-Not many directors have made their mark on American cinema quite like Woody Allen. His flair for finding hilarity in ordinary life along with also pointing out the intricacies of human behavior have truly become his trademark. Likewise his eternal love affair with New York City along with his unrivaled stamina (he's written and directed one film virtually each year since making his debut as a filmmaker in the late 60s) have made him a cinematic landmark. Actors aspire to work with him, critics look forward to his movies and regardless of whatever advances films have made since he first appeared on the scene, Allen continues to stick to his traditional mode of filmmaking which has, and always will set him apart from any other director around. In celebration of an unprecedented legacy, here are 5 Woody Allen outings that may not have gone down as some of the master's greatest, but are some of my favorites and regadless of the type of "Allen" quality they give off, are still some of the most noteworthy films around.
1. Interiors (1978)
-One of Allen's most serious offerings from the 1970s, Interiors was not warmly received upon initial release but has since acquired a collection of admirers. The film's look very carefully measured with a variety of muted colors with only a handful of brightness sparsely scattered throughout the entire movie is exemplary. Moreover though, the film's main theme of how the divore of a long-time married couple affects their grown children was one that had, up to that point anyways, yet to be explored. Allen's treatment of the subject and the way he shapes the adult children characters help to make Interiors one of the most compelling examples of family drama in film history.
http://www.youtube.com/watch?v=lhphrzgPpaE
2. Bullets Over Broadway (1994)
-Allen's tribute to gangster pictures of the 30s as well as the great white way are both explored with great care in this fast-paced romp. A failed playwright is determined to bring his latest production to the stage himself but finds that his goal will be impossible to achieve unless he negotiates a deal with the mob. Full of lush cinematography, cracker-jack dialogue and great performances form the cast (especially Palminteri, Tilly and Weist who each received Oscar nominations for their work, with the latter winning), Bullets Over Broadway brought with it a resurgence for the director as well as an Oscar nomination for Best Original Screenplay.
http://www.youtube.com/watch?v=6BDr_9S5ZwU
3. Melinda and Melinda (2004)
-In full experimental mode, Allen got together one of his most diverse casts for one of his most daring latter day entries. The film tells the story of a fictional character named Melindaa hapless singleton who is presented through two separate stories (one comedic, the other dramatic). Its not an easy premise to take on as a viewer, but if your patience holds on throughout, the result as well as the overall experience is truly rewarding. Full of Allen's trademark dialogue and sensibility, Melinda and Melinda is truly one of the more curious footnotes in the director's illustrious career.
http://www.youtube.com/watch?v=t6IPioPX760
4. Scoop (2006)
-One of Allen's most celebrated, yet strangely still criminally underrated facets as a director has to do with his talents toward the area of magical realism. Nowhere is this more prevalent than in the comedy/mystery Scoop. A young American journalism student spending the summer in London encounters the ghost of a recently-dead reporter who informs her that a prominent citizen may be a notorious serial killer. From start to finish Scoop is brimming with laughs, mystery, and elements of farce and suspense. Featuring Allen himself in a hilarious role, Scoop is one of his hidden gems.
http://www.youtube.com/watch?v=X31pBRzhqaw
5. Cassandra's Dream (2007)
-Family is family. Blood is blood. So states the tagline for this harshly-treated suspense drama from Allen. Two London brothers who are both struggling to rise above their current social status' beg their wealthy uncle to loan them large sums of money to clear their debts. In exchange for the loan, they must murder one of their uncle's associates. Unlike so many suspense yarns, Cassandra's Dream is very grounded in reality and boasts an assortment of interesting characters including the brothers' girlfriends, both of whom add intrigue to the film. In the end, Cassandra's dream represents family loyalty and the parameters that exist within.
http://www.youtube.com/watch?v=9iEQdTFb2Rw
Thursday, 22 April 2010
Tuesday, 20 April 2010
Movie Flop of the Week- Nothing But Trouble (1991)
-In the late 80s, the trio of Dan Aykroyd, Chevy Chase and John Candy were at the height of their fame before passing the torch of comedic movie star over to the likes of Rob Schnieder, Adam Sandler and Kevin James. These actors starred in an array of screen comedies that all played on thier various comedic strengths which they had earlier showcased on SNL. It seemed for a while that these surefire funny men could do no wrong creatively. That is untl Nothin but Trouble came their way.
Co-written and directed by Aykroyd, this dark comedy tells the story of a group of New Yorkers (which includes Chase and Demi Moore) on their way to Atlantic City for a conference when a wrong turn leads them into the city of Valkenvania; an eerie looking town filled with decaying buildings and questionable characters. Upon failing to notice a stop sign, Chase and co. find themselves being pursued by a local policeman (Candy). After deciding the outrun the cop, the group is eventually captured and taken to the local jail/courthouse; a dilapidated mansion with various mazes, trapdoors, secret rooms, and hidden stairwells. After being presented to the local justice of the peace (a heavily-made-up Akyroyd) the group's trial is postponed until the morning and are placed into a holding cell. Desperate to escape, the trendy New Yorkers plunge ahead through the many traps the manaical judge and his family have set up.
It seems that everyone involved (save for Aykroyd) must have seen the writing on the wall with regards to the outcome of Nothing But Trouble. Although the studio was willing to give the actor turned novice director a chance, interference from executives was still a factor as they tried to bleed originality from Aykroyd's screenplay in favor of a more audience-friendly outing ( the most notable example of this was changing the film's title from the original Valkenvania to the overly-generic, not to mention critics' favorite Nothing But Trouble.) It seemed the cast didn't have much faith in the film either with Chase reportedly telling everyone he knew the film was bad news and how he committed to the project only to please his friend Aykroyd. Audiences shared the same reaction as Chase and the studio (who released the film in early February- the dumping time for films studios have lost faith in) as the $40 million movie grossed a measly $8 million. Adding to the proceedings were the 6 Razzie Nominations the film received the following year for Worst Supporting Actor (Akyroyd-for which he won), Worst Supporting Actress (Candy-for playing his twin sister), Worst Actress (Moore- who received another nomination that year for The Butcher's Wife), Worst Director (Akyroyd), Worst Screenplay (Aykroyd and his brother Peter) and Worst Picture.
It becomes obvious that there are only two types of audiences suitable for Nothing But Trouble: the first is comprised of fans of Candy (who also plays his character's twin sister), Chase and Aykroyd, who must have taken delight in seeing the three comedic giants share the same screen. The second are fans of dark, macabre comedy who appreciate Aykroyd's decidedly harsh touches. Its true that at times the movie does become a tad mean-spirited such as when another group of lawbreakers (this time a group of drugged-out party animals) are sentenced to death and are placed on a rollercoaster which throws them into a machine which tears off their flesh and spits out their bones onto a dart board or when Chase and Moore encounter a room full of IDs belonging to the judge's many past victims including the never-found Jimmy Hoffa. Yet even these touches are filled with more imagination than most of today's dark comedy offerings.
Its no surprise the critics hated Nothing But Trouble with a passion. While their lambasting of the film is overblown, to their credit there are some points in the film which simply don't work. For example, the casting of Moore (the only non-comedian in the film), the side plot featuring the derranged family's estranged cousins, and the musical number featuring Tupac Shakur (in which Aykroyd joins in) are all elements which should have been rethought.
And yet in spite of this, Nothing But Trouble is still a great deal of dark fun thanks to the cast, its winding story which never lets up, and incredible set pieces including an elaborate junk yard and a funhouse from hell. It may have been one of the biggest flops of 1991; spelling the end for Aykroyd as a director, but Nothing But Trouble remains today what its creator intended it to be-a great deal of dark, twisted fun.
http://www.youtube.com/watch?v=KgBxhLgTEvg
-enjoy watching Siskel and Ebert take the movie apart on their program in a misjudged review...
Co-written and directed by Aykroyd, this dark comedy tells the story of a group of New Yorkers (which includes Chase and Demi Moore) on their way to Atlantic City for a conference when a wrong turn leads them into the city of Valkenvania; an eerie looking town filled with decaying buildings and questionable characters. Upon failing to notice a stop sign, Chase and co. find themselves being pursued by a local policeman (Candy). After deciding the outrun the cop, the group is eventually captured and taken to the local jail/courthouse; a dilapidated mansion with various mazes, trapdoors, secret rooms, and hidden stairwells. After being presented to the local justice of the peace (a heavily-made-up Akyroyd) the group's trial is postponed until the morning and are placed into a holding cell. Desperate to escape, the trendy New Yorkers plunge ahead through the many traps the manaical judge and his family have set up.
It seems that everyone involved (save for Aykroyd) must have seen the writing on the wall with regards to the outcome of Nothing But Trouble. Although the studio was willing to give the actor turned novice director a chance, interference from executives was still a factor as they tried to bleed originality from Aykroyd's screenplay in favor of a more audience-friendly outing ( the most notable example of this was changing the film's title from the original Valkenvania to the overly-generic, not to mention critics' favorite Nothing But Trouble.) It seemed the cast didn't have much faith in the film either with Chase reportedly telling everyone he knew the film was bad news and how he committed to the project only to please his friend Aykroyd. Audiences shared the same reaction as Chase and the studio (who released the film in early February- the dumping time for films studios have lost faith in) as the $40 million movie grossed a measly $8 million. Adding to the proceedings were the 6 Razzie Nominations the film received the following year for Worst Supporting Actor (Akyroyd-for which he won), Worst Supporting Actress (Candy-for playing his twin sister), Worst Actress (Moore- who received another nomination that year for The Butcher's Wife), Worst Director (Akyroyd), Worst Screenplay (Aykroyd and his brother Peter) and Worst Picture.
It becomes obvious that there are only two types of audiences suitable for Nothing But Trouble: the first is comprised of fans of Candy (who also plays his character's twin sister), Chase and Aykroyd, who must have taken delight in seeing the three comedic giants share the same screen. The second are fans of dark, macabre comedy who appreciate Aykroyd's decidedly harsh touches. Its true that at times the movie does become a tad mean-spirited such as when another group of lawbreakers (this time a group of drugged-out party animals) are sentenced to death and are placed on a rollercoaster which throws them into a machine which tears off their flesh and spits out their bones onto a dart board or when Chase and Moore encounter a room full of IDs belonging to the judge's many past victims including the never-found Jimmy Hoffa. Yet even these touches are filled with more imagination than most of today's dark comedy offerings.
Its no surprise the critics hated Nothing But Trouble with a passion. While their lambasting of the film is overblown, to their credit there are some points in the film which simply don't work. For example, the casting of Moore (the only non-comedian in the film), the side plot featuring the derranged family's estranged cousins, and the musical number featuring Tupac Shakur (in which Aykroyd joins in) are all elements which should have been rethought.
And yet in spite of this, Nothing But Trouble is still a great deal of dark fun thanks to the cast, its winding story which never lets up, and incredible set pieces including an elaborate junk yard and a funhouse from hell. It may have been one of the biggest flops of 1991; spelling the end for Aykroyd as a director, but Nothing But Trouble remains today what its creator intended it to be-a great deal of dark, twisted fun.
http://www.youtube.com/watch?v=KgBxhLgTEvg
-enjoy watching Siskel and Ebert take the movie apart on their program in a misjudged review...
Monday, 19 April 2010
An Appreciation of Kevin Kline
-For years Kevin Kline has been one of film's most solid actors. He has proven his range in many kinds of films and his unique presence has greatly contributed to some of the most revered cinematic offerings of the last century (i.e. Sophie's Choice, The Big Chill, A Fish Called Wanda and The Ice Storm.) Its difficult to pinpoint exactly what it is about Kline that has endeared him to audiences for decades. Some suggest its his ability to deliver any line with the appropriate amount of class or manic intensity. Some say its his ability to tower like an overpowering leading man while still exuding a down to earth feeling. And still others point to an undeniable ability to transform himself according to whatever role he is playing while still maintaining his own unique personality. An Oscar winner who has deserved much more acclaim than he's been given in the past, below are 5 of Kline's most revered, yet slightly underrated performances which showcase the actor at his best.
