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  1. 2009.12.26
    Hunger (헝거.2008) by Steve McQueen & Enda Walsh (2)

Steve McQueen 감독 [http://en.wikipedia.org/wiki/Steve_McQueen_(artist)]과 작가 Enda Walsh[http://en.wikipedia.org/wiki/Enda_Walsh]에 의해 1981 Irish hunger strike를 소재로하여 주인공인 Provisional Irish Republican Army (IRA) 전사였던 Bobby Sands의 Maze 감옥에서 별였던 Hunger 투쟁과 죽음을 영화하 한 것이다. Maze 감옥은 북아일랜드에 있는데 아일랜드 독립투쟁을 했던 투사들을 주로 가두어 두었던 곳으로 유명하다. 위키에 있는 것처럼 2000년에 감옥은 폐쇄되어 2006년 허물어 졌다고 한다. http://en.wikipedia.org/wiki/Maze_prison

Her Majesty's Prison Maze (known colloquially as The H Blocks, Long Kesh, or The Maze) was a prison used to house paramilitary prisoners during the Northern Ireland Troubles from mid-1971 to mid-2000.

영화를 이해하기 위해서는 아일랜드 독립과 투쟁의 역사를 좀 알아야 하는데 인터넷에 찾아봐도 자료가 많다. 간단하지만 잘 정리해놓은 글은 http://blog.naver.com/sungm87/80095165866 여기가  보면 된다. 
영화로는 크라잉 게임(The Crying Game.1992) 이나 보리밭을 흔드는 바람 (The Wind That Shakes The Barley, 2006)을 보면 도움이 많이 된다. 

어쨌든 Steve McQeen 은 위키에 있는 것처럼 Minimalism 이나 Nouvelle Vague, Warhol 에 영향을 받아서 인지 영화 전체의 카메라나 톤이 롱테이크의 장식이 없는 형태로 제작되었다. 영화 Hunger는 69년생인 감독으로써의 첫 상업영화나 마찬가지 인데 좋은 평가와 Award로 많이 받게되 앞으로 주목해볼많한 감독으로 등장하게 된 것같다.  

우리나라 영화도 아직도 가려진 진실과 계몽해야할 감추어진 역사적 흔적들이 많이 있는데도 단지 헐리우드식의 흥행과 대박의 수식만 쫒는 관객수 놀이에 빠져있는 젊은 감독들의 현실이 안타깝게 느껴지는건 나뿐만이 아닐 것이다. 

영화에 대한 정보는 

Directed by : Steve McQueen 

Written by : Enda Walsh (writer)

Cast :Michael Fassbender (Bobby Sands) / Helen Madden (Mrs Sands) / Des McAleer(Mr Sands)
/ Stuart Graham (Ray Lohan) / Helena Bereen (Ray's mother) / Billy Clarke (Chef medical officer) / Liam Cunningham (Father Moran)

Genre: Drama, History 

Links: IMDb Profile  Wiki Profile 

Viewer’s Advisory: 





Cool !






Blood / Gore







위키의 Overview보다는 http://www.cinematical.com/2008/05/21/cannes-review-hunger/ 에 있는 Kim Voynar 의 글이 내용을 잘 전달하고 있어 옮겨왔다.

Hunger, by British artist and director Steve McQueen and Irish writer Enda Walsh, is a graphically violent, deeply brooding film about IRA volunteer Bobby Sands (Michael Fassbender), who led a hunger strike in 1981 aimed at improving conditions for IRA prisoners and regaining their status as political prisoners. Sands had been convicted of handgun possession and sentenced to fourteen years in prison. At the time, IRA prisoners were held together in one of several "H-Blocks," and began their protest with a "Blanket and No-Wash Protest" beginning in 1976.

The demands of the Irish prisoners during the hunger strikes seem, in retrospect, to be relatively minor: they sought to be recognized as political prisoners (prisoners of war), and as such to not be forced to wear prison uniforms, to not be forced to have work duty, to freely associate with other prisoners, and to be entitled to a weekly visit, parcel and letter.

The film opens with a man washing blood from his battered knuckles with echoes of Macbeth's "out damn'd spot, out I say!"; he has an air of grim determination about him as if he's resigned to whatever circumstances led to his state. The man, Raymond Lohan (Stuart Graham), is a prison guard, and we'll learn soon enough how his hands were injured. Lohan stands in the snow, moodily smoking a cigarette; he gets ready for work at home, his wife watching worriedly as he checks under his car for a car bomb before leaving; he dresses in his uniform in the locker room and eats lunch alone, staunchly silent amidst the jovial camaraderie of his colleagues.

In the prison we meet Davey (Brian Milligan), a new prisoner being brought in, refusing to wear the prison uniform, and being labeled "non-cooperative." He's tossed into a cell with another IRA member -- a darkly claustrophobic hole his roommate has fingerpainted from floor to ceiling with smears of feces. And it's pretty much all downhill from there. We witness the brutality which Davey, his roommate Gerry (Liam McMahon), and the other residents of the IRA cellblock endure, but more than that, we witness their resiliency in the face of circumstances under which many of us would, no doubt, come to question both our sanity and our willingness to hold onto the values which put us there in the first place.

