Shame - Steve McQueen

'Shame' was a huge inspiration for this piece stylistically and narratively, I like the way in which Steve McQueen has tackled a daring subject matter where by the finished piece feels so polished and watchable.

The camera work in 'Shame' is simplistic and careful almost a direct reflection of the main protagonist 'Brandon' that Michael Fassbender plays. Its a style that I've spoke to Tom Newshsam about (DOP for 'Still in the Night' our first film), I wanted long shots that create a distance from the character with a lack of POV shots so that the audience feel restricted from the action taking place, a voyeur thats refused interaction. This is seen throughout "Shame' shots from a distance and through doorways are used that hold there position without cutting. Again another stylistic choice that I would like to implement in our film is extended takes, I often feel that cuts are unnecessary, and so until they are really needed I'd like to abandon the convention of multiple cuts in scenes. The extended takes in 'Shame' capture the emotion of 'Brandon', we are able to engage in what he could possibly be thinking or feeling, he often looks removed from the environment lost in his own world as he tries to cope with his addiction. I feel that these long shots of the characters face provide more than a sequence of dialogue, the situation seems more real and less fabricated we believe what we see rather than a forced sense of realisation.

The film begins with a long take of Brandon lying in his bed staring up past the camera the shot holds until we hear an alarm go off Brandon then gets out of bed shortly after this. The shot is rather cropped in framing only the centre of the bed where he is lying, instantly we are presented with a troubled character evident by the empty look on his face and lack of music to suggest a mood, the audience are allowed time in which to consider what he could be thinking. 

Once Brandon is out of the bed we are left with the shot of the dishevelled sheets, we hear Brandon open his blinds simultaneously lighting the sheets with the films title 'Shame' appearing across the bed. This title sequence not only serves as a stylistic introduction but a direct statement of the characters addiction.  

Following from this the film progresses into a a train scene where again recurring shots of Brandon are used, a bombardment of his emotion. The train scene is intercut with his ongoing escapades with prostitutes and sexual partners. This sets the tone for film revealing what his life consists of, a the routine amount of time he spends dealing with his addiction. The intercut scenes of sex on screen thus far Brandon appears in control and comfortable with what he's doing however once cut back to the train he looks hollow and lost a sense of self loathing as he looks on, tis however transcends into what almost becomes a sexual encounter with a passenger on the train.

The first shot of Brandon waiting for the train is held again for an extended amount of time, Harry Escotts soundtrack is played against this scene, a composition of string instruments creates a mood of anguish.

 
Once Branson is on the train we see him start to notice a woman across on the other side of the carriage he looks over and continues to stare at her, at first she accepts his attention as a harmless exchange of eye contact and then reciprocates with subtle gestures and expressions.

She bares a smile enjoying the attention from Brandon holding her stare suggesting that this interaction may then transcend into another of Brandon's sexcapades.

The scene cuts back and forth from characters to character however on a cut to Brandon the shot is now out of focus, this technique is used later on in the film where by Brandon is for filling his last sexcapade before he overdoses on his addiction however I'm still left wondering why its still used. Possibly to suggest he's becoming faceless or removed from feeling other emotions besides his sexual desires of lust. Though I don't feel that the director intended for the audience to read too much into this stylistic choice from watching interviews with Steve McQueen. 

Brandon continues his attempts to seduce the woman and until this point he appears to be succeeding in his seduction, the camera tracks up intimately from her legs to her face as a POV shot.

Again she welcomes Brandon's intent however looking away with a smile.

Though the allurement takes a swift transition, Brandon's facial expression becomes more provoked though very subtly, his eyes are more open with very slight raised brow, the change is so slight but noticeable, a talent Michael Fassbender possesses. This understated animation of his face is a common occurrence in the film, combined with music or an extended shot the cognition of the character can be speculated.  

The woman then becomes distressed and upset, she gets up quickly as the train pulls into the station, before she was engrossed in the flirtatious exchanges but now aware of her situation. 

This is sudden change in emotion is revealed as the camera follows her movement framing her hand which bares an engagement ring and wedding ring, Michael's character isn't concerned about this ignoring the girls disinterest and dismissal in which is proceeds on following her off the train, this scene shows the persistent nature of Michael's character and his disregard for the girls feelings, he has no ability to engage on an intimate level, he sees her purely as a sexual partner, this intensive first scene helps to encompass the character of Brandon often this is seen in films where a character is explored in a situation or encounter to exhibit the traits to gain a clear understanding of how they interact and behave. 

As the doors open the female character exits the train quickly and ascends up the stairs away from Brandon, he attempts to catch up with her pushing past passers by, the shot has been filming using a steadicam, we become a part of the chase keeping up with Brandon, we get a sense of his determination to pursue a sexual encounter with this girl. The choice of camera work again playing a huge role in the portrayal of the character and understanding there emotion, I feel that if this scene was edited using cuts the outcome would be far from what we experience compared to the long take in this particular scene. 

In the last shot of the scene Brandon looses the girl in the mass of people walking around the station, his frustration is suggested with a spinning camera angle as he turns frantically to find the girl there are no cuts so we can observe the character completely taking in his facial expression and body language.