1. Soapdish (1991)
-Although the film clearly had Sally Field geared as its leading lady, Kline is able to match up to her comedic abilities admirably. The story of a soap opera star (Field) who must confront her past when a former castmate/lover (Kline) returns and the farce that ensues was one of the early 90s most beloved comedies. Kline is at hs best as an actor rescued from trenches of dinner theater and is given one more chance to redeem himself by the soap opera world. He's funny, likeable and inhabits the role like a fine glove. Production delays on this film may have cost him the lead in Steven Speilberg's Hook, but his fine work in Soapdish resulted in a well-deserved Golden Globe Nomination.
http://www.youtube.com/watch?v=FwDSYbNSmss
2. Dave (1993)
-Kline plays Dave Covic, the owner of an employment agency who bears a striking resemblence to the current President. As a side job, Dave is hired out to make personal appearances as the commander-in-chief, but when the real leader has a stroke, Dave is recruited by the government to serve as the President full time. Dripping with Capra-esque ideals, the casting of Kline seems ideal as he so wonderfully embodies the spirit of Capra favoite Jimmy Stewart and infuses the role with his own charms. This smart political comedy has a humanistic feel thanks to its leading man who received a Golden Globe Nomination for his performance.
http://www.youtube.com/watch?v=Jt7TN_CKp9U&feature=related
3.Life as a House (2001)
-In a rare dramatic role, Kline portrays an archietect past him prime who has recently been let go from the firm he works at and as a result decides to build his dream home and bring along his estranged teenage son for the ride. Kline is absolutely pitch perfect as a man whose life has passed him by without knowing it and upon realizing it sets out to make things right. The premise of the film may seem simple, but story is still potent enough thanks to Kline's fully committed performance which never misses a beat. Its rare to see Kline in a role such as this for which he recevied a Screen Actors' Guild Nomination.
http://www.youtube.com/watch?v=QlAXZclowmI
4. De-lovely (2004)
-The life story of legendary composer Cole Porter may not have been one of the most sought-after properties in Hollywood, but its an undenaible fascinating life story nonetheless. As the music man himself, Kline is at his most whimsical; brilliantly capturing the romantic and idealistic Porter in all his facets. Kline recognizes Porter as a man with an unshakable passion for life and plays him as such. Its one of his best times on screen and one of the most enjoyable real-life channellings in recent times. Had the film not been released the same year as Ray, Kline might have gotten an Oscar Nomination for his work, instead he had to settle for an equally deserving Golden Globe Nomination.
http://www.youtube.com/watch?v=Kxncdtqjs6g
5. A Prairie Home Companion (2006)
-The film adaptation of Garrison Kiellor's long-running radio show was beautifully translated to film by the legendary Robert Altman and featured many standout characters. Yet it was Kline as the film's narrator and house detective which proved the most humorous. As Guy Noir, Kline comically channeled Sam Spade, Philip Marlowe and Jake Gitties to great effect. What makes Kline's performance work in this film so well is the fact that he plays his charcter in a strightforward manner rather than the second-rate gumshoe he actually is. Its Kline at his most serious, but also his silliest.
http://www.youtube.com/watch?v=CvOCeeCP6tY
1. Soapdish (1991)
-Although the film clearly had Sally Field geared as its leading lady, Kline is able to match up to her comedic abilities admirably. The story of a soap opera star (Field) who must confront her past when a former castmate/lover (Kline) returns and the farce that ensues was one of the early 90s most beloved comedies. Kline is at hs best as an actor rescued from trenches of dinner theater and is given one more chance to redeem himself by the soap opera world. He's funny, likeable and inhabits the role like a fine glove. Production delays on this film may have cost him the lead in Steven Speilberg's Hook, but his fine work in Soapdish resulted in a well-deserved Golden Globe Nomination.
http://www.youtube.com/watch?v=FwDSYbNSmss
2. Dave (1993)
-Kline plays Dave Covic, the owner of an employment agency who bears a striking resemblence to the current President. As a side job, Dave is hired out to make personal appearances as the commander-in-chief, but when the real leader has a stroke, Dave is recruited by the government to serve as the President full time. Dripping with Capra-esque ideals, the casting of Kline seems ideal as he so wonderfully embodies the spirit of Capra favoite Jimmy Stewart and infuses the role with his own charms. This smart political comedy has a humanistic feel thanks to its leading man who received a Golden Globe Nomination for his performance.
http://www.youtube.com/watch?v=Jt7TN_CKp9U&feature=related
3.Life as a House (2001)
-In a rare dramatic role, Kline portrays an archietect past him prime who has recently been let go from the firm he works at and as a result decides to build his dream home and bring along his estranged teenage son for the ride. Kline is absolutely pitch perfect as a man whose life has passed him by without knowing it and upon realizing it sets out to make things right. The premise of the film may seem simple, but story is still potent enough thanks to Kline's fully committed performance which never misses a beat. Its rare to see Kline in a role such as this for which he recevied a Screen Actors' Guild Nomination.
http://www.youtube.com/watch?v=QlAXZclowmI
4. De-lovely (2004)
-The life story of legendary composer Cole Porter may not have been one of the most sought-after properties in Hollywood, but its an undenaible fascinating life story nonetheless. As the music man himself, Kline is at his most whimsical; brilliantly capturing the romantic and idealistic Porter in all his facets. Kline recognizes Porter as a man with an unshakable passion for life and plays him as such. Its one of his best times on screen and one of the most enjoyable real-life channellings in recent times. Had the film not been released the same year as Ray, Kline might have gotten an Oscar Nomination for his work, instead he had to settle for an equally deserving Golden Globe Nomination.
http://www.youtube.com/watch?v=Kxncdtqjs6g
5. A Prairie Home Companion (2006)
-The film adaptation of Garrison Kiellor's long-running radio show was beautifully translated to film by the legendary Robert Altman and featured many standout characters. Yet it was Kline as the film's narrator and house detective which proved the most humorous. As Guy Noir, Kline comically channeled Sam Spade, Philip Marlowe and Jake Gitties to great effect. What makes Kline's performance work in this film so well is the fact that he plays his charcter in a strightforward manner rather than the second-rate gumshoe he actually is. Its Kline at his most serious, but also his silliest.
http://www.youtube.com/watch?v=CvOCeeCP6tY
Friday, 16 April 2010
Major Revamp of Blog Content
-I had so much fun making the compilation blogs leading up to the Oscars that i've decided to continue the trend and devote certain days of the week to creating blogs which explore various topics of film. This routine I plan on continuing weekly to have some more fun and change things up with this blog. However I don't plan on abandoning the blog's original purpose which is to celebrate various underrated and underappreciated films that have come and gone. So without further ado, here is my tentative make up for the new blog:
Mondays- Actor profile- I will look at certain highglights from the career of a particular actor or actress which I feel have contributed to making them one of the screen's most valued players.
Tuesday-Film Flops- A look at some of the most notorious cinematic disasters, why they are considered so terrible and what specifically is it about them that warrants revisiting.
Wednesday-Director Profile- Much in the same vein as the actor profile, I will be looking at some of the highlights of the careers from some of the most esteemed visual storytellers.
Thursday-Underrated classics- As usual, an examination of a film which received little to no attention when first released but deserves being written about due to its unique and hidden charms.
Friday-Theme Day-From horror, to musicals, to such topics as psychology and sex, to genres every Friday I will explore a various theme explored in film and various noteworthy examples which illustrate it.
Well that's the new plan!! I plan to set this into motion this upcoming Monday with my actor profile on an individual who is to be determined!! Til then!!
Mondays- Actor profile- I will look at certain highglights from the career of a particular actor or actress which I feel have contributed to making them one of the screen's most valued players.
Tuesday-Film Flops- A look at some of the most notorious cinematic disasters, why they are considered so terrible and what specifically is it about them that warrants revisiting.
Wednesday-Director Profile- Much in the same vein as the actor profile, I will be looking at some of the highlights of the careers from some of the most esteemed visual storytellers.
Thursday-Underrated classics- As usual, an examination of a film which received little to no attention when first released but deserves being written about due to its unique and hidden charms.
Friday-Theme Day-From horror, to musicals, to such topics as psychology and sex, to genres every Friday I will explore a various theme explored in film and various noteworthy examples which illustrate it.
Well that's the new plan!! I plan to set this into motion this upcoming Monday with my actor profile on an individual who is to be determined!! Til then!!
Tuesday, 6 April 2010
Living Out Loud- Movie of the Day (4/6/10)
-Living Out Loud (1998)
-Starring Holly Hunter, Danny Devito, and Queen Latifah
-Written and Directed by Richard Lagravenese
-Films about damaged people are not all that uncommon. Movies about seemingly happy, carefree individuals wouldn't be able to sustain any kind of audience for 2 hours. Yet in watching stories about people who have lost their way in life and rely on each other to help pull them through will forever be compelling cinema.
An excellent specimen of such a film is the criminally underrated 1998 comedy/drama Living Out Loud. The film tells the story of Judith Moore (Hunter); a recently divorced upper-east side New Yorker who finds she doesn't know who she is since her long-time husband has left her for another woman. Judith spends her days reading books, eating out, attending jazz clubs and engaging in other similar activites by herself without any real human contact. Meanwhile Pat (Devito) is a doorman at Judith's building who is struggling with problems of his own. His only daughter has just died after a lengthy battle with lukemia and his gambling debts have been mounting. It isn't long before the two connect and in each other, find a true friendship, a possible romance, and the encouragement to finally live the lives they were meant to live.
There is virtually nothing about this film that works against it. Everything from the casting to the writing, to the directing and choice of music serves the film and story well. The humor within it is carefully spaced out, but always present in an effort to not crowd the drama but to also remind veiwers that Living Out Loud is indeed a comedy. Hunter is without question brilliant as Judith and plays her as a controlled mess; a woman who seems poised on the outside but whose inner ramblings are truly manic and neurotic ("I can't stand those terrorists!! They're always so mad at everybody!!") Through Hunter, we get to know Judith inside and out; her fears, desires, her vulnerability and frustrations. Its one of Hunter's finest moments and one which should have brought her more acclaim than it did. Likewise as compelling is Devito as Pat who wears his heart on his sleeve and who doesn't posess a single alterior motive. Its the kind of role one doesn't normally see Devito play. Here the actor abandons his trademark quality and plays Pat in a straight manner allowing the character's humor to come from his own charm. Never has Devito been as down to earth and honest on screen as he is here. Rounding out the cast is a jazz singer named Liz Bailey (Latifah); a one-time recording artist who now sings at the jazz club Judith frequents and later befriends. Like Devito, Latifah doesn't give a flashy performance, but rather one which is full of honesty and (thanks to some choice jazz numbers) class.
Some choice moments in the film brilliantly chronicle Judith's journey. Such as her hilarious inner-monolouges which are filled with anger, yet are still amusing, the sequence in which she enjoys an erotic massage allowing her to feel sexual again and the sequence when she takes ecstasy and accompanies Liz to a nightclub where she partakes in well-choreographed dance sequence. The latter scene is perhaps the most important as it represents Judith's evolution towards re-discovering who she really is and, after magically encountering a teenage version of herself, who she was.
If the movie feels at all like it may be a hair too long, its only because the journey for the characters is so rich and LaGravanese doesn't want to short change their stories in any way. While both Judith and Pat have circumstances that seem dire, their clinging to each other and their belief in hope pulls them through. In fact it is that term hope which is perhaps the movie's biggest theme as seen by an ending that is non-conventional and certianly not the most ideal, but which serves the character's greatly in the long run.
Its fantastic to find a movie such as Living Out Loud whose sole purpose is to tell a real story about characters who are struggling to put themselves back together again. Its easy to find aspects of these people in your own life and if the movie leaves the viewer with anything, its the question: are we truly living our lives out loud??
http://www.youtube.com/watch?v=AFZGpZVQVm0
-Starring Holly Hunter, Danny Devito, and Queen Latifah
-Written and Directed by Richard Lagravenese
-Films about damaged people are not all that uncommon. Movies about seemingly happy, carefree individuals wouldn't be able to sustain any kind of audience for 2 hours. Yet in watching stories about people who have lost their way in life and rely on each other to help pull them through will forever be compelling cinema.
An excellent specimen of such a film is the criminally underrated 1998 comedy/drama Living Out Loud. The film tells the story of Judith Moore (Hunter); a recently divorced upper-east side New Yorker who finds she doesn't know who she is since her long-time husband has left her for another woman. Judith spends her days reading books, eating out, attending jazz clubs and engaging in other similar activites by herself without any real human contact. Meanwhile Pat (Devito) is a doorman at Judith's building who is struggling with problems of his own. His only daughter has just died after a lengthy battle with lukemia and his gambling debts have been mounting. It isn't long before the two connect and in each other, find a true friendship, a possible romance, and the encouragement to finally live the lives they were meant to live.
There is virtually nothing about this film that works against it. Everything from the casting to the writing, to the directing and choice of music serves the film and story well. The humor within it is carefully spaced out, but always present in an effort to not crowd the drama but to also remind veiwers that Living Out Loud is indeed a comedy. Hunter is without question brilliant as Judith and plays her as a controlled mess; a woman who seems poised on the outside but whose inner ramblings are truly manic and neurotic ("I can't stand those terrorists!! They're always so mad at everybody!!") Through Hunter, we get to know Judith inside and out; her fears, desires, her vulnerability and frustrations. Its one of Hunter's finest moments and one which should have brought her more acclaim than it did. Likewise as compelling is Devito as Pat who wears his heart on his sleeve and who doesn't posess a single alterior motive. Its the kind of role one doesn't normally see Devito play. Here the actor abandons his trademark quality and plays Pat in a straight manner allowing the character's humor to come from his own charm. Never has Devito been as down to earth and honest on screen as he is here. Rounding out the cast is a jazz singer named Liz Bailey (Latifah); a one-time recording artist who now sings at the jazz club Judith frequents and later befriends. Like Devito, Latifah doesn't give a flashy performance, but rather one which is full of honesty and (thanks to some choice jazz numbers) class.
Some choice moments in the film brilliantly chronicle Judith's journey. Such as her hilarious inner-monolouges which are filled with anger, yet are still amusing, the sequence in which she enjoys an erotic massage allowing her to feel sexual again and the sequence when she takes ecstasy and accompanies Liz to a nightclub where she partakes in well-choreographed dance sequence. The latter scene is perhaps the most important as it represents Judith's evolution towards re-discovering who she really is and, after magically encountering a teenage version of herself, who she was.
If the movie feels at all like it may be a hair too long, its only because the journey for the characters is so rich and LaGravanese doesn't want to short change their stories in any way. While both Judith and Pat have circumstances that seem dire, their clinging to each other and their belief in hope pulls them through. In fact it is that term hope which is perhaps the movie's biggest theme as seen by an ending that is non-conventional and certianly not the most ideal, but which serves the character's greatly in the long run.
Its fantastic to find a movie such as Living Out Loud whose sole purpose is to tell a real story about characters who are struggling to put themselves back together again. Its easy to find aspects of these people in your own life and if the movie leaves the viewer with anything, its the question: are we truly living our lives out loud??
http://www.youtube.com/watch?v=AFZGpZVQVm0
Monday, 22 March 2010
Alternative Oscar Nominees...Best Picture!!
