It’s been ten years since
Jonathan Glazer’s last film and nearly a decade and a half since his wonderful
screen début Sexy Beast. His third
film, Under the Skin, is a dark and
chilling science fiction horror, loosely based on Michael Faber’s 2000 novel of
the same name. It stars Scarlett Johansson as an alien who preys on men, using
her siren like looks and charm to pull them towards the rocks and to their
demise. The movie is incredible, at times getting close to the best I’ve seen
in cinema. It veers wildly though towards the opposite extreme with passages of
nothingness which reminded me of the torrid time I had while watching Terrence
Malick’s The Tree of Life. Extremes exist
elsewhere too with sequences which wouldn’t look out of place in an art gallery
side by side with almost documentary style shooting, filmed with hidden
cameras.
The film opens with an abstract
scene, perhaps the formation of an eye or the creation of a being. It signals
birth or re-birth and sets us up for what is to come. From the very first
moments we know this is going to be unlike anything we’ve seen before and it
doesn’t disappoint in that regard. The opening establishes the link between the
known and unknown, creating tantalising glimpses into who or what we are about
to be confronted with before concluding on the recognisable image of an eye, at
first still, then moving, depicting consciousness. Although it – or she – may
well be aware of her surroundings, the alien shows no emotion regarding what
she sees. She’s a cold machine, showing not even contempt for her victims.
She’s focussed and has a singular task. In one of the film’s most horrifying
scenes, a baby is left stranded on a beach. Though screeching for help, she’s
ignored by the strange visitor who acts coldly, even blindly to the presence of
the child. As humans we want to protect and mother the infant but to the alien,
its screams don’t even register. It’s a scene that sent chills down my spine.
Scarlett Johansson’s performance
is utterly terrifying. She exhibits a cold, thousand yard stare, giving nothing
away as to what she’s thinking. She has an eerie quality and seems dangerous
but yet men accompany her to her ‘house’, assuming they’re in the midst of the
luckiest day of their lives. Let’s be honest, if Johansson pulled up beside you
in a van and offered you a lift, it would be difficult to turn it down. Flip
the scene around though and put the man in the van, crawling slowly down dimly
lit streets, stopping to flirt with young women and the outcome would be the
complete opposite. The men blindly follow their alien femme fatale towards a
dark end, unable to resist her. The sway that the character has over her prey
is palpable. Although hidden under a dark wig and given a grungy look,
Johansson still looks as good as ever. It’s interesting that as an actress
known more for her body than her craft, that she gives perhaps her best
performance in a film in which she bares all. I’d already decided to see the
film before I knew about this but the chance to see Scarlett Johansson naked
did little to dampen my anticipation about seeing the movie.
What the film says about humanity
and in particular its fascination with the celebrity is very interesting.
Johansson often slips unnoticed amongst the ‘normal’ people of Glasgow, filmed secretly with hidden cameras.
This is a strange thing to see but it shouldn’t be. She actress is virtually
identical to every one of us but as a society we build celebrities up into
something else, almost super-humans. In this sense, seeing Scarlett Johansson
pass by Claire’s Accessories and H. Samuel, she is very much the alien.
An interloper into ‘our’ world. The fact that her character feeds off us is as
strong a metaphor as the film produces. The character’s developments in the
latter stages also speak about what it is to be human.
Filmed mostly under natural
light, the movie is dark and grimy but at the same time exquisitely beautiful.
Glazer uses the lack of light to his advantage, highlighting certain aspects of
the alien’s features and allowing her to operate almost unseen yet in full
view. Certain scenes smack of social realism, evoking Ken Loach or Mike Leigh
but with the visual flare of Park Chan-wook and the minimalist pre-title
sequence, seemingly ripped from Kubrick’s 2001,
this is a film of contrasts. The hidden camera style isn’t entirely successful
but it allows for the actress and her character to visit our world in a
realistic way, picking up real men who themselves take on speaking roles.
Alongside these are Glazer’s beautifully staged shots. The magnificent visuals
are coupled with a score of the highest quality. Coming somewhere between
cinematic score and a series of sound effects, it had a similar effect on me as
Irréversible’s pulsating infrasound.
It creates an uneasiness and rarely goes where you’d expect, suddenly
introducing high frequency strings, scratching on top of the low, constant thud
of a drum. You feel it in your stomach. The score is indeed one of the finest
achievements in the entire picture.
In the latter stages, the film
leaves behind its experimental beginnings and opts for a more conventional
route to its shocking conclusion. I was slightly disappointed with this because
although I was at times bewildered, I was never bored. The alien’s new-found
understanding of human emotion, identity crisis and developing empathy are at times touching but
I preferred the confusing darkness of the earlier scenes. There’s also a
repetitiveness which is at time frustrating and occasionally I wanted the film
to find new ground while remaining overtly cerebral and unpredictable.
Throughout these scenes, I may have been bored but I remained, at all times,
fascinated. The horror elements kept me glued to my seat and I don’t recall
blinking or even breathing for about 100 minutes. Scenes inside the alien’s
dwelling are amongst the creepiest I’ve seen for some time and it is them as
well as the dark, brooding tone which will stay with me the longest. Under the Skin is a bold experiment of a
film. It doesn’t always work but when it does, it’s spectacular. It’s unlike
anything I’ve seen before and I feel as though I won’t see anything like it
again. Just three films into his motion picture career, director Jonathan
Glazer has marked himself out as one of the most interesting and challenging
directors working today.
8/10
GFR 9/10
You may also like
Sexy Beast 2000
Stoker 2013
I was going to wait and watch this at home, but your review has made me want to see this in theaters when it comes to where I live. Great job. You do have a good point if it was a man playing the alien. It would have a very different tone. Great review
ReplyDeleteThanks! I think it's worth seeing at the cinema to get the full effect of the sound if nothing else.
DeleteLovely review! I really want to see the movie but I fear I may be disappointed - it seems like they built a minimalistic movie around the premise of the novel without using its rich, thought provoking themes. A missed opportunity, but hopefully I'll still enjoy the film as something merely inspired by the book.
ReplyDelete