Starring David Thewlis, Lesley Sharp, Katrin Cartlidge, Gregg Crutwell, Claire Skinner
When viewing a Mike Leigh film you typically expect to see a slice of life portrayal of contemporary England. The focus will on the ins and outs of daily life for working class people. However, with this picture, Leigh creates an abrasive, violent, surreal universe which does adhere to the tenets of his standard films: there are no big illuminating answers or moments.
We first see Johnny (Thewlis), the film’s protagonist, in the middle of raping a woman in an alleyway. Hardly a way to endear us the character we’ll be following through the rest of the movie. The woman runs away saying she’s going to get brothers and they will beat Johnny to death. Johnny runs home, grabs a few things, steals a car and heads to London where he imposes himself on old flame Sophie (Sharp). Johnny gets involved with Sophie’s flatmate (Cartlidge), leaves in a huff and encounters a series of strange characters living and working in London. Johnny is paralleled by Jeremy (Crutwell) an utter misogynist and sociopath that gives Patrick Bateman a run for his money.
Director Leigh seems to be using Naked as sandbox in which to play with the audience’s expectations of their characters and the flow of plot in film. There is a palpable trajectory to the film for its first 30 minutes, and then suddenly it veers off into an episodic series of encounters between Johnny and other random characters. The introduction of Jeremy is intentionally confusing and appears to have no bearing on the overall plot of the film. Jeremy’s abusive exploits don’t feature any characters from Johnny’s portion of the film and seem as if they were cut in from another film. When the two plots cross into each other in the last 40 minutes of the film there is no explosive conflict or release of tension.
Naked could easily be seen as an extremely misogynistic film, but that would be selling short. Yes, women are brutalized numerous times throughout the film, Jeremy himself rapes about three women. However, I think Leigh is testing us to see what we will accept from characters in a film. What is the line they cross that makes them intolerable for us? In addition, every single characters is away from home: Johnny is on the run, Sophie is sub-leasing, her friend Sandra (Skinner) is off traveling through Zimbabwe. The moment the film finds its resolution is when all the characters have assembled in Sandra’s flat after she has returned home. It’s in this moment the genre of the film becomes rapid fire and even more absurd. There are elements of farce, romance, drama, and in the end it all falls apart. Johnny ends up even more broken than he had been at the start and where is going is now unknown and inevitably even further into the gutter.