Under the Skin

Samantha Morton has a reputation as a fine actress; but to me, she also has a reputation for appearing in "difficult" movies, and 'Under the Skin' is no exception. It tells the story of two sisters who struggle to cope with their mother's death; Morton's character cuts her ties with normal life, while her insecure sister manipulatively attempts to maintain the status she had as their mother's favourite. Of course, in a world of bland thrillers and romances, "difficult" can be a synonym for "good", and the drum-heavy soundtrack, and some disorienting camera-work, are actually quite effective at getting the viewer inside of Morton's head. On the downside, occasionally the film is slightly heavy-handed in making its points, the conclusion seems rather stuck-on, and not following naturally from the climax of the drama; and the world portrayed is, until that conclusion, one almost wholly without joy, so it makes for gruelling watching. It's an interesting film, but in the end, not quite original enough to make watching it an altogether pleasurable experience.

This is a very good film. It grabbed my attention after seeing the great Morvern Callar last week, which also features Samantha Morton. As said in other comments, Under the Skin is considered her breakthrough. She is a truly gifted actress, I love her depth of emotion.

At one point in this movie she walks along a ribbed fence, while touching it with her right hand: taktaktaktaktak. I don't know if this is a reference, but it reminded me of a scene in one of Kieslowski's Trois Couleurs films (Rouge, I believe.) There an equally tormented woman walks along a brick wall in a similar way, wounding her right hand which starts to bleed heavily.

I wouldn't say those films are really the same, but I would certainly recommend the one if someone would like the other. In both films, as well as Morvern Callar, we follow a female protagonist unable to deal with a traumatic experience, the passing away of someone very close to her. We follow her down the road of estrangement, wondering if she will ever find peace.

After the death of her mother Iris Kelly embarks on a drunken promiscuous lifestyle to numb the pain There that's the plot ( For want of a better word ) to UNDER THE SKIN a typically British film from the mid 1990s . It's rather low budget and character driven and certainly isn't the type of film that would have appeared at the local multiplex alongside the local Hollywood blockbuster and is perhaps a film Britain produces on too much of a regular basis Despite being inspired by the work of such lauded British directors as Ken Loach and Mike Leigh I can't say that Carine Adler is in the same league ( Though I believe Loach and Leigh are overrated as directors anyway ) and her sometimes art-house type of directing can be somewhat irritating . In many ways you get the feeling Adler is stretching out a story that would have worked much better as a short film What everyone can agree on is that the performance of Samantha Morton is riveting in such a challenging role . Critics are always complaining that actresses aren't given good enough parts but think about it - What's a studio to do ? Cast a stunning looking actress in a commercial film or cast someone who can actually act in a movie like this with little commercial appeal ? Despite the very obvious flaws of UNDER THE SKIN Morton saves the film and has been superb in everything from CRACKER to the video of U2's Electrical Storm . She's almost certainly the most talented actress Britain has produced in years and one hopes to see her become a megastar

Although I missed about the first 20 minutes of this when I saw it recently on HBO, I thought it was a very interesting film, with a brave, stunning, sexual performance by Samantha Morton. Quite a departure from her role on Jane Eyre, where I had seen her previously.

The sexuality was real and intense, and her desperation as a woman spinning out of control was effective and touching.

Some of the best acting I've seen in quite a while. And I liked the "out there" eroticism aspect of the film. True eroticism is not portrayed well in movies anymore, at least not in the US, basically because the studios lack guts.

And I liked the fact that the film was written and directed by a woman. The scene where she has phone sex with her lover and tells him what she wants to do to him is stunning, only a woman could have written that! A man would have shied away from depicting a woman's sexuality in such a frank and aggressive manner.

"Under the Skin" could be simply, though inaccurately summarized as simply the story of two sisters dealing with the death of their mother, with one sister becoming sexually loose as a means of escapism.

But the story runs much deeper than that. Samantha Morton plays the British version of a sexually "used" American male. She frets about calling a lover, she is mistreated when she does. She makes bad decisions in choosing lovers, and loses in the end with most of them.

"Under the Skin" presents a realistic portrayal of how sexual escapism only does so much, how it only paints the faintest of illusions of comfort and companionship. It is only a silkscreen for the real problems of the need for emotional as well as sexual fulfillment as part of companionship.

What makes Morton's portrayal so powerful is its complexity of character. Following her mother's death, Morton's character goes through a series of transformations. First she is the doer, the chooser. It is she who walks out on her boyfriend, she who decides to also cheat on him, she who sleeps with whatever man she wants.

It is Iris, Morton's character who is in control, while her sister Rose is an emotional wreck. She is having a baby, she thinks her husband fancies Iris, she is concerned about her appearance, her weight, and she can't find mum's ashes.

All of this is especially sad because she is mum's favorite daughter.

But then everything changes when Iris is mistreated by several lovers, one of whom physically humiliates and abuses her.

She tries to go back to her boyfriend but finds he doesn't want her. She is left without any money and has no one to turn to except her poor sister.

It is during these series of transformations from power to humiliation that Morton shines. It is no wonder many have called this the film that made her a UK star. It is the film's frankness and realism that is attention-grabbing as well. A true window to the world of random hook-ups. Love isn't very easy to find after all.