-I'm beyond glad that The Hurt Locker took home the Best Picture award at the Oscars this year. If there was ever a film that was so artful, yet intense, as well as relevant, it was The Hurt Locker. Though the film was not a big money maker, it now has a place in history alongside the many other great motion pictures that came before it such as Gentleman's Agreement, The Deer Hunter, and Crash. I have very little doubt that anyone who did not see the film wanted any other nominee to take home the prize. Yet since the Academy opened up the top category to double the nominees, there was certainly a diverse group of choices. Without question, the darkest horse was The Blind Side, whose inclusion I suspect was based highly on box office rather that artistic merit, while others such as A Serious Man and Avatar had moments of brilliance, but their appearance on the list was also somewhat of a "hmm..." moment. Despite opening up the category to 10 possible winners, some of the most intriguing and worthy films of 2009 were shut out of the running. Below are my 5 alternative picks for Best Picture which I feel could easily have been worthy of one of the 10 spots. With the exception of one, none of these picks received any kind of Oscar recognition whatsoever in any of the other categories!! For that very reason, I shall also offer up some additional potential categories besides Best Picture which all of these films could have easliy fit into as well...enjoy!!
1. Afterschool
-The hit of several film festivals, Afterschool is indie director Antonio Campos' fourth feature and by far his most provacative to date. The film tells the story of a young boarding school student who feels unnerved by his surroundings; a feeling that more than escalates when he witnesses upon two popular fellow classmates overdose on drugs and die. Campos' bold move of abandoning the conventional movie camera techniques for a decidely more realist feel proved to be the ultimate comment on the heavily dependent youtube generation. The style of filmmaking only emphasizes the intese maddening feeling given off by the world of private school and one student's determination not to get lost within it. By far one of the most haunting films released this year.
Alt. Nominations:
Best Original Screenplay
Best Director- Antonio Campos
http://www.youtube.com/watch?v=nGFbWhlVezo
2. Duplicity
-The title on my list with the least amount of Oscar buzz, Duplicity was perhaps one of the most refreshing film offerings this year. From Bourne/Michael Clayton writer/director, Tony Gilroy, Duplicity concerns two ex-spies who come together to pull off a con on two of America's biggest corporations while at the same trying to stay ahead of one another. Not only does the movie have a sparkling script, lots of great location shots, and more than enough chemistry between the two leads, but Duplicity also successfully reworks the romance caper genre making it accessible to both passive and active audiences. The story structure of the film is laid out like a jigsaw puzzle, begging to be solved, while the romance and the comedy is fresh and present. All in all, a surprising and pleasant entry in an otherwise conventional genre.
Alt. Nominations-
-Best Original Screenplay
-Best Original Song- Being Bad
-Best Editing
http://www.youtube.com/watch?v=0PA92vCdgB8&feature=related
3. Everybody's Fine
-A remake of an earlier foreign film, Everybody's Fine is one of those special films that is able to fit comfortably into any era thanks to its universal story and the execution of it. The story deals with Robert DeNiro's elegaic journey across the country to visit his grown children whom he's grown slightly apart from since the death of wife a few months prior. Its so rare for a film to hit as many right notes as Everybody's Fine does. The acting, writing, directing all come together like a classical piece of music: delicate in its tone, yet strong enough to stir emotions. In an era where most films strive to be mind-blowing and life-altering, its refreshing to find a motion picture that simply wants to be fine.
Alt. Nominations-
-Best Original Song- (I Want to) Come Home
http://www.youtube.com/watch?v=XGXuhyVxrQM
4. Nine
-"From Rob Marshall, the director of Chicago" spelled death for the harshly judged, Fellini-inspired Nine. Those unfamiliar with the film's subject were constantly comparing it to Chicago while those who knew the story's background felt what they were seeing was a half-baked version of the original Broadway show. Nine is about a revered Italian film director who has come to a career block making him unable to start work on his new film as he tries to come to terms with the various women in his life. Although it didn't live up to the bevy of expectations piled upon it in the months prior to its release, Nine works as a dazzling array of offbeat, showstopping songs performed by an able star-studded cast while at the same time also paying homage to not only the great Federico Fellini, but also filmmakers in general and the practice of making a movie. Any true lover of films should find themselves shedding a tear by the end.
Alt. Oscar Nominees-
-Best Original Song- Cinema Italiano
-Best Director- Rob Marshall
-Best Adapted Screenplay
-Best Editing
http://www.youtube.com/watch?v=2B2N_iRUJ7Y
5. Where the Wild Things Are
-THE most underrated film released last year was without a doubt Spike Jonze's visionary adaptation of the classic children's book Where the Wild Things Are. The story of a boy who escapes his home life and finds himself in a world populated by giant creatures who adopt him as their king couldn't have been brought to the screen any better. Jonze has constructed a film not necessarily for children but for anyone who remembers a time in their lives when they felt the need to escape the ugly realities of the real world. Beyond the cathartic feelings it provokes from the audience, Where the Wild Things Are represents that seemingly undefinable moment in childhood when we slowly begin to grow up. Well-written, well-crafted, and beautifully shot, Where the Wild Things Are is my personal pick for best picture of 2009.
Alt. Nominations:
-Best Adapted Screenplay
-Best Director- Spike Jonze
-Best Cinematograpy
-Best Art Direction
-Best Original Score
http://www.youtube.com/watch?v=YFgB6xUzziU
Next Week...Back to my continuous appreciation of underrated films...
1. Afterschool
-The hit of several film festivals, Afterschool is indie director Antonio Campos' fourth feature and by far his most provacative to date. The film tells the story of a young boarding school student who feels unnerved by his surroundings; a feeling that more than escalates when he witnesses upon two popular fellow classmates overdose on drugs and die. Campos' bold move of abandoning the conventional movie camera techniques for a decidely more realist feel proved to be the ultimate comment on the heavily dependent youtube generation. The style of filmmaking only emphasizes the intese maddening feeling given off by the world of private school and one student's determination not to get lost within it. By far one of the most haunting films released this year.
Alt. Nominations:
Best Original Screenplay
Best Director- Antonio Campos
http://www.youtube.com/watch?v=nGFbWhlVezo
2. Duplicity
-The title on my list with the least amount of Oscar buzz, Duplicity was perhaps one of the most refreshing film offerings this year. From Bourne/Michael Clayton writer/director, Tony Gilroy, Duplicity concerns two ex-spies who come together to pull off a con on two of America's biggest corporations while at the same trying to stay ahead of one another. Not only does the movie have a sparkling script, lots of great location shots, and more than enough chemistry between the two leads, but Duplicity also successfully reworks the romance caper genre making it accessible to both passive and active audiences. The story structure of the film is laid out like a jigsaw puzzle, begging to be solved, while the romance and the comedy is fresh and present. All in all, a surprising and pleasant entry in an otherwise conventional genre.
Alt. Nominations-
-Best Original Screenplay
-Best Original Song- Being Bad
-Best Editing
http://www.youtube.com/watch?v=0PA92vCdgB8&feature=related
3. Everybody's Fine
-A remake of an earlier foreign film, Everybody's Fine is one of those special films that is able to fit comfortably into any era thanks to its universal story and the execution of it. The story deals with Robert DeNiro's elegaic journey across the country to visit his grown children whom he's grown slightly apart from since the death of wife a few months prior. Its so rare for a film to hit as many right notes as Everybody's Fine does. The acting, writing, directing all come together like a classical piece of music: delicate in its tone, yet strong enough to stir emotions. In an era where most films strive to be mind-blowing and life-altering, its refreshing to find a motion picture that simply wants to be fine.
Alt. Nominations-
-Best Original Song- (I Want to) Come Home
http://www.youtube.com/watch?v=XGXuhyVxrQM
4. Nine
-"From Rob Marshall, the director of Chicago" spelled death for the harshly judged, Fellini-inspired Nine. Those unfamiliar with the film's subject were constantly comparing it to Chicago while those who knew the story's background felt what they were seeing was a half-baked version of the original Broadway show. Nine is about a revered Italian film director who has come to a career block making him unable to start work on his new film as he tries to come to terms with the various women in his life. Although it didn't live up to the bevy of expectations piled upon it in the months prior to its release, Nine works as a dazzling array of offbeat, showstopping songs performed by an able star-studded cast while at the same time also paying homage to not only the great Federico Fellini, but also filmmakers in general and the practice of making a movie. Any true lover of films should find themselves shedding a tear by the end.
Alt. Oscar Nominees-
-Best Original Song- Cinema Italiano
-Best Director- Rob Marshall
-Best Adapted Screenplay
-Best Editing
http://www.youtube.com/watch?v=2B2N_iRUJ7Y
5. Where the Wild Things Are
-THE most underrated film released last year was without a doubt Spike Jonze's visionary adaptation of the classic children's book Where the Wild Things Are. The story of a boy who escapes his home life and finds himself in a world populated by giant creatures who adopt him as their king couldn't have been brought to the screen any better. Jonze has constructed a film not necessarily for children but for anyone who remembers a time in their lives when they felt the need to escape the ugly realities of the real world. Beyond the cathartic feelings it provokes from the audience, Where the Wild Things Are represents that seemingly undefinable moment in childhood when we slowly begin to grow up. Well-written, well-crafted, and beautifully shot, Where the Wild Things Are is my personal pick for best picture of 2009.
Alt. Nominations:
-Best Adapted Screenplay
-Best Director- Spike Jonze
-Best Cinematograpy
-Best Art Direction
-Best Original Score
http://www.youtube.com/watch?v=YFgB6xUzziU
Next Week...Back to my continuous appreciation of underrated films...
Thursday, 11 March 2010
Alternative 2009 Oscar Nominees- Best Actor
-Due to an unforseeable accident w/my internet provider, I was without internet for several days and as a result, I couldn't finish my alternative Oscar nomination posts prior to the awards ceremony. However, I now have my internet restored and will complete the two remaining posts despite the loss of some of their timeliness.
-I don't think that anyone was upset the Jeff Bridges won for his role in Crazy Heart. Certainly an actor with so many classics to his name as well as multiple nominations is definitley worthy of film's highest honor. The same is true (although to a lesser extent) of most of the remaining nominees. Colin Firth gave what was the culmination of his career through his haunting portrait in A Single Man which showed him at his best advantage. Jeremy Renner's work in The Hurt Locker likewise provided the seasoned actor with a fantastic platform from which to showcase the range of his acting. Morgan Freeman was finally able to give the public the role everyone had been waiting for him to play for so long; that of Nelson Mandella in Invictus. Only George Clooney, who gave his trademark disheveled businessman act in Up in the Air remains the odd one out in my opinion. This is not to say Clooney isn't talented, it just doesn't help when an actor continues to give the same performance as he did in his previous Oscar roles. In any case, below are five actors who did extraordinary work this year, giving performances in films which sadly went unnoticed by many, yet were definitley worthy of Oscar recognition.
1. Hugh Dancy for Adam
-Dancy, always cast as a stereotypical british gentleman (w/some notable exceptions), is finally allowed to stretch as an actor playing a man diagnosed with ausperger's syndrome who meets the girl of his dreams. Dancy skillfully handled both the comedic and dramatic elements deftly and was able to make the character of Adam a likeable enigma throughout. Its doubtful that we'll ever get to see Dancy in a role which allows him such whimsy and humanity. But I hope I'm wrong.
http://www.youtube.com/watch?v=92U6OnVZG3U
2. Johnny Depp for Public Enemies
-Even though most people thought that Michael Mann's much-anticipated Public Enemies was both overblown and underwhelming (myself included), many agreed that Depp's performance was indeed the film's saving grace. As legendary criminal John Dillinger, Depp once again added a memorable character to his film catalogue. Rather than give a movie star performance shrouded in mystery, Depp presents an honest and up-front portrait of America's one-time public enemy number 1. While not as flashy as most of his other roles in recent years, his turn in Public Enemies succeeds in showing the boundless talent of Johnny Depp.
http://www.youtube.com/watch?v=Q8xOgO7_eT8
3. Joseph Gordon Levitt in (500) Days of Summer
-Levitt has always been one of the most interesting younger actors around primarily due to the projects he takes on. The actor eases between comedy, drama, big-budget, and indie fare seamlessly; giving total and complete devotion to each role he undertakes. Yet in (500) Days of Summer, Levitt is at his very best. As a young greeting card writer who falls for a co-worker, Levitt was mesmerizing playing scenes of hilarity, romance, frustration and despair. It is one of the finest male peerformances given all year long and a testement to one of the most talented former child actors.
http://www.youtube.com/watch?v=8tJoIaXZ0rw
4. Sam Rockwell in Moon
-Sam Rockwell has always been one of the screen's most underapprectiated actors. His brilliant turns in The Green Mile, Confessions of a Dangerous Mind and Choke were all works of genius. In Moon, Rockwell truly inhabits the role of his career as an astronaut sent into space for a solo mission which lasts for 3 years. Being virtually the only cast member on film, the show was Rockwell's and through bouts of fright, paranoia and devastation, the actor was absolutely outstanding. Its another performance from one of the finest actors working today.
http://www.youtube.com/watch?v=twuScTcDP_Q
5. Michael Stuhlbarg in A Serious Man
-I can imagine its not that easy to carry an entire film on one's own, let alone a Coen Bros.' film. Yet that's just what Michael Stuhlbarg did, magnificently I might add, in A Serious Man. Playing a professor who sees his entire life crumbling around him in 1960s America, Stuhlbarg was ideally cast. Though his work prior to this has been limited to theater and TV spots, I sincerely hope after having seen A Serious Man, that the film world takes notice of such an incredible talent.
http://www.youtube.com/watch?v=ETSYOibG-_Y&feature=related
Tomorrow...Best Picture...finally!!
