| Movie Review: Hunger |
| Current Releases | |
| Written by David DiMichele | |
| Tuesday, 16 June 2009 00:00 | |
Starring: Michael Fassbender, Liam Cunningham - - - Hunger doesn’t merely base the name of its title from the 1981 IRA Hunger Strikes in Ireland but it comprehends the meaning of the word hunger and how the human soul craves to achieve something in their life that is worthwhile and how the craving resides elsewhere in faith and existentialism.
This Maze Prison represents the most indecent care given to its prisoners. Prisoners are either naked or wrapped in a blanket because of their refusal to dress in prison attire. The men that inhabit the Maze, including guards and officers, are cut off from society, humanity no longer exists and souls rot because of the constant fear it lives in and the abuse it provides and receives. It’s a deadly gauntlet of survival for all who encompass the Maze’s claustrophobic corridors. All in here reap a heart of darkness, a source of hatred that doesn’t usually see the light of day. The last time such brutality and disgust was painted so elegantly was in No Country for Old Men. “Hunger” upstages that film in terms of haunting aesthetics as McQueen accomplishes an impossible feat by recreating a vivid representation of a Hell on earth. In a twenty minute scene McQueen allows for a priest to enter this Hell to discourse about faith, existentialism and mercy killing all alone with Sands in a barren room. It’s an intensifying conversation of two intellectual minds that happen to be polar opposites of each other. The outcome is dialogue written so beautifully and thought provoking by Irish playwright Enda Walsh that it just may be the best dialogue of conversation you’ll hear all year. McQueen, a black, British experimental artist, directed Hunger to further enhance the true relevance that the 1981 Hunger Strike really had. Fassbender turns in a startling and horrific transformation, loosing tons of weight, as Sands. McQueen’s eye for detail and Fassbender’s willingness to succumb himself to such a deplorable state expands the entire film’s scope. The two work at such masterful levels that they are able to create soul and vitality to the inanimate. In Fassbender’s case he’s able to give Sands a heart that wants to pursue a goal when all others in his position sit and watch the world of politics swallow them whole. McQueen, a world class filmmaker already with this one feature, has the foundation to decorate and film objects that when being filmed they contain a pulsating heart. These two make what would seem to be the ordinary into visual poetry. You sit in a trance amazed at what you are watching and e agerly anticipating the next scene’s nightmarish vision. Instead of watching it, we feel it and savor it.
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