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too." Coveney wrote in the film's defence: "Is there no room for irony, for the idea that in depicting horror in the sex war an artist is exposing them, not endorsing them? And who says that Sophie is an unwilling doormat or that Louise is a doormat at all? It is clear that the latter is taking serious stock of her relationship with Johnny. She exhibits both patience and tenderness in her dealings with him, whereas she finally pulls a knife on Jeremy."
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be themselves. The dialogue produced from these interactions was then edited, or "distilled", to form the script, based on a minimal plot outline by Leigh. The cast was not allowed to discuss their characters with one another outside of rehearsals, as Leigh, for realism, would rather they meet and interact as they would in real life. Thewlis's background reading for the part of Johnny included
505:. Many shots are in stairwells and in borrowed flats whose tenants are hostile toward or unaware of the decor, making them seem disconnected from cultural touchstones and their place in their homes. Alienation, sexual violence and misogyny, addiction and depression are touched upon as Johnny meets various rootless individuals who work in dead-end jobs or are unemployed.
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are watching the director and actors venturing beyond any conventional idea of what a modern movie can be about. Here there is no plot, no characters to identify with, no hope. But there is care: The filmmakers care enough about these people to observe them very closely, to note how they look and sound and what they feel."
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The scenes between Johnny and Brian the security guard came from an eight-hour improvisation. The uncut shot of Johnny and Brian in silhouette, where Johnny expounds on his convoluted apocalyptic conspiracy theory, had 26 takes, but Leigh ended up using one of the earliest. The film's dialogue has a
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responded: "There are a lot of people who don't go to art house cinemas who do have deeply troubled lives and are at risk ... We do actually live in a misogynistic, violent society and there are a lot of women in abusive relationships who find it very difficult to get out of them. And a lot of men,
432:
Leigh's method, as in all his character dramas, consisted of elaborate improvisational rehearsals with the cast to develop the characters' background stories and traits. The actors interacted with the outside world and each other while in character until Leigh told them to come out of character and
660:
a group of characters who could not possibly have emerged from a conventional screenplay; this is the kind of film that is beyond imagining, and only observation could have created it." He concluded: "This is a painful movie to watch. But it is also exhilarating, as all good movies are, because we
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takes hold. He is perhaps redeemable, but only just. And not by any woman in our immediate view." He praised the directing and performances, singling out
Thewlis, writing that he "plays with a baleful brilliance that is certain to make this underrated, but consistently striking, actor into a star
281:
tattoo on her shoulder, Johnny follows a young cafe worker home but is thrown out when she starts crying. He hitches a ride with a man hanging posters around town until the man, exasperated by Johnny's nonstop haranguing, throws him down in the street and kicks him before driving off with Johnny's
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gave the film four out of four stars and analysed the message behind the title, saying it "describes characters who exist in the world without the usual layers of protection. They are clothed, but not warmly or cheerfully. But they are naked of families, relationships, homes, values and, in most
558:
Mike Leigh's "finest work" and "the best
British film in recent history", elaborated on the many theories filmgoers have had on who Johnny might represent: "a modern, albeit highly flawed, Jesus attempting to change people's lives. Or perhaps he's the devil himself. Others have suggested it is a
508:
Intelligent, educated and eloquent, Johnny is also deeply embittered and egotistical. He tends to dominate conversations with his aggressive intellectualism and theories about modern culture. His tactics are based on a particular form of intellectual bullying, directed at strangers and intimate
465:
After weeks of improvisation, filming took place in London from 9 September to 16 December 1992. Sandra's Neo-Gothic home was an actual interior/exterior location that Leigh featured heavily, particularly in the last shot of the film, as its corner location allowed for wide street views.
262:. He seeks refuge at the home of Louise, a former girlfriend from Manchester, who is not happy to see him. Louise works as a file clerk and lives with two flatmates, the unemployed Sophie, whom she calls her "hippy-dippy friend", and the primary tenant Sandra, a nurse who is away in
269:
Johnny seduces Sophie while treating Louise coldly, but soon tires of her. He leaves and walks around central London, expounding his world view at length to anyone who will listen. Among the people he meets are Archie, a young
Scottish man looking for his girlfriend Maggie on
253:
alley, Johnny is having sex with a woman, who initially encourages him but then protests that he is hurting her, pushes him away, and runs off vowing that "her
Bernard" will get vengeance on him for this. Johnny grabs his things from his apartment, steals a car, and flees to
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and rapist, has let himself into the apartment and raped Sophie. Sophie is desperate to get Jeremy out of the house, but she and Louise fear the police will not help. They try to keep the injured Johnny quiet, but he has a fit that awakens the sleeping Jeremy.
