Naked

Arguably one of the greatest achievements in British cinema of the last 20 years. This is Mike Leigh at his very best. On the surface, Naked is seen by many as a bleak, hopeless, cynical look on the life of the struggling working class of Britain. From the over-educated, under-stimulated, aimlessly wandering main character to the abused, objectified, love starved flat mate. Every character we meet has a more mournful, lonely existence than the last. But behind the dreary, melancholic soundtrack, the cold, dark, blue-grey lighting and the dingy, horrors of night time London, is a film of redemption, self-importance and moral integrity. This is a film of inspiration and hope coated in loathing and cynicism, much like its star.

We open to one of the most intense, disturbing three minute introductions of a protagonist in cinematic history. Johnny (Thewlis) is seen in an alley engaging in a rough sexual encounter with a woman, which soon turns nasty. After a very dubious rape, fearing retribution from the girl’s family, he flees, stealing a car in the process. Travelling south, he heads to London in search of his ex-girlfriend. Upon arriving, he meets her flatmate, Sophie (Cartlidge). After demonstrating snappy, careless, charismatic wit, Johnny easily seduces her. But, growing bored and agitated of her instant adoration and dependence as quickly as he charmed her, and after a less than warm welcome from Louise (Sharpe) his ex-girlfriend, he hits the London streets for the night.

Here is where the film really opens us up to our hero and his fatalist, nihilist and transhumanist views on the world. To anyone who’ll listen, or even those who won’t, Johnny dives deep into the age old questions of point and purpose. One particularly enthralling encounter involves a night time security guard of a massive multi-storey building. Brain (Peter Wight) is berated by Johnny for existing, simply ‘to guard space’; but it’s through this middle aged man, whose wife has left him, we get our first glimpse of hope, in what, up to this point has been a barren commentary of the futility of societies unimportant. Brain is satisfied with the tranquillity and peace his job offers him, allowing him time to read, think and find inner purpose and solace in the way his life has turned out.

While we’re watching Johnny stalk and scrounge the streets, we also see glimpses of a very terrifying presence, in Jeremy (Cruttwell), Louise’s rich and powerful landlord who demonstrates psychotic, sadistic behavior far eclipsing than that of anyone else. It’s through him we build some suspense to a conclusion and really get a comparison of true, heartless, emotionless evil, as oppose to the contradictory words and behavior of Johnny, who, through his relationship with Louise we see a more touching soul than we’re initially led to believe exists.

This 1993 Palme d’Or nominee is responsible for launching the careers of many of its stars including Ewen Bremne. Lesley Sharpe has since gone on to turn out many powerful dramatic performances on British television. But the crowning jewel, the show stealer is David Thewlis. His portrayal of such a complex character, with such grace and dazzling allure is something to behold. The fact he can make such a morally ambiguous, downtrodden, seemingly sadistic man so charismatic, sexy and understandable is a true testament to his ability and leaves no doubt why he won the Cannes Film Festivals best actor award. Of everything you see, from the rape, the oppression of women, the upper-class abuse of power, the questioning of all our purpose for existing, the thing you’ll be left pondering most after seeing this is how Thewlis didn’t get at least an Oscar nomination. And the most depressing thought will be how such a talented man was reduced to supporting roles in The Omen and Basic Instinct 2.