The core of the film, though, focuses on Sands, who led the hunger strike. Sands believes deeply and unquestioningly in the cause for which he's in prison and is willing to fight literally body and soul for the rights of the men being held for acts committed in the name of what he views as a war worth dying for. One of the film's strongest scenes is a lengthy dialog between Sands and a visiting priest (Liam Cunningham).

The priest is trying to convince Sands that his hunger strike is nothing but suicide; Sands passionately defends both his beliefs and his reasons for organizing the strike. He knows he is martyring himself with the strike; that, to him, is the point. He's not striking for himself, but for the cause in which he believes so strongly; for the inherent human dignity of his fellow IRA prisoners and the ultimate furthering of his cause, he is willing to die an ugly and painful, self-inflicted death.

In another powerful scene, prison guards line the hall of the IRA block decked out in full riot gear. They beat on their plastic shields with batons, creating a deafening roar; the prisoners are hauled out, one after another, and hurled into the row of guards, who beat them mercilessly as they are forced down the hallway for a body cavity check performed with all the violence of a gang rape.

It's a bit like an attack by a pack of vicious playground bullies going after helpless victims, one after another, and it's a relentlessly wrenching scene. Alone among the shouting guards gleefully beating their prisoners, one guard stands aside, sobbing amid the din of a breakdown of humanity; it's an evocative scene, a reminder that even within the horror of this grotesque warping of morality and human values, there is hope that not all will succumb to its sway.

There's not a bad performance or hokey line of dialog in the entire film, but Fassbender's performance in particular is nothing short of mesmerizing. He's an absolute revelation in this film, in both the scene with the priest and the latter third of the film, as he starves himself to death. Milligan and McMahon deliver strong performances as well, and Graham, who is tasked with conveying the weight of the moral self-judgment of the prison guard almost entirely in silence, is remarkable as well, in particular when we see him suddenly shift from the melancholy introspection of the earlier scenes to acts of shocking violence.

McQueen doesn't hold back in showing us the ugliness of the conditions in which the prisoners are living, and the animalistic way in which they are treated. This, he shows us, is a place where the only human dignity left you is that which you can hold onto inside. Beatings, forced bathings and body cavity checks are the tip of the iceberg here; these are conditions that would have PETA beating down the doors if animals were being treated this way, and the knowledge that these are human beings abusing other human beings in this way makes it almost unbearably difficult to watch at times. His direction is solid and unflinching from start to finish.

The film is graphically, brutally violent, but under the circumstances the violence isn't gratuitous, however difficult it may be to stomach. It's a cinema verite approach to viewing human dignity in the face of unimaginable indignities, a grim statement about what happens when differences of opinion in social and political matters lead men to treat other men with horrific cruelty.

Close camera shots within the prison cells evoke sweltering claustrophobia, and the unflinching lens of the camera brings us no relief from the brutality to which we are witnesses. This is a violent film, but there is masterful artistry at work as well. To be perfectly fair, McQueen and Walsh don't address the circumstances that led to these men being incarcerated, and the years of The Troubles in Northern Ireland were permeated with violence on both sides; Hunger, though, focuses on these particular men at this particular time, and it's a brilliant portrayal of a tragic moment in human history.



역사는 반복되고 또 종교던 돈의 문제이던 갈등은 항상 있게 마련이다.  하지만 영화 속에서처럼 폭력은 그 내부에 감춰져있고 권력의 그늘에서 기생하고 있다. 하지만 이 영화에 나오는 Bobby Sands와 신부인 Moran 의 대화에서 처럼 무엇이 진정으로 옳은 일인가에 대해 자기 스스로 질문을 던질때 누구나 거부할 수 없는 righteousness 를 찾을 수 있을 것이다.  Bobby는 어렸을적 Cross Country경기에 참가했을 때 옅은 개울에 상처받아 죽어가고 있는 어린 foal을 익사시킨 사건을 이야기 하면서 다음과 같이 이야기한다. 

But I knew I did the right thing by that wee foal. And I could take the punishment for all our boys.

I had the respect of the other boys now. And I knew that.

I'm clear of the reasons, Don. And clear of all the repercussions.

But I will act and I will not stand by and do nothing.

I Give it a:

Reference Link:

자막 Link:

Trackback [트랙백] 0 And Comment [댓글]2
  1. Favicon of http://blog.naver.com/sungm87/80095165866 BlogIcon sungm87 2010.05.15 20:19 신고 address edit/delete reply

    안녕하세요. 블로그 뻘글 링크되어 있어서 솔직히 놀랬네요.

  2. 지나가던 2012.01.13 01:19 신고 address edit/delete reply

    자막 올려주셔서 감사합니다