Michael Winterbottom is certainly one of the world’s most prolific directors, so much even, that it’s hard to keep track of what he’s done since you last heard from him. If there is one element that permeates his work, it’s a profound interest in social justice. Whether it’s his in-depth look at journalistic integrity in A Mighty Heart, or his dissection of xenophobia in the age of Dubya in The Road to Guantanamo, his films are interested in personal stories that capture the zeitgeist. He’s also great when it comes to combining nonfiction with genre, and it’s unsurprising that he’s gone and done a full blown documentary in The Emperor’s New Clothes, a scathing look at the extreme class divisions in Britain, particularly following the 2008 recession.
The film stars Russell Brand, who narrates the film and also serves as the “Michael Moore figure” who performs a series of stunts, trying to make sense of why the rich are getting richer and the poor are getting poorer in Britain. Usually this means he ends up yelling at security guards outside of offices, which lacks dramatic punch, but points how difficult it is to be heard by those above ivory towers. Brand visits the homes of low income families, speaks to children, and spends 100 minutes discussing things we have heard before. The film’s biggest appeal is perhaps its geographical specificity, since most stories about the recession have been about America.
It’s fascinating for instance, to hear Brand explain how most football teams in the UK are owned by conglomerates based in the Cayman Islands, while teams in Germany are mostly owned by fans. It’s when the film gets this specific, that it turns out to be at its most engaging, otherwise it feels uneven, as if Brand himself is trying to make sense of things in “real time”. Dealing with Brand is another issue, the comedian is known for his out there sense of humor, and some audience members might find his company grating, especially since his presence is felt throughout the whole film. It’s also interesting to note that he doesn’t seem to bring into account the fact that he himself is part of the 1% now. The film deals lightly with the idea of people in Britain being born into Dickensian absolutes, they’re either rich from birth, or poor forever, and Brand doesn’t explore his own socioeconomic ascension. Whether the omission is innocent or purposeful, it certainly paints a stain on this emperor’s garments.
