Under the Skin (2013) [Blu-ray]
Drama | Sci-Fi | Thriller
An alien in the form of a voluptuous young woman (Scarlett Johansson) combs the streets of Scotland in search of men. She lures a succession of lost souls into her otherworldly lair, where they are seduced, stripped of their humanity, and never heard from
again.
Storyline: A female alien comes to Scotland to replace a deceased alien. She drives a van through the roads and streets seducing lonely men to process their bodies. Soon the emotionless alien sees her human form in a mirror and
she experiences the human emotions and feelings coming to a tragic discovery. Written by Claudio Carvalho, Rio de Janeiro, Brazil
Reviewer's Note: Reviewed by Jeffrey Kauffman on July 10, 2014 -- Under the Skin rests on one unavoidable conceit: most guys would happily get in a car driven by Scarlett Johansson if she asked them to (maybe even
if she didn't). All joking aside, the point is that this film's somewhat opaque plot takes an actress of Johansson's easy allure and strangely exotic qualities, aspects that seem both accessible and, well, alien at exactly the same time, to make
its story of a visitor from outer space harvesting— well, something—at least marginally believable. Johansson plays an outer space Circe of sorts, a blue-skinned alien who "wears" a human epidermis (shades of Ed Gein) and is seemingly irresistible
to a slew of human males whom she lures to their deaths in an oily pool that seems to eat them from within, leaving only their skins as a haunting reminder of what once was. Under the Skin was culled from a novel by Michael Faber, a piece
which kind of like the victims in the film wallowed in something black—in this case, comedy. Faber's book was a much more direct and at least relatively comprehensible tome detailing the exploits of a female extraterrestrial who took unsuspecting male
hitchhikers back to her home planet, where they were fattened up for the slaughter in a sly take on the same premise that informed the iconic Twilight Zone episode "To Serve Man" (itself based on a preexisting short story). A lot of Faber's story
has been jettisoned for this film version, but his central gambit of presenting the tale through the alien's point of view is sustained here, in a kind of distaff riff on a similar perspective detailed in Nicolas Roeg's The Man Who Fell to Earth.
That film is a model of narrative clarity when compared to Under the Skin, however. Director and co-writer Jonathan Glazer presents the story as a series of vignettes, with next to no dialogue helping to explicate what's going on. Instead, the
viewer is left to infer several aspects of the tale, including what exactly it is that the Johansson character (who is never named in the film, unlike in the book) is actually up to.
Under the Skin has been the cause of some controversy and debate since its release, and one can't help but think back to similar befuddlement and discussion when Stanley Kubrick's 2001: A Space Odyssey first appeared. The comparison is apt
in more ways than simply reactions to the film, however, for Glazer, like Kubrick, takes a detached, observational tack with the film, dissociating himself from much if any emotional content. Also like 2001, there's a none too subtle emphasis on
vision and seeing, obviously referring overtly to an observational standpoint. In Kubrick's film, everything from HAL's glowing red orb to Dave's eyes taking in the psychedelic wonders in the film's climax makes this point. In Under the Skin,
Glazer repeatedly gives us close-ups of Johannson's eye, including in the opening sequence where a montage of sorts segues from a starburst to some kind of alien craft in space to, finally, an eye itself. The obvious allusion here is that we're being
watched, and, in the parlance of the film, we in fact are the watcher.
Other parts of the film play out like a "Bizarro world" rendition of 2001. Instead of sleek, sterile white that is such a part of the Kubrick film's production design, here things are bathed in an equally pristine black, to the point
that repeatedly throughout the film Johansson or some other character seems to almost materialize whole out of an all encompassing darkness. (There is one notable sequence surrounded by a blinding white, shown in screenshot 2, that echoes Kubrick's design
aesthetic.) But as much as Arthur C. Clarke's story of evolution threw critics and filmgoers for a loop back in the late sixties, the actual story of 2001 was surprisingly straightforward, although perhaps obfuscated by a laconic style
which, like Under the Skin, eschewed dialogue and other traditional narrative tropes in favor of pure imagery. Under the Skin merely alludes to a story much of the time, forcing the viewer, in true Heisenbergian fashion, to help make
it up—as an (maybe the) observer.