-I don't think that anyone was upset the Jeff Bridges won for his role in Crazy Heart. Certainly an actor with so many classics to his name as well as multiple nominations is definitley worthy of film's highest honor. The same is true (although to a lesser extent) of most of the remaining nominees. Colin Firth gave what was the culmination of his career through his haunting portrait in A Single Man which showed him at his best advantage. Jeremy Renner's work in The Hurt Locker likewise provided the seasoned actor with a fantastic platform from which to showcase the range of his acting. Morgan Freeman was finally able to give the public the role everyone had been waiting for him to play for so long; that of Nelson Mandella in Invictus. Only George Clooney, who gave his trademark disheveled businessman act in Up in the Air remains the odd one out in my opinion. This is not to say Clooney isn't talented, it just doesn't help when an actor continues to give the same performance as he did in his previous Oscar roles. In any case, below are five actors who did extraordinary work this year, giving performances in films which sadly went unnoticed by many, yet were definitley worthy of Oscar recognition.
1. Hugh Dancy for Adam
-Dancy, always cast as a stereotypical british gentleman (w/some notable exceptions), is finally allowed to stretch as an actor playing a man diagnosed with ausperger's syndrome who meets the girl of his dreams. Dancy skillfully handled both the comedic and dramatic elements deftly and was able to make the character of Adam a likeable enigma throughout. Its doubtful that we'll ever get to see Dancy in a role which allows him such whimsy and humanity. But I hope I'm wrong.
http://www.youtube.com/watch?v=92U6OnVZG3U
2. Johnny Depp for Public Enemies
-Even though most people thought that Michael Mann's much-anticipated Public Enemies was both overblown and underwhelming (myself included), many agreed that Depp's performance was indeed the film's saving grace. As legendary criminal John Dillinger, Depp once again added a memorable character to his film catalogue. Rather than give a movie star performance shrouded in mystery, Depp presents an honest and up-front portrait of America's one-time public enemy number 1. While not as flashy as most of his other roles in recent years, his turn in Public Enemies succeeds in showing the boundless talent of Johnny Depp.
http://www.youtube.com/watch?v=Q8xOgO7_eT8
3. Joseph Gordon Levitt in (500) Days of Summer
-Levitt has always been one of the most interesting younger actors around primarily due to the projects he takes on. The actor eases between comedy, drama, big-budget, and indie fare seamlessly; giving total and complete devotion to each role he undertakes. Yet in (500) Days of Summer, Levitt is at his very best. As a young greeting card writer who falls for a co-worker, Levitt was mesmerizing playing scenes of hilarity, romance, frustration and despair. It is one of the finest male peerformances given all year long and a testement to one of the most talented former child actors.
http://www.youtube.com/watch?v=8tJoIaXZ0rw
4. Sam Rockwell in Moon
-Sam Rockwell has always been one of the screen's most underapprectiated actors. His brilliant turns in The Green Mile, Confessions of a Dangerous Mind and Choke were all works of genius. In Moon, Rockwell truly inhabits the role of his career as an astronaut sent into space for a solo mission which lasts for 3 years. Being virtually the only cast member on film, the show was Rockwell's and through bouts of fright, paranoia and devastation, the actor was absolutely outstanding. Its another performance from one of the finest actors working today.
http://www.youtube.com/watch?v=twuScTcDP_Q
5. Michael Stuhlbarg in A Serious Man
-I can imagine its not that easy to carry an entire film on one's own, let alone a Coen Bros.' film. Yet that's just what Michael Stuhlbarg did, magnificently I might add, in A Serious Man. Playing a professor who sees his entire life crumbling around him in 1960s America, Stuhlbarg was ideally cast. Though his work prior to this has been limited to theater and TV spots, I sincerely hope after having seen A Serious Man, that the film world takes notice of such an incredible talent.
http://www.youtube.com/watch?v=ETSYOibG-_Y&feature=related
Tomorrow...Best Picture...finally!!
Wednesday, 3 March 2010
Alternative 2009 Oscar Nominees- Best Actress
-This year's Best Actress category at the Oscars is probably one of the most exciting and unpredictable in recent years. On the one hand there are the seasoned pros: Meryl Streep for her astonishing turn in Julie and Julia currently leading the pack of nominees with the most awarded performance of the season and a strong possibility to walk away with the coveted trophy and Helen Mirren, whose role as Tolstoy's wife in The Last Station is the definition of a dark horse if there ever was one. On the other side are two newcomers who have given some of the most impressive performances by younger actresses in such a long time. Carey Mulligan as an impressionable British schoolgirl in An Education was captivating and has taken home the most amount of awards this season (second only to Streep). Likewise Gabourey Sidibe's heartwrenching role in Precious has taken home every breakthrough actress/artist award around making her a very STRONG dark horse candidate. In the middle of all this, and the one nominee with the biggest Oscar buzz surrounding her, is Sandra Bullock, whose turn as a wealthy southerner in the surprise hit The Blind Side has led to what many call the performance of her career and has resulted in a string of high-profile accolades for America's sweetheart. I don't think anyone doubts that any of these women deserves her nomination, and I certainly wouldn't be disappointed if Streep or Bullock (the most logical choices) took home the gold. Yet I think its important to remember some of the other fantastic performances given by actresses in 2009 that, had it not been for the aforementioned 5 stellar turns, might have made it to Oscar glory.
1. Charlotte Gainsbourg- Antichrist
-Gus Van Sant's journey into the reecesses of dark madness proved to be too much for some with a few critics actually walking out at press screenings. While the film definitley takes a lot out of its audience, the most noteworthy component is Gainsbourg's performance. As a woman on the brink of insanity due to her son's death, Gainsbourg unleashed an unending flood of emotions throughout the entire course of the film which reportedly wreaked havoc on the actress' psyche. The result was the Best Actress award from the Cannes Film Festival and one of the most electrifying performances any actress has ever committed to film.
http://www.youtube.com/watch?v=eBdDcQONmkM
2. Gwyneth Paltrow- Two Lovers
-Gwyneth took somewhat of a risk with her screen image playing a woman involved with a married man as well as her neighbor in the indie drama Two Lovers. Playing a real mess of a human being, Paltrow is completely credible as a woman torn between the possibility of two different lives and who on some level enjoys wallowing in her own misery. Its a Gwyneth who isn't as audience-concious as seen in previous films in what is certainly her best role since Proof which is evidenced by her recent Independent Spirit Award nomination for Best Female Lead.
http://www.youtube.com/watch?v=KMpuIAiuabw
3. Michelle Pfeiffer- Cheri
-Sometime last year when a random film article was published detailing which performers were long overdue for an Oscar win, it came as no surpise that Pfeiffer's name came up. After being robbed 3 times before (not to mention failing to even get a nomination for her chilling work in White Oleander), the actress once again makes it known that she is Oscar-caliber with her most passion-filled role to date in Cheri. Pfeiffer plays an aging courtesan (a term for french high-class prostitutes) who begins an affair with a selfish young man only to see it end years later when he becomes engaged. The actress commands the screen so vividly as a woman who thought she knew what she wanted from her life, that she is even the main focus of scenes she isn't even in; not a small achievement by any means whatsoever!! With Cheri, La Pfeiffer once again proves herself to be one of the most beautiful and compelling actresses working in film.
http://www.youtube.com/watch?v=lj7wk445BR0
4. Robin Wright-Penn- The Private Lives of Pippa Lee
-While the film itself received mixed reviews, everyone delighted in Wright-Penn's almost flawless performance. As a woman whose life has undergone so many transformations and is now questioning where her life will go next, Wright-Penn is finally given the chance to not only carry a film on her own shoulders, but also finally showcase some of her grossly underused facets as an actress. After years of able and noteworthy supporting turns and ensemble work, it was so rewarding to see this fine actress be given the kind of part she has always deserved.
http://www.youtube.com/watch?v=oRV8fZza1z4
5. Renee Zellweger- My One and Only
-I found myself questioning some time ago what had happened to Zellweger's career in recent times. Her last few projects were either uninspired exercises into overly familiar territory (Miss Potter, Appaloosa, New in Town) or noteworthy films which had her doing very little (Cinderella Man, Leatherheads.) It was refreshing then to see the actress finally finding a rich role in a first-rate film such as her part in the late-summer comedy My One and Only. Based on the life of George Hamilton's mother, the film tells the story of a musician's wife who leaves her husband after discovering he's married and takes to the open road in search of a new love. With strong lines, period piece surroundings, and an accent to boot, Zellweger greatly inhabits a role any actress would kill for restoring some hope to what was once a most promising career.
http://www.youtube.com/watch?v=MPUYETIAxc0
Tomorrow...Best Actor!!
1. Charlotte Gainsbourg- Antichrist
-Gus Van Sant's journey into the reecesses of dark madness proved to be too much for some with a few critics actually walking out at press screenings. While the film definitley takes a lot out of its audience, the most noteworthy component is Gainsbourg's performance. As a woman on the brink of insanity due to her son's death, Gainsbourg unleashed an unending flood of emotions throughout the entire course of the film which reportedly wreaked havoc on the actress' psyche. The result was the Best Actress award from the Cannes Film Festival and one of the most electrifying performances any actress has ever committed to film.
http://www.youtube.com/watch?v=eBdDcQONmkM
2. Gwyneth Paltrow- Two Lovers
-Gwyneth took somewhat of a risk with her screen image playing a woman involved with a married man as well as her neighbor in the indie drama Two Lovers. Playing a real mess of a human being, Paltrow is completely credible as a woman torn between the possibility of two different lives and who on some level enjoys wallowing in her own misery. Its a Gwyneth who isn't as audience-concious as seen in previous films in what is certainly her best role since Proof which is evidenced by her recent Independent Spirit Award nomination for Best Female Lead.
http://www.youtube.com/watch?v=KMpuIAiuabw
3. Michelle Pfeiffer- Cheri
-Sometime last year when a random film article was published detailing which performers were long overdue for an Oscar win, it came as no surpise that Pfeiffer's name came up. After being robbed 3 times before (not to mention failing to even get a nomination for her chilling work in White Oleander), the actress once again makes it known that she is Oscar-caliber with her most passion-filled role to date in Cheri. Pfeiffer plays an aging courtesan (a term for french high-class prostitutes) who begins an affair with a selfish young man only to see it end years later when he becomes engaged. The actress commands the screen so vividly as a woman who thought she knew what she wanted from her life, that she is even the main focus of scenes she isn't even in; not a small achievement by any means whatsoever!! With Cheri, La Pfeiffer once again proves herself to be one of the most beautiful and compelling actresses working in film.
http://www.youtube.com/watch?v=lj7wk445BR0
4. Robin Wright-Penn- The Private Lives of Pippa Lee
-While the film itself received mixed reviews, everyone delighted in Wright-Penn's almost flawless performance. As a woman whose life has undergone so many transformations and is now questioning where her life will go next, Wright-Penn is finally given the chance to not only carry a film on her own shoulders, but also finally showcase some of her grossly underused facets as an actress. After years of able and noteworthy supporting turns and ensemble work, it was so rewarding to see this fine actress be given the kind of part she has always deserved.
http://www.youtube.com/watch?v=oRV8fZza1z4
5. Renee Zellweger- My One and Only
-I found myself questioning some time ago what had happened to Zellweger's career in recent times. Her last few projects were either uninspired exercises into overly familiar territory (Miss Potter, Appaloosa, New in Town) or noteworthy films which had her doing very little (Cinderella Man, Leatherheads.) It was refreshing then to see the actress finally finding a rich role in a first-rate film such as her part in the late-summer comedy My One and Only. Based on the life of George Hamilton's mother, the film tells the story of a musician's wife who leaves her husband after discovering he's married and takes to the open road in search of a new love. With strong lines, period piece surroundings, and an accent to boot, Zellweger greatly inhabits a role any actress would kill for restoring some hope to what was once a most promising career.
http://www.youtube.com/watch?v=MPUYETIAxc0
Tomorrow...Best Actor!!
Tuesday, 2 March 2010
Alternative 2009 Oscar Nominees...Best Supporting Actor!!
-I must say that the Best Supporting Actor Oscar has to be my most favorite out of all the categories this year. So many great actors are nominated this year; all of them deserving!! It will be a MAJOR upset if the Academy doesn't award Christoph Waltz for giving perhaps the most tour-de-force performance in Inglorious Basterds. Yet it seems that any of the other men in the category would be equally deserving of the award. Matt Damon who seemed in danger of getting lost in the realm of Hollywood blockbusters gave a moving and credible performance as a South African rugby player in Clint Eastwood's powerhouse Invictus. Christopher Plummer, one of stage and screen's most well-respected actors for decades finally receives his long overdue nomination for playing legendary scribe Leo Tolstoy in The Last Station. Meanwhile Woody Harrelson gets a second chance at Oscar and once again proves his underrated and oftentimes underused acting chops playing a hard-as-nails Army Captain in the criminally underseen The Messenger. Finally, Stanley Tucci is rewarded for years of outstanding supporting work with a nomination for his decidedly unsettling role as a child murderer in The Lovely Bones. I have no complaints to make about the choices made by the academy for this category, but I do however want to acknowledge 5 other Oscar-worthy supporting actor turns from 2009; all of whom deserve just as much recognition as the aforementioned men.