298:. Feeling desolate and rejected, Sophie flees the house with her few possessions. Louise and Johnny seemingly reconcile and discuss returning to Manchester together, but once she leaves for work, Johnny steals the money and hobbles out into the streets.
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Sandra returns early from her trip. Though horrified by the state of the apartment, she tends to Johnny's injuries. Louise drives Jeremy from the house by feigning interest in him, then pulling a knife on him. He departs, leaving behind several hundred
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criticised the lethargic females whose lives Johnny routinely ruins: "What sort of realism is this? To show a misogynist and surround him with such walking doormats has the effect, intentional or not, of justifying this behaviour."
582:(one of Leigh's favourite films). Hamlet talks "incessantly to the audience assuming a dominance over other characters through expressions of mania, and rapid, witty speech. Thewlis, wrapped like
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in a black and inky coat, socially untethered but burdened with useless knowledge and a vicious, bullying line in repartee." Of the precedent of "idiosyncratic, character-driven film-making" in
274:, and Brian, a security guard who looks after an empty office building at night, which Johnny calls "the most tedious job in England", while planning to move to a seaside cottage in the future.
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622:, another review aggregator, assigned the film a weighted average score of 84 (out of 100) based on 20 reviews from mainstream critics, considered to be "universal acclaim".
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partners alike, and summed up in domineering, scholastic barrages drawn from eclectic sources. His overall behaviour is reckless, self-destructive, and at times borderline
547:
had degenerated into the nauseated
Nineties." Coveney said that Leigh had captured something of the anxiety, rootless cynicism, and big-city disaffection of the time.
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claims does not exist." Of Johnny, he writes: "He likes no one, least of all himself, and he dislikes women even more than men, relapsing into sexual violence as his
470:
loose, improvisational quality but, according to
Thewlis, the only improvisation filmed on location was the scene of Johnny meeting and antagonising the poster man.
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Leigh first had the idea for the story while a student in
Manchester in the early 1960s: "We had a very enlightened teacher who endlessly reminded us that the
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The song sung by Johnny and Louise near the film's end, "Take me back to
Manchester when it's raining", was one Leigh used to sing with his friends in
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noted that the film "is certainly Leigh's most striking piece of cinema to date" and that "it tries to articulate what is wrong with the society that
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lives up to its title with a thoroughly committed performance from David
Thewlis that's backed up with some of Mike Leigh's most powerful direction."
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390:. Later I started thinking about the millennium and the end of the world. In 1992 the millennium was impending, so I brought that idea to the film."
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cases, jobs. They exist in modern
Britain with few possessions except their words." He praised the directing, writing: " method has created in
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Jewish youth movement he joined as a schoolboy. After the film was released, Leigh heard from a retired schoolmaster at Stand Grammar in
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The film opened in the UK on 22 screens on 5 November 1993 and grossed ÂŁ52,279 for the weekend for 16th position at the UK box office.
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King, Dennis (25 December 1994). "SCREEN SAVERS in a Year of Faulty Epics, The Oddest Little Movies Made The Biggest Impact".
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duffel bag containing his clothes and books. Johnny wanders the streets and is severely beaten by a wandering gang of thugs.
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gives the film an 88% "fresh" rating based on reviews from 60 critics, with an average score of 8.30/10 and the consensus: "
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marked a new career high for Leigh as a director and made the then-unknown Thewlis an internationally recognised star.
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who had trouble with girls and a hatred for his teachers...the play shared a deeply felt schoolboy coarseness with
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He returns to Louise's residence to find that their landlord Jeremy (aka Sebastian), a psychopathic and amoral
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1217:(Motion picture). The Criterion Collection. United Kingdom: Leigh, Mike; Thewlis, David; Cartlidge, Katrin.
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theme running through Leigh's work), and focus this tension in the tragicomedy of a central character."
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name ... is, at his worst, a cold, desperate fish. His redeeming feature is that he still cares."
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explore the tension between the domesticated and the anarchic (this is a central theme, probably
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The film is dark, monochromatic and claustrophobic, with subtle visual references to
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The film generated mostly positive reviews from critics. Review aggregator
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depression"—thus, according to critic Michael Coveney, "cross fertilising
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post-AIDS morality movie, or a classic urban existentialist tale."
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for a fortnight, and directed the first production of Halliwell's
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After pursuing a drunk woman and rejecting her when he notices a
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as Johnny, a loquacious intellectual, philosopher and
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Little Malcolm and His Struggle Against the Eunuchs
1233:. 20 February 2008. Retrieved on 16 February 2017.
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1335:4 November 1993. Print. Quoted in Watts, Carol.
