Steve McQueen’s film about a sex addict in New York, played by Michael Fassbender, will not be shown in Singapore. Censors there have demanded that certain scenes be cut. In particular, a graphic threesome involving Fassbender’s protagonist Brandon Sullivan and two women offended the authorities. Even after these alterations, Shame would only have been shown to those aged 21 and over. Faced with the prospect of his original work being butchered, McQueen has decided not to release the film in Singapore.
To which I say, good for him. The issue of censorship often only raises its ugly head above the parapet because of films like The Human Centipede or The Human Centipede 2. Such films are designed to shock and give the censors a problem. Many of them aim to be banned or controversially released, which will fuel curiosity and word of mouth. The filmmakers behind such gruesome, low budget projects know that turning their movies into forbidden fruit is far more effective than any marketing campaign their funds could afford. This is why a large chunk of film critics always argue, in the inevitably heated debate that follows any act of censorship, that the disgusting films should be shown to an adult audience, unedited, at the cinema. Without the allure of a ban, the argument goes, the films will flop at the box office and demand for them will fizzle out.
There are flaws to this view but this is beside the point. Shame is not shocking for the sake of it. There is nothing gratuitous about the sex and nudity. Every shot of a bare buttock or a naked nipple contributes to the overarching theme that defines Brandon’s life. Rarely is the sex erotic, it is simply there, a necessary part of existence. Shame is a gripping study of addiction, which needs to show the audience the everyday reality of its main character’s all consuming compulsion. In other words, the shocking bits on the screen during Shame are a by-product of characterisation and storytelling. Unlike The Human Centipede and its infantile class mates, Shame is a grown up film, with bags of artistic merit.
It really isn’t an exaggeration to talk about Shame as though it were a work of art. Steve McQueen’s background as an artist shines through in the camerawork from the very start. But I’m talking about more than the beautifully long shots of New York (that jogging scene!). There’s a reason that Shame caused such excitable critical buzz and won itself nominations during awards season. The film works well as a whole, despite having standout moments that sear themselves into your memory, like Carey Mulligan’s sensual rendition of ‘New York, New York’ or Fassbender’s brooding stares on the subway.
It’s a poetically tragic story at times, even with its sordid subject matter, which tackles a contemporary issue in society that remains a genuine taboo. The film’s title is incredibly apt and the runtime is confidently concise. Not a single scene is wasted. Sadly, by taking on a real and current issue that is rarely addressed, Shame became too raw to win big awards like Oscars and Baftas. American voters for the Academy Awards didn’t like confronting the harmful sexualisation of their society. This is a terrible shame (pardon the pun) because it’s the choice of issue that gives the narrative its overwhelming force and worth.
Clearly I appreciate McQueen’s artistry behind the camera, as well as his work on the script with Abi Morgan. But for me the real crime of the awards season was that Michael Fassbender did not win anything notable for his performance in Shame. Jean Dujardin was excellent in The Artist and Gary Oldman deservedly captured the British imagination with his role in Tinker Tailor Solider Spy. However, compared to what Fassbender does in Shame, these performances are mere imitation. Dujardin channels the spirit of silent cinema’s stars, whilst Oldman copies and slightly reworks Alec Guinness’ original interpretation of George Smiley. Ok, that’s harsh and inaccurate, but for me Fassbender trumps both of these outstanding examples of acting. He is the glue that holds all the masterful pieces of Shame together. His intensity is extraordinary, all the more so because of the way he offsets it with intimacy.
The best scene in the entire film, for me, is when Brandon tries and fails to be intimate. He whisks a work colleague away to a stunning penthouse on a whim. At first, he appears to be enjoying the fact that he knows this woman and they are not just meeting for sex. However, when she tries to make love to him, he cannot go through with it. He cannot cope with the eye contact, the kissing, the possibility of love.
