A short Analysis on Mike leigh’s “Naked”

I think it can be fair to say that Mike Leigh’s “Naked“ moves beyond an ordinary social realist (a genre of cinema) critique (analysis) thematic within Leigh’s discourse (study) and differentiates in its darker more abject (disdainful) representation of society. Our problematical protagonist (leading character) Johnny (David Thewlis) travels to London to visit an old friend and ex – lover Louise (Lesley Sharp). Here he meets Louise’s rather depraved flatmate Sophie (Katrin Cartilage). Sophie without hesitation falls for Johnny’s wit and charm, only to be continually rejected by him. The rather disturbing and explicit sexual exchanges between Johnny and Sophie, only reinforces Johnny’s innate inability to show any real love, affection and commitment, and as a result alienates himself from all who attempt to get close to him. To flee from normality is Johnny’s only refuge, and that which ultimately renders him lame. 

Leigh’s avid use of the tracking shot (camera shot in motion) and highly stylised noir (dark) aesthetic here, centralises the character of Johnny and his vulnerability to the vast urban dystopia that surrounds him. Andrew Dickens infectious musical score (that which creates mood and tone) as well adds to its intensity. Although Johnny is apathetic and misguided, it’s his own deepened intelligence, wit and honesty, that is his redemption.

In keeping within the vein of social realism, it’s not Leigh’s overall intent here to capture the social class through a biased lens (vision). But to candidly expose the torment and often cruel and apathetic nature of all human behaviour, and its elicitation within a wider social context. Even when there is some glimmer of hope that Johnny will conform, it’s his ultimate disillusionment and uncertainty about the future, that weakens his resolve. That is captured so emphatically, by the reverse long – distance tracking shot (used to create dissonance or a disturbance) employed in the end sequence of Johnny moving precariously out of focus. Re – affirming once again his own disposition as the lone prisoner of his own device!