1197:. 18 November 2013. Retrieved 16 February 2017.
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1479:"THE UCC GRAND PRIX, "RAINING STONES" WINNER"
1376:. British Academy of Film and Television Arts
1328:Moore, Suzanne. "Reel men don't eat quiche."
1319:18 February 1994. Retrieved 12 November 2014.
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1228:"Is Naked Britain's most under-rated film?,"
1076:Best "sleepers" (not ranked) – Dennis King,
841:Cinéfest Sudbury International Film Festival
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1143:14 August 2008. Retrieved 12 November 2014.
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16:1993 British film directed by Mike Leigh
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1108:British Board of Film Classification
899:Evening Standard British Film Awards
477:("the Builders"), the international
2128:English-language black comedy films
1477:Decker, Jacques (10 January 1994).
859:Toronto International Film Festival
823:Chicago International Film Festival
13:
2133:English-language independent films
1614:(Final Home ed.). p. E1.
1535:"Critics' Choice: 'List,' 'piano'"
1533:Bernard, Jami (19 December 1993).
1341:and the Gestic Economy of Cinema."
1068:Top 7 (not ranked) – Duane Dudek,
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393:In 1965, Leigh had teamed up with
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1167:The World According to Mike Leigh
347:as Archie the Scotsman with a tic
329:as Jeremy G. Smart/Sebastian Hawk
2098:Films shot in Greater Manchester
1513:nationalsocietyoffilmcritics.com
1213:Leigh, Mike (Director), (1993).
972:National Society of Film Critics
879:Belgian Film Critics Association
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1362:. 12 November 1993. p. 26.
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1428:"AWARDS & FESTIVALS NAKED"
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407:. According to theatre critic
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341:as Brian, the security guard
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1269:Retrieved 12 November 2014.
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2073:British black comedy films
382:Background and development
2108:British independent films
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1344:Women: A Cultural Review.
1165:Coveney, Michael (1996).
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2027:Too Much of a Good Thing
1346:7.13 (1996): 271. Print.
1051:Best Film of the Decade
848:Best International Film
749:Outstanding British Film
677:: "sub-wittily, the way
221:written and directed by
2093:Films set in Manchester
2068:1993 comedy-drama films
2063:1993 black comedy films
1251:Retrieved 21 July 2019.
1044:Village Voice Film Poll
681:'s subjects look." And
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145:First Independent Films
63:Simon Channing Williams
2113:1993 independent films
2030:(1979, broadcast 1992)
1912:The Permissive Society
1759:Awards and nominations
1635:British Film Institute
590:, Coveney said: "Both
1984:The Short and Curlies
1703:Naked: Desperate Days
667:attacked the film in
520:described Johnny as "
461:Principal photography
2103:Films shot in London
1712:Criterion Collection
1396:"RETROSPECTIVE 1993"
1359:Screen International
766:Cannes Film Festival
363:Elizabeth Berrington
279:skull and crossbones
2123:1990s British films
2088:Films set in London
1400:festival-cannes.com
1282:(4 November 1993).
564:William Shakespeare
335:as Sandra the Nurse
231:conspiracy theorist
1813:Secrets & Lies
1657:TCM Movie Database
1595:Milwaukee Sentinel
1483:archives.lesoir.be
1133:Jeffries, Stuart.
1071:Milwaukee Sentinel
868:Metro Media Award
539:, immortalised by
311:as Johnny Fletcher
214:is a 1993 British
203:$ 1.8 million (US)
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1976:Four Days in July
1356:"Vote for Dave".
1315:Chicago Sun-Times
1311:"Naked (Review)."
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930:Best Foreign Film
864:18 September 1993
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1489:on 2 June 2013
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1456:"Naked Awards"
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1337:"Mike Leigh's
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744:15 April 1994
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2011:The Box Play
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1861:Another Year
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1821:Career Girls
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1706:an essay by
1702:
1685:The Guardian
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1629:
1609:
1603:
1597:. p. 3.
1594:
1588:
1576:. Retrieved
1570:
1561:
1549:. Retrieved
1545:the original
1540:Sun Sentinel
1538:
1528:
1516:. Retrieved
1512:
1503:
1491:. Retrieved
1487:the original
1482:
1472:
1460:. Retrieved
1435:. Retrieved
1431:
1403:. Retrieved
1399:
1390:
1378:. Retrieved
1368:
1357:
1351:
1343:
1338:
1331:The Guardian
1329:
1324:
1313:
1305:
1293:. Retrieved
1289:The Guardian
1287:
1274:
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1231:The Guardian
1230:
1226:Myers, Ben.
1222:
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1195:The Guardian
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1186:Hoad, Phil.