1. Jeff Bridges- The Men Who Stare at Goats
-As I mentioned in an earlier posting, Jeff Bridges is an acting svengali who can do almost no wrong. Case in point is his hilarious performance in the oddly-inspired comedy The Men Who Stare at Goats. Although he doesn't get the chance to utilize his comedic abilities too often, in this sadly unnoticed army comedy, Bridges gives one of his most laugh-inducing roles as one of a group of soldiers who is able to destroy enemies through mind control. Perhaps if crazy Heart hadn't come along this would have been the film to bring Bridges the Oscar he rightly deserves.
http://www.youtube.com/watch?v=SreufFevUSw
2. Frank Langella- The Box
-While many just didn't get Richard Kelly's third film (also his most straightforward) about a couple played by Cameron Diaz and James Marsden; the recipients of a mysterious box which brings the promise of wealth for the two and death for a stranger. As the mastermind behind the proceedings, Langella, always a dependable actor, creates one of the most silently menacing creations shown on screen in recent years. His Mr. Steward is quiet, and because he's orchestrated so many events such as these, uncalculating. Instead he goes through the motions, which thanks to the fascinating elements of the character and Langella's talent, proves highly interesting!!
http://www.youtube.com/watch?v=CFHa-ygkF_M
3. Steve Martin- It's Complicated
-For years Steve Martin has given the movies one zany character after another. Yet there are times when this brilliant comic actor turns in a highly credible performance that doesn't rely on sight gags or word play. Such a case would be his turn in this Christmas' hit comedy It's Complicated. Playing an architect who falls for his client played by Meryl Streep, Martin is at his best just being natural. Martin plays his character as someone who is content with his life, yet still recovering from the pain of a failed marriage. The actor is perfectly able to bring forth the duality of his role which is caution at the prospect of a new relationship and the desire to make himself open to the possibility of love once more.
http://www.youtube.com/watch?v=Mt-l1liNjk0
4. Christian McKay- Me & Orson Welles
-Its almost frightening at just how powerful and dead on McKay's interpretation of Welles is in this otherwise standard film. The actor, a virtual newcomer to films, nails the perfect intonations, inflections, gestures, and facial expressions that made the legenday actor/director such a force. But more than just nailing the physical and technical aspects of the role, where McKay succeeds just as greatly is in capturing Welles' spirit and dedication for the craft which more than shines through thanks to the actor's work which is perhaps one of the best interpretations of any real-life figure to date.
http://www.youtube.com/watch?v=GQvq7eulfWc
5. Alfred Molina- An Education
-Another actor long overdue (and still is) for Oscar recognition is Alfred Molina. As Carey Mulligan's straight-laced, but loving father in An Education, the actor proves once again why he is one of the best character actors around. His fatherly turn provides the emotional core the film is after and the love he possesses for his daughter comes through in virtually every scene he is in. More than that, Molina represents a man who gave up on his own dreams in favor of practicality and wants so much for his daughter to make not necessarily the opposite choice he made, but simply to make the one she feels is right.
http://www.youtube.com/watch?v=DUeYKwxTCGQ
Tomorrow...Best Actress!!
1. Jeff Bridges- The Men Who Stare at Goats
-As I mentioned in an earlier posting, Jeff Bridges is an acting svengali who can do almost no wrong. Case in point is his hilarious performance in the oddly-inspired comedy The Men Who Stare at Goats. Although he doesn't get the chance to utilize his comedic abilities too often, in this sadly unnoticed army comedy, Bridges gives one of his most laugh-inducing roles as one of a group of soldiers who is able to destroy enemies through mind control. Perhaps if crazy Heart hadn't come along this would have been the film to bring Bridges the Oscar he rightly deserves.
http://www.youtube.com/watch?v=SreufFevUSw
2. Frank Langella- The Box
-While many just didn't get Richard Kelly's third film (also his most straightforward) about a couple played by Cameron Diaz and James Marsden; the recipients of a mysterious box which brings the promise of wealth for the two and death for a stranger. As the mastermind behind the proceedings, Langella, always a dependable actor, creates one of the most silently menacing creations shown on screen in recent years. His Mr. Steward is quiet, and because he's orchestrated so many events such as these, uncalculating. Instead he goes through the motions, which thanks to the fascinating elements of the character and Langella's talent, proves highly interesting!!
http://www.youtube.com/watch?v=CFHa-ygkF_M
3. Steve Martin- It's Complicated
-For years Steve Martin has given the movies one zany character after another. Yet there are times when this brilliant comic actor turns in a highly credible performance that doesn't rely on sight gags or word play. Such a case would be his turn in this Christmas' hit comedy It's Complicated. Playing an architect who falls for his client played by Meryl Streep, Martin is at his best just being natural. Martin plays his character as someone who is content with his life, yet still recovering from the pain of a failed marriage. The actor is perfectly able to bring forth the duality of his role which is caution at the prospect of a new relationship and the desire to make himself open to the possibility of love once more.
http://www.youtube.com/watch?v=Mt-l1liNjk0
4. Christian McKay- Me & Orson Welles
-Its almost frightening at just how powerful and dead on McKay's interpretation of Welles is in this otherwise standard film. The actor, a virtual newcomer to films, nails the perfect intonations, inflections, gestures, and facial expressions that made the legenday actor/director such a force. But more than just nailing the physical and technical aspects of the role, where McKay succeeds just as greatly is in capturing Welles' spirit and dedication for the craft which more than shines through thanks to the actor's work which is perhaps one of the best interpretations of any real-life figure to date.
http://www.youtube.com/watch?v=GQvq7eulfWc
5. Alfred Molina- An Education
-Another actor long overdue (and still is) for Oscar recognition is Alfred Molina. As Carey Mulligan's straight-laced, but loving father in An Education, the actor proves once again why he is one of the best character actors around. His fatherly turn provides the emotional core the film is after and the love he possesses for his daughter comes through in virtually every scene he is in. More than that, Molina represents a man who gave up on his own dreams in favor of practicality and wants so much for his daughter to make not necessarily the opposite choice he made, but simply to make the one she feels is right.
http://www.youtube.com/watch?v=DUeYKwxTCGQ
Tomorrow...Best Actress!!
Monday, 1 March 2010
Alternative 2009 Oscar Nominees...Best Supporting Actress
-I have to admit that the crop of nominees for Best Supporting Actress this year is somewhat questionable ranging from the standard shoe-in to the requisite dark horse. No actress deserves to be on that list more than Mo'Nique for her work in Precious which saw her abandon any and all traces of her comic persona to play a true monster with hidden wounds. While not as powerful, but definitley entrancing is Vera Farmiga's work in Up in the Air; playing a woman completely guarded from the outside world, but who lets George Clooney in little by little. The same cannot be said for her co-star Anna Kendrick whose work in the same film reflects that of a machine with the right amount of technology required to sprout out the right lines at the apporopriate times as opposed to the true actress Kendrick actually is. Almost as uninspiring is Crazy Heart's Maggie Gyllenhaal who is normally a stirring presence on film, but who gets lost in what is essentially Jeff Bridges' film. Caught somewhere in between these four women lies Penelope Cruz, whose performance in Nine was definitley a showstopper full of captivating moments but was it really Oscar-worthy?? I kind of get the feeling that the Academy nominated her for two reasons: a) they love her as most everyone does, and b) they couldn't think of anyone else to nominate. I'm hoping the former is more true than the latter for the sheer fact that there were a number of Oscar-worthy supporting actress performances in 2009 which easily could have fit into the category this year!!
1. Kim Basinger- The Informers
-Many simply didn't get the big-screen adaptation of Bret Easton Ellis' book The Informers (that's ok, American Psycho and The Rules of Attraction took years to attain their now-cult followings), but no one could deny after seeing it that Basinger is still one of the screen's most watchable actresses around. As the pill-popping, toy-boy loving L.A. wife reconciling with her estranged studio executive husband, Basinger inhabits one of her more interesting roles in years. It would have been too easy to play this kind of role in a straightforward manner, so Basinger instead chooses to dig deep and uncover all the pain, anger, resentment, insecurities and fear which control her character and channels them brilliantly in a performance where most things are "under the surface."
http://www.youtube.com/watch?v=Ellp6-RTJI8
2. Leslie Mann- Funny People
-One of the biggest letdowns this past summer had to be the Judd Apatow comedy/drama Funny People. While the comedy wasn't potent enough, the drama itself fell short of being genuine leading to a truly awkward (and overlong) film experience. Yet the bright spot of the film had to be Leslie Mann's turn as Adam Sandler's former love interest. In what is perhaps her best role to date, Mann plays Sandler's former girlfriend now happily married, but who decides to re-kindle her past love when Sandler finds out he is dying. Though she's garnered a few laughs in the past, Mann has never been given the chance to actually be funny on her own, which she does here quite admirably. Furthermore, the scenes which require her to bring forth sadness and despair showcase a flair for the dramatic which has been criminally underused in the past. I hope someday she will get to use these gifts in such a way again.
http://www.youtube.com/watch?v=huo4iLqR6e8
3. Julia Roberts- Fireflies in the Garden
-I'm not surprised that many people have never heard of this film. Playing at only a handful of festivals in the US before given the most minimal of releases before being sent off abroad, Fireflies in the Garden told the story of how a tragedy helped a damaged family understand each other. Though she dies in the film's opening, Roberts' character Lisa (shown almost entirely in flashback scenes) remains the film's emotional core. Playing a mother and housewife, Roberts is able to transcend the stereotypical "wife" role and let her true motivations show including her love for her family and her devotion to them. Not only does she do everything to make sure her family knows they are loved by her, but also makes sure they know she's her own person as well by standing up for herself and voicing her very strong opinions. This character truly comes to life thanks to Roberts' beautiful performance.
http://www.youtube.com/watch?v=4IU6zf84EFQ
4. Susan Sarandon- The Lovely Bones
-Many must have questioned Sarandon when she signed on to play Grandma Lynn in Peter Jackson's big-screen adaptation of the best-selling novel The Lovely Bones. Some felt the actress (hardly old enough to be called grandma) was perhaps not the wisest choice. Yet Sarandon brings enough gusto and energy with her to do the character justice. As a woman whose family is suffering the loss of their oldest daughter, Sarandon's character brings with her the appropriate amounts of strength and perseverance that her family needs to help them rebuild their lives. The role also doubles as the film's sole comic relief and although the actress isn't known primarily as comedienne, Sarandon manages just fine with the requirements.
http://www.youtube.com/watch?v=YyuiE_K7Tqw
5. Charlize Theron- The Road
-One of the most beautiful and quiet performances Theron ever gave, The Road saw the actress inhabit a role that must have been hard to read and even harder to watch. Theron plays a wfie and mother whose family finds themselves as survivors in an apocolyptic society and must struggle to stay alive. Though her character's role in the film is relatively small, Theron makes such an impact during her time, that her presence never leaves the audiences' minds. Perhaps if the film had lived up to the buzz generated by the media in advance, Theron's sterling work would have been more acclaimed.
http://www.youtube.com/watch?v=hbLgszfXTAY
Tomorrow...Best Supporting Actor!!
1. Kim Basinger- The Informers
-Many simply didn't get the big-screen adaptation of Bret Easton Ellis' book The Informers (that's ok, American Psycho and The Rules of Attraction took years to attain their now-cult followings), but no one could deny after seeing it that Basinger is still one of the screen's most watchable actresses around. As the pill-popping, toy-boy loving L.A. wife reconciling with her estranged studio executive husband, Basinger inhabits one of her more interesting roles in years. It would have been too easy to play this kind of role in a straightforward manner, so Basinger instead chooses to dig deep and uncover all the pain, anger, resentment, insecurities and fear which control her character and channels them brilliantly in a performance where most things are "under the surface."
http://www.youtube.com/watch?v=Ellp6-RTJI8
2. Leslie Mann- Funny People
-One of the biggest letdowns this past summer had to be the Judd Apatow comedy/drama Funny People. While the comedy wasn't potent enough, the drama itself fell short of being genuine leading to a truly awkward (and overlong) film experience. Yet the bright spot of the film had to be Leslie Mann's turn as Adam Sandler's former love interest. In what is perhaps her best role to date, Mann plays Sandler's former girlfriend now happily married, but who decides to re-kindle her past love when Sandler finds out he is dying. Though she's garnered a few laughs in the past, Mann has never been given the chance to actually be funny on her own, which she does here quite admirably. Furthermore, the scenes which require her to bring forth sadness and despair showcase a flair for the dramatic which has been criminally underused in the past. I hope someday she will get to use these gifts in such a way again.
http://www.youtube.com/watch?v=huo4iLqR6e8
3. Julia Roberts- Fireflies in the Garden
-I'm not surprised that many people have never heard of this film. Playing at only a handful of festivals in the US before given the most minimal of releases before being sent off abroad, Fireflies in the Garden told the story of how a tragedy helped a damaged family understand each other. Though she dies in the film's opening, Roberts' character Lisa (shown almost entirely in flashback scenes) remains the film's emotional core. Playing a mother and housewife, Roberts is able to transcend the stereotypical "wife" role and let her true motivations show including her love for her family and her devotion to them. Not only does she do everything to make sure her family knows they are loved by her, but also makes sure they know she's her own person as well by standing up for herself and voicing her very strong opinions. This character truly comes to life thanks to Roberts' beautiful performance.
http://www.youtube.com/watch?v=4IU6zf84EFQ
4. Susan Sarandon- The Lovely Bones
-Many must have questioned Sarandon when she signed on to play Grandma Lynn in Peter Jackson's big-screen adaptation of the best-selling novel The Lovely Bones. Some felt the actress (hardly old enough to be called grandma) was perhaps not the wisest choice. Yet Sarandon brings enough gusto and energy with her to do the character justice. As a woman whose family is suffering the loss of their oldest daughter, Sarandon's character brings with her the appropriate amounts of strength and perseverance that her family needs to help them rebuild their lives. The role also doubles as the film's sole comic relief and although the actress isn't known primarily as comedienne, Sarandon manages just fine with the requirements.
http://www.youtube.com/watch?v=YyuiE_K7Tqw
5. Charlize Theron- The Road
-One of the most beautiful and quiet performances Theron ever gave, The Road saw the actress inhabit a role that must have been hard to read and even harder to watch. Theron plays a wfie and mother whose family finds themselves as survivors in an apocolyptic society and must struggle to stay alive. Though her character's role in the film is relatively small, Theron makes such an impact during her time, that her presence never leaves the audiences' minds. Perhaps if the film had lived up to the buzz generated by the media in advance, Theron's sterling work would have been more acclaimed.
http://www.youtube.com/watch?v=hbLgszfXTAY
Tomorrow...Best Supporting Actor!!