The film's minimalist (almost abstract) plot simply follows Johannson as she tools about Scotland in a cargo van, chatting up various locals (actual nonprofessionals who were caught courtesy of multiple GoPro type units installed throughout the vehicle)
and, ultimately, getting at least a few of them back to a squalid little flat which, science fiction style, houses an opaque black pool of liquid which sucks the guys down like quicksand. In one of the film's most chilling moments, the point of view
suddenly—and inexplicably—changes from the Johansson character to one of her victims, suspended in the viscous liquid, looking up at his predator, until he spies another previous victim floating next to him, a guy who is in the last throes of
whatever metamorphosis the liquid engenders.
Quite a bit of Under the Skin is intentionally repetitive and dreamlike. In fact, in another odd but visceral sequence, the alien picks up a badly disfigured guy (who suffers from what looks like Elephant Man syndrome) and takes him
back to her flat, where he repeatedly asks her if he's dreaming. In just one of the film's oblique developments, the guy actually evades the alien's "plans" for him, only to run smack dab into the film's other recurring character, a mysterious guy
who zooms through the Scottish highlands on a high speed motorcycle, evidently acting as a clean up crew for any mistakes.
There's little doubt that Under the Skin is an incredibly unique film experience, but its intentional obscurity frankly doesn't seem to hide much in the way of depth or nuance, and in fact seems to be simply a deliberate style choice more than
anything. Why, for example, does the alien injure or kill a man she encounters on a rock strewn Scottish beach? What's with the gaggle of girls dragging the alien into a strobe light infested dance club? Do they think she's the woman the alien has
"become" by wearing that skin? And what exactly is the goal of the alien and the motorcycle rider? In fact, what are these two trying to accomplish? Does the conflagration that caps the film augur an end to this "mission", or is it simply going to
begin again, as hinted at by the film's opening scenes? These are all central questions whose answers might at least help to make sense of the narrative, but based on an admittedly non-scientific survey of various responses to the film, there does not
seem to be even a smattering of agreement on what these—or indeed many other—elements in Under the Skin actually mean. Like the alien herself, we're left to simply observe, perhaps comprehending little if anything.
I'm sure there will be no dearth of people insisting I've completely missed the point and am woefully inadequate to ruminate on the inherent eloquence of Under the Skin (to those people I respectfully say, get in line, please). But I've seen
the film three times now, and it simply does not permit the relatively facile exegesis that even Kubrick's monumental 2001: A Space Odyssey did (at least, once people actually started to think about it). Under the Skin has some absolutely
arresting elements, but they're frequently overshadowed by a kind of all encompassing question of Why is this happening? Nevertheless, this is the same sort of one of a kind experience that, say, Upstream Color is (though for me personally,
Upstream Color is, like The Man Who Fell to Earth, a model of narrative clarity when compared to Under the Skin), and for that reason, movie lovers in search of something "totally different" will no doubt want to watch this, even if
they end up not understanding much of what they've seen. This release would have benefited immensely from an informative commentary track, but otherwise technical merits and supplements are generally very strong. Recommended.
[CSW] -1.4- More than arresting visuals are needed to make a movie, that is, any movie that is supposed to have a plot. This movie is so slow it moves with the speed of its near catatonic lead actress, Scarlett Johansson. Some films are so poor that anger
is the only appropriate response. The pacing is that of a dripping faucet. Strange events occur that are given no context. Also there are a lot of men on motorcycles whirring about from time to time again with no context. There seems to be no point to any
of it, and good luck to anyone who wants to sort it out… you need a frame of reference, and the writer (or director) provides none. If you thought 2001 was challenging, don't go near this film. It is opaque as they come.
[V4.0-A4.0] MPEG-4 AVC - No D-Box.
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This Scotland-set, largely silent alien abduction movie is unlike any other in the sci-fi genre. It's truly only an abduction movie for the first half—after which the alien, played by Scarlett Johansson, becomes disillusioned with luring humans into traps
and destroying their bodies for unknown ends. When one potential victim's pure innocence jolts her into letting him go free, the alien goes rogue, curious about this planet, its people, and her role as an alien in disguise.
The second half of the movie follows the alien trying to grapple with a growing sense of her own humanity, and the vulnerability that comes with it. Her journey is cut short during an isolated walk, attacked by a rapist who, upon discovering her
otherworldly true identity, is repulsed. Seeing not a human but a monster, the attacker chases down and burns the alien alive. Look past the sci-fi aspects, and this is essentially the story of a young woman's self-discovery—and her devastating, fatal
realization that the human world is harsh, unfair, and full of horrors.
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