp holds her own in nearly every scene, especially around Cruttwell who tries to have his way with her but she gives a fearless confrontational performance as the rare heroine that is needed in the film.

Finally, there's David Thewlis in probably his best performance yet as the comical, intelligent, and sleazy Johnny. Thewlis uses his quick-wit and charming demeanor to win the audience over despite some of his abusive actions. Thewlis shines in every moment of the film as a man trying to discover the idea of existence while challenging the idea of why humanity is cease to be. There is never a dull moment in Thewlis' performance nor from the things he says since he says them in a profound, intelligent way. His scenes with the women in the film show the man in a rare form of sweetness despite the fact that he can be rough as he proves that by all means, he's not a good man but he’s not a bad one either. He's just a man as Thewlis brings balance to that kind of character.

***Additional Content Written from 7/30/11-8/5/11***

The 2005 2-disc Region 1 DVD (1-disc 2011 Blu-Ray) presents the film in its theatrical 1:85:1 widescreen aspect ratio plus Dolby Digital Stereo sound as part of a newly restored high-definition digital transfer that is supervised by its writer/director Mike Leigh. The first disc features the film plus English subtitles for the hearing impaired and its original theatrical trailer. The first disc also includes a feature-length audio commentary track from Leigh and actors David Thewlis and Katrin Cartlidge recorded back in 1994 when the film was released on laserdisc.

The commentary has Leigh talking about the film and his approach to directing and improvisation since he doesn’t really write any scripts. With Cartlidge joining him in some of the commentary, they talk about the film’s accusation of misogyny which as Cartlidge defends Leigh claiming that the critics who made those accusations are missing the point. Thewlis, on a separate recorded commentary, talks about Leigh’s approach to directing actors along with the fact that the film was largely shot on location. Notably as Thewlis said that trying to come up with things in the performance was hard as Leigh admits to shooting 26 takes of a key scene of Thewlis and Peter Wight having a conversation just so he can find the right tone.

Leigh also talks about why he opened the film with a rape scene which was to get people an idea of what character they would meet. Yet, that is eventually challenged by the Jeremy character as a way for people to find the good in Johnny as opposed to Jeremy. Leigh reveals that Greg Cruttwell, who plays Jeremy, is nothing like the character he plays as was really the nicest person on set. Cartlidge reveals that a lot of biographical information was made for the characters but Leigh chose not to reveal too much so the audience can interpret while Thewlis reveals that a lot of scenes were cut because of length reasons. The overall commentary is very informative and engaging about the film and Leigh’s unique approach to directing.

The second disc of the DVD features an array of special features relating to the film. The first is a twelve-minute interview with filmmaker Neil LaBute on the film. LaBute discusses the film’s themes as well as a couple of key characters in the film such as Johnny and Louise. LaBute reveals that the film is partially about isolation in a world where things don’t make much sense anymore as Johnny is a character who likes to shake things up. LaBute also talks about Mike Leigh’s approach along with the accusations critics have of Leigh being misogynistic which LaBute believes is untrue. It’s a very enjoyable yet relaxed interview from LaBute that really dwells into the brilliance of Naked.

The second featurette is a 30-minute excerpt from the British TV show The Art Zone where author Will Self interviews Mike Leigh about his filmmaking methods at Leigh‘s favorite pub in London. Leigh talks about parts of his career while Self opens the segment with his fascination towards Leigh’s work, particularly Naked. Leigh discusses the way he collaborates his actors where they discuss about trying to find the characters in the film so the actors can get a chance to figure out how to approach their role and make it their own. Leigh also refutes the accusations as a misogynist by stating that the women he work with are far tougher feminists than the ones who claim he’s misogynist. It’s a pretty compelling piece that is interesting though lags at time as it’s a great piece for any hardcore fan of Mike Leigh.

The last big special feature is a 17-minute short film entitled The Short and Curlies that stars David Thewlis and Alison Steadman. It’s the story about a drugstore clerk who falls for a young man as she talks to a chatty hairdresser who is dealing with her depressed daughter. It’s a very charming short with elements of humor with Steadman as the hairdresser and Thewlis as the young man who often spouts jokes. The short also includes a feature-length commentary track from Leigh where he talks about the short and performances. Most notably about the fact that it was Leigh’s first 35mm film since 1971’s Bleak Moments which would make him return to feature films. It’s a wonderfully witty commentary on Leigh who talks about the production and his emphasis into making this great short.

The DVD set includes a booklet that features two different essays about the film. The first is Desperate Days by British film critic David Malcolm. Malcolm talks about the film’s brilliance as well as the complexity of the characters in the dreary setting the film is in. Malcolm also talks about the fact that Leigh is critical to both men and women in this film while also being sympathetic to some of those characters with the exception of Jeremy. Malcolm’s essay is truly intriguing over the film that he believes is one of the best films to come out of Britain.

The second is essay entitled The Monster We Know from New York City film critic Amy Taubin. Taubin’s essay is about the film’s supposed misogyny which she believes is false as she focuses on Johnny and his behavior towards women which she thinks is much more complex. She also talks about Jeremy who is much more brutal and comes from a very different world from Johnny as Taubin’s essay is very compelling about the film’s study of men and their flaws. The overall work on the DVD is phenomenal as is it something that fans of Leigh should own.

***End of DVD Tidbits***

Naked is a brutal, confrontational, yet intelligently viable masterpiece from Mike Leigh led by David Thewlis' worldly performance. It is among one of Leigh's best films as well as his most confrontational about society and alienation. Still, this is not a film that is easy to watch but with repeated viewing, it becomes more understanding. Though many may not agree with the actions of the protagonists or Leigh's existential views, it is one of the most profound and powerful films of British cinema.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) - (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail's Party) - (Kiss of Death) - (Who's Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Secrets & Lies - Career Girls - Topsy-Turvy - All or Nothing - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

(C) thevoid99 2011