Friday, 26 February 2010
They weren't even nominated!! Best Picture nominees that never were...
-Compiling this list was perhaps one of the hardest experiences I have had to date during my short time as a blogger. How do you go about selecting just one film from each decade which was absolutely winning in virtually all of its aspects but for some reason didn't connect with the Academy?? I thought long and hard about which films to select for this category. My first impulse of course was to pick films I liked regardless of the topic they were presenting or the way in which they were made. But then I wisened up. The list I compiled in the end in my opinion, not only represents some personal favorites of mine, but also reinforces why people go to the cinema in the first place; to be entertained, enlightened, moved, and inspired. Each of the films in this list received some kind of recognition of acclaim and while not all of them have gone on to become the classics they deserved to be, they all definitley deserve to be rememebred. So without any further ado, here are 7 films from past decades that deserved a Best Picture nomination, but for various reasons, were not given one.
1940s:
-Lifeboat (1944) instead of Wilson
-As with many Hitchcock films made during WWII, the director decided to focus more on the personal than on the political. In this film, which chronicles the survivors of an ocean liner that has gone down after being attacked by a German u-boat, Hitchcock does just that. In full-on experimental mode, the director shot the entire film inside a lifeboat and focused on the passengers within it, which includes a German soldier whose own ship was sunk as a result of the attack. No other film during this era has ever been able to portray various attitudes and beliefs during wartime quite like this one. The cold facts of war combined with human prejudices and behavior were all explored here in a truly riveting way.
http://www.youtube.com/watch?v=cLUvLL-QCz4
1950s:
-Executive Suite (1954) instead of The Country Girl
-One of the few motion pictures ever made to not have a musical score attached, Executive Suite explores the various individuals who comprise a successful furniture company including vice presidents, secretaries, shareholders, and wives. This insider look at the many human components who call themselves part of corporate America may seem base, but not when it comes to examining the motivation, drive and commitment required to exist in that world. There isn't a false moment throughout Executive Suite from its sterling performances to its main themes which states that in order for a company to work, its integrity must never falter.
http://www.youtube.com/watch?v=d7ONBkmc_pQ&feature=related
(please watch up to 5:10 in order to avoid spoilers)
1960s:
-Divorce American Style (1967) instead of Doctor Dolittle
Its astonishing how so few remember this 60s comedy written by evenlope pusher Norman Lear. In Divorce American Style Dick Van Dyke and Debbie Reynolds play a couple whose trouble marriage prompts a divorce. What follows is a hilarious look at the manaical state of divorce that was taking over in the 1960s. From the couple's meeting with their lawyers to the partners they eventually end up with, each moment of this film is overflowing with a satire that knows no boundaries. While this film may have seemed dated in the conservative 80s, the film which was eerily timely when first released is just as relevant today.
http://www.youtube.com/watch?v=VYvZpikpljg
1970s:
-Voyage of the Damned (1976) instead of Bound for Glory
-One of the most overlooked films about Jews during WWII also happens to be one of the most compelling. Voyage of the Damned is about the true-life account of a ship full of Jewish citizens who were fleeing from Nazi Germany to Cuba in hopes of finding safety only to be turned away. The film not only features a variety of storylines; each more fascinating than the other, but it also contains an impressive cast including Faye Dunaway, Orson Welles, James Mason, Katherine Ross, Malcom McDowell, and Lee Grant, who received a Supporting Actress nomination for her role. With some many films made about the history of WWII, its seems almost shameful that this heartwrenching, but beautiful story should be forgotten.
http://www.youtube.com/watch?v=0d4qA0YVssI
1980s:
-Steel Magnolias (1989) instead of My Left Foot
-So often considered a "chick flick," Steel Magnolias is in actuality more than just a weepie woman's picture. The story of a group of female friends who share their lives over the course of yearsout of a beauty parlor in Louisiana, Steel Magnolias is quite honestly one of the great American filmso f the 1980s. The main themes of the film: hope, perseverance, loyalty and laughter have been some of the fundamental elements that have made so many great American films so essential. Anchored by a remarkable cast, Steel Magnolias was one of the decades finest moments in capturing the crux of the human spirit.
http://www.youtube.com/watch?v=Zno0xeap0hU
1990s:
-Everyone Says I Love You (1996) instead of Secrets & Lies
-Woody Allen's tribute to the golden age of Hollywood musicals is not only one of the director's most enjoyable films in recent years, but can also be viewed in two distinct ways. One could say that by casting actors not known for their singing abilities (except for Goldie Hawn who proves she CAN sing), some said that he cared more about the acting in the film than the singing. Yet others see the cast, some of which are tone deaf, as Allen's own personal joke toward the genre as a whole. Yet the film which tells the story of a large, extended upper-class New York family and their individual struggles with love is not only free of Allen's trademark cynicism, but also invokes a truly honest sensibility about the many wonders of love.
http://www.youtube.com/watch?v=_ZkbVM7UAcc
2000s:
-Bobby (2006) instead of Little Miss Sunshine
-Its pretty rare that a film with so much buzz surrounding it is actually able to deliver the goods expected. Yet Bobby, written and directed by Emilio Estevez, which chronicled the lives of various Los Angelites on the day of Robert Kennedy's assassination did just that. With an abundance of actors and plotlines, the film could easily have come off as phony. Yet each element works as a dead-on snapshot of America during the lat 1960s when the war was escilating and the country needed a change. More importantly, Bobby represents a society not toally overtake with cynicism, but who genuinely believed that a politician like Kennedy had the power to make a difference.
http://www.youtube.com/watch?v=Y_dIhSOyjRs
Next Week...The most overlooked performances and films of 2009!!
1940s:
-Lifeboat (1944) instead of Wilson
-As with many Hitchcock films made during WWII, the director decided to focus more on the personal than on the political. In this film, which chronicles the survivors of an ocean liner that has gone down after being attacked by a German u-boat, Hitchcock does just that. In full-on experimental mode, the director shot the entire film inside a lifeboat and focused on the passengers within it, which includes a German soldier whose own ship was sunk as a result of the attack. No other film during this era has ever been able to portray various attitudes and beliefs during wartime quite like this one. The cold facts of war combined with human prejudices and behavior were all explored here in a truly riveting way.
http://www.youtube.com/watch?v=cLUvLL-QCz4
1950s:
-Executive Suite (1954) instead of The Country Girl
-One of the few motion pictures ever made to not have a musical score attached, Executive Suite explores the various individuals who comprise a successful furniture company including vice presidents, secretaries, shareholders, and wives. This insider look at the many human components who call themselves part of corporate America may seem base, but not when it comes to examining the motivation, drive and commitment required to exist in that world. There isn't a false moment throughout Executive Suite from its sterling performances to its main themes which states that in order for a company to work, its integrity must never falter.
http://www.youtube.com/watch?v=d7ONBkmc_pQ&feature=related
(please watch up to 5:10 in order to avoid spoilers)
1960s:
-Divorce American Style (1967) instead of Doctor Dolittle
Its astonishing how so few remember this 60s comedy written by evenlope pusher Norman Lear. In Divorce American Style Dick Van Dyke and Debbie Reynolds play a couple whose trouble marriage prompts a divorce. What follows is a hilarious look at the manaical state of divorce that was taking over in the 1960s. From the couple's meeting with their lawyers to the partners they eventually end up with, each moment of this film is overflowing with a satire that knows no boundaries. While this film may have seemed dated in the conservative 80s, the film which was eerily timely when first released is just as relevant today.
http://www.youtube.com/watch?v=VYvZpikpljg
1970s:
-Voyage of the Damned (1976) instead of Bound for Glory
-One of the most overlooked films about Jews during WWII also happens to be one of the most compelling. Voyage of the Damned is about the true-life account of a ship full of Jewish citizens who were fleeing from Nazi Germany to Cuba in hopes of finding safety only to be turned away. The film not only features a variety of storylines; each more fascinating than the other, but it also contains an impressive cast including Faye Dunaway, Orson Welles, James Mason, Katherine Ross, Malcom McDowell, and Lee Grant, who received a Supporting Actress nomination for her role. With some many films made about the history of WWII, its seems almost shameful that this heartwrenching, but beautiful story should be forgotten.
http://www.youtube.com/watch?v=0d4qA0YVssI
1980s:
-Steel Magnolias (1989) instead of My Left Foot
-So often considered a "chick flick," Steel Magnolias is in actuality more than just a weepie woman's picture. The story of a group of female friends who share their lives over the course of yearsout of a beauty parlor in Louisiana, Steel Magnolias is quite honestly one of the great American filmso f the 1980s. The main themes of the film: hope, perseverance, loyalty and laughter have been some of the fundamental elements that have made so many great American films so essential. Anchored by a remarkable cast, Steel Magnolias was one of the decades finest moments in capturing the crux of the human spirit.
http://www.youtube.com/watch?v=Zno0xeap0hU
1990s:
-Everyone Says I Love You (1996) instead of Secrets & Lies
-Woody Allen's tribute to the golden age of Hollywood musicals is not only one of the director's most enjoyable films in recent years, but can also be viewed in two distinct ways. One could say that by casting actors not known for their singing abilities (except for Goldie Hawn who proves she CAN sing), some said that he cared more about the acting in the film than the singing. Yet others see the cast, some of which are tone deaf, as Allen's own personal joke toward the genre as a whole. Yet the film which tells the story of a large, extended upper-class New York family and their individual struggles with love is not only free of Allen's trademark cynicism, but also invokes a truly honest sensibility about the many wonders of love.
http://www.youtube.com/watch?v=_ZkbVM7UAcc
2000s:
-Bobby (2006) instead of Little Miss Sunshine
-Its pretty rare that a film with so much buzz surrounding it is actually able to deliver the goods expected. Yet Bobby, written and directed by Emilio Estevez, which chronicled the lives of various Los Angelites on the day of Robert Kennedy's assassination did just that. With an abundance of actors and plotlines, the film could easily have come off as phony. Yet each element works as a dead-on snapshot of America during the lat 1960s when the war was escilating and the country needed a change. More importantly, Bobby represents a society not toally overtake with cynicism, but who genuinely believed that a politician like Kennedy had the power to make a difference.
http://www.youtube.com/watch?v=Y_dIhSOyjRs
Next Week...The most overlooked performances and films of 2009!!
Thursday, 25 February 2010
They weren't even nominated!! Best Actor nominees that never were...
-Its hard to single out what classifies as a "best actor" performance. Every year so many actors give performances that are labeled as "the best of his career," "the performance of the decade," or "a shoe-in for an Oscar!" With heaps of critical praise such as this, its no wonder that so many performances garner awards out of sheer buzz more than anything else while truly great work by gifted actors goes by unwarranted. One of the most noticeable examples of this is Benicio Del Toro's oustanding work in Che I & II which took home the Cannes Film Festival's Best Actor award in 2008 but was nowhere to be seen come awards season. This is surprising given the magnitude and electricity of Del Toro's work in the ambitious 2-part biopic. Of course there isn't room at the Oscars for every brilliant male performance that comes along. Case in point: the 2002 Oscars. 2002 saw a handful of great performances turned away come Oscar time for sheer lack of space. Such performances included: Richard Gere for Chicago, Kieran Culkin for Igby Goes Down, Adam Sandler for Punch Drunk Love and Leonardo Dicaprio for BOTH Gangs of New York and Catch me if you can. In the end I suppose that it must be quite hard with so many enriching male performances given year after year that it might just be easier to vote for someone with lots of buzz surrounding their performance or film rather than examine all the work done by actors in film throughout the year. In any case, here are some fine examples of excellent performances given by some of the screen's finest actors that the Academy shamefully overlooked.
1940s:
-Joesph Cotten for Shadow of a Doubt (1943) instead of Paul Lukas for Watch on the Rhine
-For many, Cotten's career was at its peak when he gave a charming, yet chilling performance as a murderous uncle in Hitchcock's Shadow of a Doubt. As a serial killer who murders wealthy widows before robbing them, Cotten gave his most memorable performance. His portrayal of Uncle Charlie is perhaps one of the most captivating serial killers brought to the screen due to the compelling and charismatic nature of the character. Cotten plays him as debonair, but also allows his disdain for certain aspects of society to shine through.
http://www.youtube.com/watch?v=Z5XCz4B_ejg
1950s:
-Robert Mitchum for Night of the Hunter (1955) instead of Frank Sinatra for The Man With the Golden Arm
-Mitchum has long since been considered one of the screen's most underappreciated actors depsite having given a plethora of powerhouse performances that went by unheralded by the Academy. The most glaring oversight of all these however was the actor's work in Charles Laughton's disturbing The Night of the Hunter. Playing a an escaped convict posing as a preacher who marries then kills a widowed mother of two whose children hold the key to a hidden pile of money, Mitchum is positively unnverving. His speech on good vs evil is given as if he were a real preacher and the way he is able to put everyone underneath his spell makes the film all the more unsettling.
http://www.youtube.com/watch?v=X20XIg38GcE
1960s:
-Warren Beatty for Splendor in the Grass (1961) instead of Stuart Whitman for The Mark
-It was obvious Beatty was destined for stardom just from watching his conflicted turn as the son of a rich family who falls for a girl from the opposite side of town in the steamy drama Splendor in the Grass. Beatty's film debut was one of the most impressive given in film history as he successfully helped carry the entire production. His role as a young man torn between his family's expectations, the girl he loves, and the dreams he has for his own life gave the actor plenty to work with, which Beatty did in an outstanding way.