To censor this scene would be utter madness. It would rob audiences of a sublime moment of cinema, a moment of truth, a moment of art. It is painful and awkward to watch, whilst also being captivatingly moving and real. Fassbender conveys frustration, vulnerability and dozens of other emotions, simply through glances, gestures and movements. The foreplay in this scene is so lifelike, playing out like a stumbling dance on the bed. For many, this will be the most erotic scene in Shame, because there is tenderness and seduction on offer, rather than a mere brutal release of pent up desire.
Shame should never be censored because everyone will have their own favourite scene. The ingredient that makes Shame feel more like art than an ordinary film is ambiguity. All art is ambiguous, open to multiple meanings and interpretations. Fassbender’s longing looks on buses and trains will be alluring to some, but repugnant to others. McQueen is right to deny the censors the chance to spoil any ambiguous component of his story. This film deserves and demands to be seen, but only as it was originally intended.
Battle of the Bonds: Michael Fassbender vs. Daniel Craig
Ok so I know technically Michael Fassbender isn’t a Bond but there was no way I was calling this anything else. If you’ve seen the new X-Men film you’ll know Fassbender essentially gives a super powered performance of our favourite suave secret agent. My review points out as much here.
Critics up and down this green and pleasant land are saying they’d like to see Fassbender play Bond in future. Some are even calling for the head of Daniel Craig now, just two films after Craig successfully rebooted cinema’s longest running franchise to acclaim from commentators and audiences alike. But the problem is Casino Royale was almost six years ago. Since then we’ve had the action packed disappointment of Quantum of Solace, in which Craig was still good but hampered and limited by a mostly naff script. We’ve also had the crisis of MGM delaying the release of Bond 23. All the while Craig has been ageing, the poor thing.
I am a huge fan of Craig’s interpretation of Bond but even I have to admit that he’ll be under pressure if Bond 23 doesn’t vastly improve on Marc Forster’s Quantum of Solace. Sam Mendes is at the helm and the signs are good but then most of us Bond fans were saying that on the web about the last one. Forster was supposedly a director who could tell a story but we were left with some decent action at the start, which felt like it was still part of Casino Royale, followed by a disappointing story with flashes of average action that was an unsatisfying epilogue to the reboot at best.
Because of the delays then, as well as the unstoppable onslaught of human decay, Fassbender has the edge on youth. His career is also shifting into a top gear; at a time when Craig’s is also attracting big enough projects that could tempt him away from Bond should the 23rd instalment prove be a sinking ship.
Enough build up. Let’s compare a few necessary requirements for an actor playing a 00 agent. Bonds do battle.
FILMOGRAPHIES
Fassbender:
300 (2006)
Eden Lake (2008)
Hunger (2008)
Town Creek (2009)
Fish Tank (2009)
Inglorious Basterds (2009)
Centurion (2010)
Jonah Hex (2010)
X-Men: First Class (2011)
Jane Eyre (2011)
Craig:
Casino Royale (2006)
The Invasion (2007)
The Golden Compass (2007)
Flashbacks of a Fool (2008)
Quantum of Solace (2008)
Defiance (2008)
Cowboys and Aliens (2011)
Dream House (2011)
The Adventures of Tintin: The Secret of the Unicorn (2011)
The Girl with the Dragon Tattoo (2011)
Round 1 – Acting Chops
Going from both men’s biggest hits and breakthroughs to the mainstream in 2006 (300 and Casino Royale) to the present day, it’s probably Fassbender with the more impressive list. There were meaty roles for him in Hunger, Fish Tank and the upcoming Jane Eyre. Hunger in particular alerted directors everywhere to his talent. The film carries a 90% rating on Rotten Tomatoes and is “anchored” by Fassbender’s performance, according to Empire Magazine. Working with Quentin Tarantino is no bad thing for a CV either.
Craig on the other hand followed up his cold and commanding debut as Bond with the critically panned The Invasion with Nicole Kidman and average kids film The Golden Compass, which was supposed to launch an all conquering series to rival Harry Potter. Flashbacks of a Fool was a favour to directing friend Baillie Walsh, in which he gave a performances as a washed up actor fallen from grace. It was good but not the main role in the film, as the rest was told in flashbacks to childhood and in any case it wasn’t a big hit. He pulled off an impressive accent in Edward Zwick’s Defiance and generally convinced as a leader. Only recently has Craig got some really appetising projects on the go though, working with the likes of Spielberg for Tintin, David Fincher for Dragon Tattoo and Harrison Ford and Jon Favreau for Cowboys and Aliens.
