Reply With QuoteCan some native speaker or insider explain the big laugh at Kelly's Shame-opsis (after "30 sec song") and his initial 3x3 joke? Thx!
We’re all fans of Michael Fassbender, Carey Mulligan, and director Steve McQueen. But we’re not all fans of their latest collaboration, Shame. Since the movie is rated NC-17, so is this podcast, which contains the words penis, hog, and honker. This week’s 3×3 of our favorite transitions in movies kicks in at the 1:06 mark.
Listen here.
Next week's podcast: Tinker Tailor Soldier Spy
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Last edited by Christien Murawski; 12-12-2011 at 12:40 PM.
Can some native speaker or insider explain the big laugh at Kelly's Shame-opsis (after "30 sec song") and his initial 3x3 joke? Thx!
Kelly Wand cracks me the Eff up. After listening, I feel certain he has porn on his work PC.
Yeah, I agree! Not an ESL joke, I don't think.Originally Posted by HomiSite
You probably have to have seen the movie to find the joke funny, but I think you're talking about the part where he was making fun of Carey Mulligan's version of "New York, New York", which was incredibly long and boring. And he also made fun of Michael Fassbender jogging to classical music, which was kind of weird.
Spoiler alert: Carey Mulligan stretches out "New York, New York" into a 9 hour endurance test in unbroken close-up, which makes Fassbender tear up but probably for different reasons, which is the director's way of saying, "If you're bored by this, you're a heartless dick." Not that I'm not.
Later on, Fassbender jogs to classical music for about the same amount of screen time but she's not there to cry over it because she's back at his apt. banging his boss. Been on that date.
Totally disagree about the ending. Resolving it one way or another would have been way too neat. Left ambiguous, the audience gets the addict's perspective: am I going to kick it this time? Will I finally get out of this cycle?
Even had he pursued her -- or not -- would you have taken that to mean he was cured? As the porn purge showed, backslides are to be expected.
Think the incest is a yes. They came out of some hellish home environment. ("We're not bad people. We just came from a bad situation.") They both have horrific intimacy issues. Seems like some kind of taboo sexuality was going on at home. Either they were both abused by an older relative, or perhaps they engaged in incest as a kind of defense mechanism? The terrifying speed that that "Are you a spy?" morphs into a sexual threat suggests some history. (Hard to read anything Brandon does with bodies as innocent. He's intensely aware of nudity and vulnerability... this isn't some innocent.) The specifics aren't too important, but I think it is important to recognize that they're damaged by their environments, and the two directions they took their shame in.
Could have used more Carey Mulligan (2 minutes less in one particular scene) to flesh out the sibling dynamic just a bit more.
Also... is this movie better if his jogging soundtrack is Chumbawumba? Or Satisfaction, by the Stones?
I should think Tom would be all giddy with Michael Fassbender getting a (uh.... Golden Globe?) nomination.
Just saw this yesterday: really really liked it. So nice to see a movie that has long takes rather than the irritating quick cuts of so many contemporary films.
This is also more in fitting with the way the film is a bare depiction of something than any 'proper' ending could be.
I couldn't agree more about the long shots. Why anyone ever thought it was a good idea to making shaky camera cuts the norm is beyond me.
Aside from the boring stretch of the song (I still don't understand why he was crying) and the fact that I never want to see it again, I think I've finally settled in favor of it. It took me a good 15 hours to reach that conclusion. I do think that last year's film-I-never-want-to-see-again, Blue Valentine, was more coherent with what it did in depicting something simply as it is.
So far this year, Michael Shannon in Take Shelter & Michael Fassbender in Shame seem to give the two performances most essential to their movies. I don't know that I could decide between them.
The more I think about it, the more the New York, New York scene makes sense. Of course it's boring! It doesn't involve sex, so it bores Fassbender's character; but it involves his sister, so he's still emotionally tied up in it for reasons probably even he doesn't understand.
Just saw this yesterday and I thought it was incredible. I'm not sure I want to see it again anytime soon much like Leaving Las Vegas or Requiem for a Dream, but it is beautiful and haunting in a way. The ambiguous ending - I can't believe anyone would dislike it. It seems like something someone would say if you never knew anyone with an actual addiction. There's always that temptation looming over their head. And while it may look like they're on the other side there is absolutely no way you can be sure they won't relapse no matter how much support you give them and how strong they seem. I thought it was perfect and brought things full circle with the girl from the beginning of the film who he couldn't have and suddenly could at the end. I can't wait to see what McQueen and Fassbender do with Twelve Years a Slave.
Watched this over the weekend. I like it and enjoyed reading what everyone's said in this thread and listening to the podcast.
I just wanted to add that when Fassbender comes home to find Sissy in the bathroom. There's a Chic song playing really loudly. It's so on the nose, but I can't hear it now without thinking about the movie:
http://www.youtube.com/watch?v=QmZYE...eature=related
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