http://www.youtube.com/watch?v=WiFeVc7s7TQ&feature=related
(please watch up to 1:15)
1970s:
-Gene Hackman for The Poseidon Adventure (1972) instead of Peter O'Toole for The Ruling Class
-The Poseidon Adventure was a landmark film that ushered in a whole wave of disaster films in the 70s, many of which were helmed by super-producer Irwin Allen. Yet before the genre turned into campy satire, there were performances such as Gene Hackman's in The Poseidon Adventure which brought forth the main themes of the genre: courage, perserverance, endurance and hope. As the minister who leads a group of passengers to safety aboard an ocean liner that capsizes on New Year's Eve, Hackman gave one of his most powerful and popular roles. Playing Reverend Scott, Hackman presents a man so torn by his faith, yet who clings to it tirelessly as he tries to bring his fellow passengers to safety. His belief in God's existence is never questioned at all throughout the film making Hackman one of the most believable men of the cloth ever to be shown on screen.
http://www.youtube.com/watch?v=FMuguMyYvQ4
1980s:
-Jack Nicholson for The Shining (1980) instead of Jack Lemmon for Tribute
-So many stories have been reported with regards to the notorious filming of Stanley Kubrick's adaptation of Stephen King's The Shining. Yet what remains is an excruciatingly enthralling horror film and a dynamic performance from Jack Nicholson. As a writer hired to caretake an isolated hotel for the winter, the actor is given the chance to turn his sly, slick persona into one of maddening lunacy. The duality of the role is interesting; one the one hand there's traces of the Jack audiences know, but also an unstable maniac out to wreak havoc on his family. It is one of the actor's best performances and one which definitley deserved more critical acclaim than it got.
http://www.youtube.com/watch?v=bt9E1_KFfMY&feature=related
1990s:
-Jim Carrey for Man on the Moon (1999) instead of Denzel Washington for The Hurricane
-Film critic Roger Ebert said once that Jim Carrey had been underappreciated as an actor in the past. He had to have been referring to Carrey's work in this biopic of the late, offbeat comedian Andy Kaufman. As Kaufman, Carrey abandons literally ALL trademark gestures and traits and instead focuses his performance on channeling the late Kaufman himself. This is not a vanity project or a star vehicle by any means. The film is most definitley a well-deserved tribute to one of comedy's most intriguing figures as well as Carrey's most daring and surprising performance.
http://www.youtube.com/watch?v=0ezPotNSNqg
2000s:
-Hugh Grant for About a Boy (2002) instead of Michael Caine for The Quiet American
-Grant has always been one of film's most endearing British actors with his unique charm, comedic abilites and an overall likeability. Yet some were quick to write him off as a leading man whose talents couldn't stretch past romantic comedies. However in the moving and intelligent comedy/drama About a Boy, Grant delivers a multi-layered performance that alternates between the dramatic and comedic; at times blending the two together. Grant nails every scene as a carefree bachelor who is content to engage in one relationship after another without letting anyone in until he befriends a young schoolboy with whom he forms a kinship with and who shows him what's missing from his life.
http://www.youtube.com/watch?v=YPgbiSbYzfg
Tomorrow...Best Picture!!
1940s:
-Joesph Cotten for Shadow of a Doubt (1943) instead of Paul Lukas for Watch on the Rhine
-For many, Cotten's career was at its peak when he gave a charming, yet chilling performance as a murderous uncle in Hitchcock's Shadow of a Doubt. As a serial killer who murders wealthy widows before robbing them, Cotten gave his most memorable performance. His portrayal of Uncle Charlie is perhaps one of the most captivating serial killers brought to the screen due to the compelling and charismatic nature of the character. Cotten plays him as debonair, but also allows his disdain for certain aspects of society to shine through.
http://www.youtube.com/watch?v=Z5XCz4B_ejg
1950s:
-Robert Mitchum for Night of the Hunter (1955) instead of Frank Sinatra for The Man With the Golden Arm
-Mitchum has long since been considered one of the screen's most underappreciated actors depsite having given a plethora of powerhouse performances that went by unheralded by the Academy. The most glaring oversight of all these however was the actor's work in Charles Laughton's disturbing The Night of the Hunter. Playing a an escaped convict posing as a preacher who marries then kills a widowed mother of two whose children hold the key to a hidden pile of money, Mitchum is positively unnverving. His speech on good vs evil is given as if he were a real preacher and the way he is able to put everyone underneath his spell makes the film all the more unsettling.
http://www.youtube.com/watch?v=X20XIg38GcE
1960s:
-Warren Beatty for Splendor in the Grass (1961) instead of Stuart Whitman for The Mark
-It was obvious Beatty was destined for stardom just from watching his conflicted turn as the son of a rich family who falls for a girl from the opposite side of town in the steamy drama Splendor in the Grass. Beatty's film debut was one of the most impressive given in film history as he successfully helped carry the entire production. His role as a young man torn between his family's expectations, the girl he loves, and the dreams he has for his own life gave the actor plenty to work with, which Beatty did in an outstanding way.
http://www.youtube.com/watch?v=WiFeVc7s7TQ&feature=related
(please watch up to 1:15)
1970s:
-Gene Hackman for The Poseidon Adventure (1972) instead of Peter O'Toole for The Ruling Class
-The Poseidon Adventure was a landmark film that ushered in a whole wave of disaster films in the 70s, many of which were helmed by super-producer Irwin Allen. Yet before the genre turned into campy satire, there were performances such as Gene Hackman's in The Poseidon Adventure which brought forth the main themes of the genre: courage, perserverance, endurance and hope. As the minister who leads a group of passengers to safety aboard an ocean liner that capsizes on New Year's Eve, Hackman gave one of his most powerful and popular roles. Playing Reverend Scott, Hackman presents a man so torn by his faith, yet who clings to it tirelessly as he tries to bring his fellow passengers to safety. His belief in God's existence is never questioned at all throughout the film making Hackman one of the most believable men of the cloth ever to be shown on screen.
http://www.youtube.com/watch?v=FMuguMyYvQ4
1980s:
-Jack Nicholson for The Shining (1980) instead of Jack Lemmon for Tribute
-So many stories have been reported with regards to the notorious filming of Stanley Kubrick's adaptation of Stephen King's The Shining. Yet what remains is an excruciatingly enthralling horror film and a dynamic performance from Jack Nicholson. As a writer hired to caretake an isolated hotel for the winter, the actor is given the chance to turn his sly, slick persona into one of maddening lunacy. The duality of the role is interesting; one the one hand there's traces of the Jack audiences know, but also an unstable maniac out to wreak havoc on his family. It is one of the actor's best performances and one which definitley deserved more critical acclaim than it got.
http://www.youtube.com/watch?v=bt9E1_KFfMY&feature=related
1990s:
-Jim Carrey for Man on the Moon (1999) instead of Denzel Washington for The Hurricane
-Film critic Roger Ebert said once that Jim Carrey had been underappreciated as an actor in the past. He had to have been referring to Carrey's work in this biopic of the late, offbeat comedian Andy Kaufman. As Kaufman, Carrey abandons literally ALL trademark gestures and traits and instead focuses his performance on channeling the late Kaufman himself. This is not a vanity project or a star vehicle by any means. The film is most definitley a well-deserved tribute to one of comedy's most intriguing figures as well as Carrey's most daring and surprising performance.
http://www.youtube.com/watch?v=0ezPotNSNqg
2000s:
-Hugh Grant for About a Boy (2002) instead of Michael Caine for The Quiet American
-Grant has always been one of film's most endearing British actors with his unique charm, comedic abilites and an overall likeability. Yet some were quick to write him off as a leading man whose talents couldn't stretch past romantic comedies. However in the moving and intelligent comedy/drama About a Boy, Grant delivers a multi-layered performance that alternates between the dramatic and comedic; at times blending the two together. Grant nails every scene as a carefree bachelor who is content to engage in one relationship after another without letting anyone in until he befriends a young schoolboy with whom he forms a kinship with and who shows him what's missing from his life.
http://www.youtube.com/watch?v=YPgbiSbYzfg
Tomorrow...Best Picture!!
Wednesday, 24 February 2010
They Weren't Even Nominated!! Best Actress nominees that never were...
-Over the years the the Academy has definitley bestowed a number of coveted Best Actress nominations to some questionable individuals. Such examples include Hilary Swank, whose work in Million Dollar Baby was standard at best, Bette Midler for For the Boys; nothing more than a vanity project which gave her a reason to sing for an entire movie, or Nicole Kidman for Moulin Rouge who I feel received her nomination more on the basis of everyone's surprise that she could actually carry a tune. Yet during those years there were great female performances which far surpassed the abovementioned that went unheralded by the academy. Nicole Kidman's work in the haunting drama Birth saw the actress at her most vulnerable and conflicted, but was passed over for Swank's boxer. Midler's period musical deserved its Golden Globe win for the actress but was far less superior to Michelle Pfeiffer's damaged waitress in Frankie and Johnny. And Thora Birch's brilliant work in the indie comedy Ghost World revealed a performance of much more depth than Kidman's singing showgirl. In honor of some of the great performances of the past that went by without notice, here are 7 Best Actress performances that never made it to the Oscars.
1940s:
-Rita Hayworth for The Lady From Shanghai (1947) instead of Susan Hayward for Smashup: The Story of a Woman
-Hayworth will forever be immortalized as the kittenish Gilda, but her seductive turn in then-husband Welles' noir mystery is one of her finest. As the wife of a wealthy yachtsman who falls in love with a crew member, Hayworth is truly compelling. The role requires a revolving door of emotions and motivations which in the hands of another actress wouldn't have worked. Yet becasue of Hayworth's definite talent, her resonance with the audience, as well as her leading man, she manages it quite well.
http://www.youtube.com/watch?v=yKk1iw1k1GM&feature=related
1950s:
-Doris Day for The Man Who Knew Too Much (1956) instead of Nancy Kelly for The Bad Seed
-Hitchcock's update of The Man Who Knew Too Much is considered by many to be far more superior than his earlier version for many reasons. One of the biggest is the performances of the two leads, and in particular Doris Day who delivers a powerful dramatic performance as a doctor's wife who discovers that her son has been kidnapped as part of a political assassination plot. Day is truly heartbreaking in the role and acquits herself well with Hitchcock's style. In a career that consisted of playing the same character repeatedly, The Man Who Knew Too Much, sees Day proving herself to be a true actress.
http://www.youtube.com/watch?v=g8AQsHg31Ac
(please watch 3:00-7:00)
-Rosalind Russell for The Trouble With Angels (1966) instead of Anouk Aimee for Un homme et une femme
-Russell made a career out of playing no-nonsense, independent characters, yet her role as the mother superior in the comedy The Trouble With Angels slightly went against that screen persona. As the reverend mother at an all-girls boarding school, Russell exerted discipline and order in front of the students, but privately proved to be a romantic dreamer of sorts who not only proved her devotion to students, but also her zest for life and the path she chose. Russell's work in the film is a classic example of a multi-facted actress in a role that requires true passion and understanding which she delivers effortlessly.
http://www.youtube.com/watch?v=ypLsmQRvWS8
-Vanessa Redgrave for Agatha (1979) instead of Marsha Mason for Chapter Two
-In the mid-twenties, faced with a divorce request from her adulterous husband, the celebrated author Agatha Christie disappeared for nearly two weeks leaving no clue as to her whereabouts. While the film, which deals with the author's mysterious vanishing and the quest to locate her, is entirely full of speculation, Redgrave perfectly embodies the troubled Christie during this time of her life. Her conflicting torment between her literary success and her failed marriage is devastatingly captured by the actress in one of her most underrated roles. Its not often that Redgrave comes across as anything but self-assured, but in roles such as Agatha, the actress more than excels.
http://www.youtube.com/watch?v=c4uS9h95fF0
(watch up to 3:00)
1980s:
-Barbra Streisand for Nuts (1987) instead of Sally Kirkland for Anna
-I am not one of those people who believes that Streisand is a multi-faceted performer mainly because I feel her entire career blends together so much, its hard to distinguish one project from the other. Yet in the psychological mystery Nuts, Streisand is at her level best. As a hooker who is placed in a mental hospital after killing a client in self-defense, Streisand lets forth a variety of dramatic techniques that the actress had failed to display before. To say Streisand is powerful in the role is not enough. She is absolutely dynamic and riveting from the moment she is on screen. Not only is she defending her character's sanity, but also her life choices and her rights as an individual while having to battle demons from the past.
http://www.youtube.com/watch?v=2al8CoL_M3A
1990s:
-Jessica Lange for A Thousand Acres (1997) instead of Julie Christie for Afterglow
-The adaptation of Jane Smiley's puliter-prize winning novel about a trio of Iowa farm sisters who must battle their monstrous father was defeintley an underwhelming exercise. Yet what succeeds in the film is the performances from Michelle Pfeiffer and especially Jessica Lange in one of her most subtantial times on screen. As the tranquil farm wife Ginny, Lange is at her most vulnerable; a trait not inherently seen in many of the actress' previous roles. Yet here she plays a character so filled with lost dreams and regret who must somehow find a way to confront her past and carve out her own future.
http://www.youtube.com/watch?v=OHoiv5BqKXQ
(watch from 1:20-4:20)
2000s:
-Jodie Foster for The Brave One (2007) instead of Cate Blanchett for Elizabeth: The Golden Age
-Constantly referred to as "the thinking woman's actress," Foster lived up to that title in this debate-driven story of a New York radio host who embraces vigilantism as a way of recovering from a brutal attack which took her fiance's life. This is perhaps Foster's best role in years and one which allows her to not only provide strong evidence for both sides of a controversial issue, but her overall presence adds credibility to what could have been a standard exploitation film. As a woman whose lost everything, Foster carefully presents the pain of a shattered life and the difficult task of existing in a society afterwards.
http://www.youtube.com/watch?v=F1NNDwYKAyU&feature=related
Tomorrow...Best Actor!!