Verdict: Even with that lull for Craig, it’s difficult to separate the abilities of these two.
Round 2 – Sex Appeal
I am definitely the wrong person to ask about this. But there’s no doubt that Bond has to be able to inspire a certain longing in the ladies, with a mere gesture or flirtatious glance. Both actors have charisma and cool credentials. Fassbender dresses up smart in the latest X-Men, as well as donning casual hard man leather jackets and camp superhero costume, cape and all. In Fish Tank his character’s raw masculinity was irresistible to mother and daughter alike. Inglorious Basterds saw him with slick and precise hair and a uniform. After starring as Mr Rochester as Jane Eyre later this year, further legions of women will join the ranks of his swooning admirers, with the earliest recruits hooked by the sight of his muscular and barely clothed physique in 300.
From what I’m told Craig is not a bad catch either. Certainly upon news of his casting as Bond and following the first viewings of those notorious blue Speedos, the females in my social circles could talk of nothing else in fits of giggles for days. Perhaps they’ll like the sight of him in a Cowboy hat.
Verdict: I really don’t know, they both seem to be handsome chaps and I imagine it comes down to personal preference. However if I had to make a decision, I’d say that Fassbender’s mixed Irish/German heritage makes him more exotic. Plus he seems taller. I hear that’s good.
Round 3 – Who would win in a fight?
Fassbender fought like a lion on speed in 300. And as I’ve said he had very little on. That’s impressive and a Spartan warrior takes some beating. However Bond doesn’t fight with swords, well not very often. He’s got to be able to beat a man to death with his fists, win shootouts and take out bad guys in witty ways. Fassbender did a lot of grunting and killing in 300 but where were the one liners? And in Inglorious Basterds he got shot almost immediately after some lengthy chit chat. Bullets are meant to swerve to avoid 007.
Or in Craig’s case, merely puncture his huge pecs. Craig has proven himself already as Bond, especially physically. His stunts and fight scenes have brought the series up to date. Some have criticised the mimicking of Bourne-esque action, which is valid for Quantum of Solace but off the mark for Casino Royale. In the past Craig has blown up enemies of Israel in Munich and taken on the Nazis in Defiance. Judging by the trailers he’s going to kick some Cowboy/Alien ass this summer too.
Verdict: Fassbender needs more time to learn the ropes but unless he’s got his metal moving powers still, looks like Craig will knock him out.
Round 4 – Staying true to Ian Fleming’s original
In X-Men: First Class Fassbender proves he can speak menacingly in Spanish, French and German. He is ruthless and suave and all action. He has a taste for the ladies and strong principles which he stands by. He is loyal. All of these qualities and more that Fassbender displays as the young Magneto, travelling the globe conducting his own private espionage, are those of Ian Fleming’s original spy. If Bond producers Barbara Broccoli and Michael G. Wilson were ever bold enough to take Bond back in time, Fassbender would be perfect for another reboot. His British officer look in Inglorious Basterds, combined with his Magneto, creates a pretty cool version of James Bond licence to kill.
It’s unlikely the producers will ever take Bond into the past and a Cold War world again because they feel that would tarnish the earlier films which covered that ground already. Bond needs to find a way to carry on in the modern world whilst retaining the best elements of the original. And Daniel Craig’s version of the character found that path with Casino Royale. His more human and more brutal portrayal took Bond back to his literary roots with tremendous results.
Verdict: Impossible to split. Fassbender has the potential to be a classic Bond as Fleming imagined him but Craig has already proven himself as a Bond inspired by the books as well as the films.
So at the end of that battle we know nothing new. It’s a draw on points. Basically Fassbender might be a good Bond when Craig steps aside but for now he’s doing a good job. What happens next all rests on Bond 23.
What do you think? Would Fassbender make a better Bond than Craig?
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