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1139:The Guardian
1137:
1112:. Retrieved
1101:
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739:BAFTA Awards
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694:Lesley Sharp
688:The Guardian
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631:The Guardian
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449:James Gleick
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421:Alfred Jarry
417:Huddersfield
412:
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397:, hired the
392:
385:
351:Susan Vidler
345:Ewen Bremner
315:Lesley Sharp
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216:black comedy
210:
209:
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175:Running time
152:Release date
86:Lesley Sharp
18:
1920:Nuts in May
1904:Hard Labour
1885:Hard Truths
1829:Topsy-Turvy
1611:Tulsa World
1079:Tulsa World
1020:Mike Leigh
906:Best Actor
771:24 May 1993
679:Diane Arbus
647:Roger Ebert
574:Jean Renoir
526:Thatcherite
516:Biographer
339:Peter Wight
260:east London
179:131 minutes
109:Jon Gregory
59:Produced by
41:Directed by
2058:1993 films
2052:Categories
1896:Television
1869:Mr. Turner
1845:Vera Drake
1789:High Hopes
1748:Mike Leigh
1578:11 January
1572:Letterboxd
1551:11 January
1518:11 January
1493:11 January
1462:11 January
1437:11 January
1405:11 January
1380:11 January
1265:Metacritic
1175:0006383394
1086:References
1054:7th place
1038:3rd place
1023:3rd place
1004:Best Actor
982:Best Actor
939:Nominated
891:Nominated
887:Grand Prix
833:Nominated
817:Nominated
808:Palme d'Or
798:Mike Leigh
776:Best Actor
758:Nominated
701:Box office
620:Metacritic
532:'s chirpy
377:Production
365:as Giselle
357:Gina McKee
251:Manchester
223:Mike Leigh
219:drama film
200:Box office
163:1993-11-05
126:Production
54:Mike Leigh
51:Written by
45:Mike Leigh
1952:Grown-Ups
1692:locations
1295:7 October
1029:Best Film
722:Category
709:Accolades
606:Reception
499:film noir
489:in 1950.
479:socialist
353:as Maggie
323:as Sophie
105:Edited by
99:Dick Pope
1968:Meantime
1877:Peterloo
1432:mubi.com
1261:"Naked."
640:misogyny
552:Guardian
537:Lothario
511:sadistic
435:Voltaire
264:Zimbabwe
192:Language
115:Music by
69:Starring
2019:Ecstasy
1710:at the
1655:at the
1633:at the
728:Result
675:Muppets
649:of the
534:cockney
475:Habonim
440:Candide
426:Ubu Roi
256:Dalston
195:English
184:Country
161: (
128:company
2038:(1989)
2022:(1979)
2014:(1965)
1995:(2012)
1987:(1987)
1979:(1984)
1971:(1983)
1963:(1982)
1955:(1980)
1947:(1977)
1939:(1977)
1931:(1976)
1923:(1976)
1915:(1975)
1907:(1973)
1888:(2024)
1880:(2018)
1872:(2014)
1864:(2010)
1856:(2008)
1848:(2004)
1840:(2002)
1832:(1999)
1824:(1997)
1816:(1996)
1808:(1993)
1800:(1990)
1792:(1988)
1784:(1971)
1458:. IMDb
1173:
1114:6 July
716:Award
584:Hamlet
569:Hamlet
493:Themes
445:Buddha
296:pounds
287:yuppie
235:Cannes
2003:Plays
1805:Naked
1764:Works
1674:Naked
1663:Naked
1652:Naked
1641:Naked
1630:Naked
1339:Naked
1215:Naked
1190:Naked
1104:(18)"
1102:Naked
1048:1999
1034:Naked
935:Naked
903:1994
883:1994
845:1993
813:Naked
754:Naked
658:Naked
616:Naked
596:Boudu
592:Naked
588:Boudu
556:Naked
522:Alfie
487:revue
454:Chaos
413:Naked
249:In a
239:Naked
211:Naked
24:Naked
1646:IMDb
1580:2024
1553:2024
1520:2024
1495:2024
1464:2024
1439:2024
1407:2024
1382:2024
1297:2022
1171:ISBN
1116:2013
1008:Won
986:Won
964:Won
952:1994
912:Won
871:Won
851:Won
802:Won
785:Won
732:Ref.
594:and
572:and
501:and
447:and
302:Cast
245:Plot
1677:at
1666:at
1644:at
685:in
628:of
600:the
576:'s
566:'s
451:'s
437:'s
423:'s
2054::
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1481:.
1447:^
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1415:^
1398:.
1286:.
1202:^
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1177:.
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1100:"
165:)
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