1940s:
-Rita Hayworth for The Lady From Shanghai (1947) instead of Susan Hayward for Smashup: The Story of a Woman
-Hayworth will forever be immortalized as the kittenish Gilda, but her seductive turn in then-husband Welles' noir mystery is one of her finest. As the wife of a wealthy yachtsman who falls in love with a crew member, Hayworth is truly compelling. The role requires a revolving door of emotions and motivations which in the hands of another actress wouldn't have worked. Yet becasue of Hayworth's definite talent, her resonance with the audience, as well as her leading man, she manages it quite well.
http://www.youtube.com/watch?v=yKk1iw1k1GM&feature=related
1950s:
-Doris Day for The Man Who Knew Too Much (1956) instead of Nancy Kelly for The Bad Seed
-Hitchcock's update of The Man Who Knew Too Much is considered by many to be far more superior than his earlier version for many reasons. One of the biggest is the performances of the two leads, and in particular Doris Day who delivers a powerful dramatic performance as a doctor's wife who discovers that her son has been kidnapped as part of a political assassination plot. Day is truly heartbreaking in the role and acquits herself well with Hitchcock's style. In a career that consisted of playing the same character repeatedly, The Man Who Knew Too Much, sees Day proving herself to be a true actress.
http://www.youtube.com/watch?v=g8AQsHg31Ac
(please watch 3:00-7:00)
-Rosalind Russell for The Trouble With Angels (1966) instead of Anouk Aimee for Un homme et une femme
-Russell made a career out of playing no-nonsense, independent characters, yet her role as the mother superior in the comedy The Trouble With Angels slightly went against that screen persona. As the reverend mother at an all-girls boarding school, Russell exerted discipline and order in front of the students, but privately proved to be a romantic dreamer of sorts who not only proved her devotion to students, but also her zest for life and the path she chose. Russell's work in the film is a classic example of a multi-facted actress in a role that requires true passion and understanding which she delivers effortlessly.
http://www.youtube.com/watch?v=ypLsmQRvWS8
-Vanessa Redgrave for Agatha (1979) instead of Marsha Mason for Chapter Two
-In the mid-twenties, faced with a divorce request from her adulterous husband, the celebrated author Agatha Christie disappeared for nearly two weeks leaving no clue as to her whereabouts. While the film, which deals with the author's mysterious vanishing and the quest to locate her, is entirely full of speculation, Redgrave perfectly embodies the troubled Christie during this time of her life. Her conflicting torment between her literary success and her failed marriage is devastatingly captured by the actress in one of her most underrated roles. Its not often that Redgrave comes across as anything but self-assured, but in roles such as Agatha, the actress more than excels.
http://www.youtube.com/watch?v=c4uS9h95fF0
(watch up to 3:00)
1980s:
-Barbra Streisand for Nuts (1987) instead of Sally Kirkland for Anna
-I am not one of those people who believes that Streisand is a multi-faceted performer mainly because I feel her entire career blends together so much, its hard to distinguish one project from the other. Yet in the psychological mystery Nuts, Streisand is at her level best. As a hooker who is placed in a mental hospital after killing a client in self-defense, Streisand lets forth a variety of dramatic techniques that the actress had failed to display before. To say Streisand is powerful in the role is not enough. She is absolutely dynamic and riveting from the moment she is on screen. Not only is she defending her character's sanity, but also her life choices and her rights as an individual while having to battle demons from the past.
http://www.youtube.com/watch?v=2al8CoL_M3A
1990s:
-Jessica Lange for A Thousand Acres (1997) instead of Julie Christie for Afterglow
-The adaptation of Jane Smiley's puliter-prize winning novel about a trio of Iowa farm sisters who must battle their monstrous father was defeintley an underwhelming exercise. Yet what succeeds in the film is the performances from Michelle Pfeiffer and especially Jessica Lange in one of her most subtantial times on screen. As the tranquil farm wife Ginny, Lange is at her most vulnerable; a trait not inherently seen in many of the actress' previous roles. Yet here she plays a character so filled with lost dreams and regret who must somehow find a way to confront her past and carve out her own future.
http://www.youtube.com/watch?v=OHoiv5BqKXQ
(watch from 1:20-4:20)
2000s:
-Jodie Foster for The Brave One (2007) instead of Cate Blanchett for Elizabeth: The Golden Age
-Constantly referred to as "the thinking woman's actress," Foster lived up to that title in this debate-driven story of a New York radio host who embraces vigilantism as a way of recovering from a brutal attack which took her fiance's life. This is perhaps Foster's best role in years and one which allows her to not only provide strong evidence for both sides of a controversial issue, but her overall presence adds credibility to what could have been a standard exploitation film. As a woman whose lost everything, Foster carefully presents the pain of a shattered life and the difficult task of existing in a society afterwards.
http://www.youtube.com/watch?v=F1NNDwYKAyU&feature=related
Tomorrow...Best Actor!!
Tuesday, 23 February 2010
They Weren't Even Nominated!! Best Supporting Actor Nominees that Never Were!!
-This year's crop of nominees for the Best Supporting Actor Oscar is without question one of most interesting in recent years. No one doubts that Christoph Waltz will be awarded the prize for his turn in Inglorious Basterds, but there would be little disappointment if one of the other fine actors proved to be an Oscar upset. Both Stanley Tucci and Christopher Plummer are both up for their first nominations for The Lovely Bones and The Last Station respectively; nominations I might add which are long overdue, and Woody Harrelson and Matt Damon are also both nominated for The Messenger and Invictus respectively for performances which went beyond the typical sort of roles they are offered and showcasing their unique skills. While these four men are honored for their work this past year, I can't help but be reminded of the fine performances each has done in the past which went unnoticed by the Academy and for that matter, the work of other brilliant supporting actors which suffered the same fate. In celebration of these long overdue nominations, I have decided to take a look back at some of the great supporting performances from past years that never made it to the Oscars.
1940s:
-Farley Granger for Rope (1948) instead of Oskar Homolka for I Remember Mama
-So many have labeled this film as "experimental Hitchcock," (the legendary director tried to make the entire film appear as if it had been shot in one long, continuous take) without giving it much more credit. Besides being a great suspense thriller, the film contains an excellent turn by Farley Granger. As one of two young men who murder an old friend from prep school, Granger is positively riveting as the more fragile of the two who exerts his nervous energy through piano playing and drinking. Perhaps it was the implied homosexual aspects of the film which prevented Rope from succeeding and Farley from getting the nomination he deserved. But deserve it, he did.
http://www.youtube.com/watch?v=L52MJNdZpMs
1950s:
-Orson Welles for The Long Hot Summer (1958) instead of Gig Young for Teacher's Pet
-The Long Hot Summer comes along in the tradition of southern family dramas complete with picnics, sun and family pride. While Newman and Woodward were meant to be the stars of the film, it was the legendary Welles as patriarch Will Varner who truly steals the show. Welles gives one of his most powerhouse performances as a prosperous businessman trying desperately and selfishly to steer his children in what he feels is the right direction. Its a Welles performance unlike any other given by the actor before and one of his most dynamic times on screen.
http://www.youtube.com/watch?v=cVGgcILWIXQ&feature=related
1960s:
-Paul Newman for What a Way to Go! (1964) instead of Lee Tracy for The Best Man
-Its hard for an actor to make himself distinguishable in a cast which also includes the likes of Dean Martin, Dick Van Dyke, Robert Mitchum, Robert Cummings and Gene Kelly. Yet Paul Newman manages quite easily in the dark comedy What a Way to Go! As one of Shirley Maclaine's many husbands, Newman is able to bring a required level of depth and intensity to the film as a bohemian artist. While this film is considered more of a classic of Maclaine's than of any of the actors involved, one should not overlook Newman's fine work in this film.
http://www.youtube.com/watch?v=y3JU-knnk0k
1970s:
-Truman Capote for Muder by Death (1976) instead of Jason Robards for All the President's Men
-This might seem an odd choice at first. Yet Truman Capote made quite an impressive acting debut in the Neil Simon comedy/mystery Murder By Death. Capote plays famed mystery writer Lionel Twain, who invites his fellow writers and rivals to his isolated mansion for a real-life murder mystery. The author, in his first role, was definitley sinsiter bordering on creepy, yet also funny. Although he is only in the film for a brief period of time, he more than leaves his mark. Despite earning a Golden Globe nomination for Best Newcomer, its a shame nothing more came of Capote's acting career.
http://www.youtube.com/watch?v=4hbL029LRwA
1980s:
-Robert Downey Jr. for Less Than Zero (1987) instead of Vincent Gardenia for Moonstruck
-The film adaptation of Bret Easton Ellis' breakthrough novel Less Than Zero was considered lackluster at best by most ardant followers. Yet the one aspect of the film which everyone agrees works is the captivating brilliance of Downey's performance. As Julian, a Beverly Hills drug addict whose lost everything, the actor is at his best. His portrayal of the character is heartbreaking to watch yet at the same time so compelling with his false optimism and hopeless attempts at escape from the life he has made for himself.
http://www.youtube.com/watch?v=iQSGS5-7QI4&feature=related
1990s:
-Greg Kinnear for Sabrina (1995) instead of Tim Roth for Rob Roy
-Many have seemed to embrace Sidney Pollack's dicey remake of the classic Sabrina. Yet the film works for many reasons, not least of all Greg Kinnear's performance as David Larabee. In what was his debut performance, Kinnear plays a rich Long Island playboy who spends his time living the good life instead of helping his brother (Ford) to run the family business. Its hard to believe that Kinnear had no previous film experience since this is clearly a performance given by a professional. As David, Kinnear makes good use of what is definitley the film's flashiest role and injects it with the pitch-perfect comedic timing and charisma that it requires.
http://www.youtube.com/watch?v=pQv3u_aj5m4
2000s:
-Ben Affleck for Hollywoodland (2006) instead of Mark Wahlberg for The Departed
-Affleck took a decidedly Hollywood route after winning his Oscar for Best Original Screenplay by attempting to carve out a leading man niche for himself in films like Bounce and Paycheck while doing favors for good friend Kevin Smith. Yet none of those roles was ever successfully able to capture his abilities as an actor quite like the true-life mystery Hollywoodland. As actor George Reeves (TV's Superman) who was found shot dead mysteriously in his home in the Hollywood Hills, Affleck showed a side of himself no one thought existed. He portrays Reeves the way many believe he was in real life; scared, angry, frustrated, and depressed. Affleck has truly never been better and one can only hope that a role such as this finds him in the future.
http://www.youtube.com/watch?v=iZvDDWQfgFA
Tomorrow...Best Actress!!
1940s:
-Farley Granger for Rope (1948) instead of Oskar Homolka for I Remember Mama
-So many have labeled this film as "experimental Hitchcock," (the legendary director tried to make the entire film appear as if it had been shot in one long, continuous take) without giving it much more credit. Besides being a great suspense thriller, the film contains an excellent turn by Farley Granger. As one of two young men who murder an old friend from prep school, Granger is positively riveting as the more fragile of the two who exerts his nervous energy through piano playing and drinking. Perhaps it was the implied homosexual aspects of the film which prevented Rope from succeeding and Farley from getting the nomination he deserved. But deserve it, he did.
http://www.youtube.com/watch?v=L52MJNdZpMs
1950s:
-Orson Welles for The Long Hot Summer (1958) instead of Gig Young for Teacher's Pet
-The Long Hot Summer comes along in the tradition of southern family dramas complete with picnics, sun and family pride. While Newman and Woodward were meant to be the stars of the film, it was the legendary Welles as patriarch Will Varner who truly steals the show. Welles gives one of his most powerhouse performances as a prosperous businessman trying desperately and selfishly to steer his children in what he feels is the right direction. Its a Welles performance unlike any other given by the actor before and one of his most dynamic times on screen.
http://www.youtube.com/watch?v=cVGgcILWIXQ&feature=related
1960s:
-Paul Newman for What a Way to Go! (1964) instead of Lee Tracy for The Best Man
-Its hard for an actor to make himself distinguishable in a cast which also includes the likes of Dean Martin, Dick Van Dyke, Robert Mitchum, Robert Cummings and Gene Kelly. Yet Paul Newman manages quite easily in the dark comedy What a Way to Go! As one of Shirley Maclaine's many husbands, Newman is able to bring a required level of depth and intensity to the film as a bohemian artist. While this film is considered more of a classic of Maclaine's than of any of the actors involved, one should not overlook Newman's fine work in this film.
http://www.youtube.com/watch?v=y3JU-knnk0k
1970s:
-Truman Capote for Muder by Death (1976) instead of Jason Robards for All the President's Men
-This might seem an odd choice at first. Yet Truman Capote made quite an impressive acting debut in the Neil Simon comedy/mystery Murder By Death. Capote plays famed mystery writer Lionel Twain, who invites his fellow writers and rivals to his isolated mansion for a real-life murder mystery. The author, in his first role, was definitley sinsiter bordering on creepy, yet also funny. Although he is only in the film for a brief period of time, he more than leaves his mark. Despite earning a Golden Globe nomination for Best Newcomer, its a shame nothing more came of Capote's acting career.
http://www.youtube.com/watch?v=4hbL029LRwA
1980s:
-Robert Downey Jr. for Less Than Zero (1987) instead of Vincent Gardenia for Moonstruck
-The film adaptation of Bret Easton Ellis' breakthrough novel Less Than Zero was considered lackluster at best by most ardant followers. Yet the one aspect of the film which everyone agrees works is the captivating brilliance of Downey's performance. As Julian, a Beverly Hills drug addict whose lost everything, the actor is at his best. His portrayal of the character is heartbreaking to watch yet at the same time so compelling with his false optimism and hopeless attempts at escape from the life he has made for himself.
http://www.youtube.com/watch?v=iQSGS5-7QI4&feature=related
1990s:
-Greg Kinnear for Sabrina (1995) instead of Tim Roth for Rob Roy
-Many have seemed to embrace Sidney Pollack's dicey remake of the classic Sabrina. Yet the film works for many reasons, not least of all Greg Kinnear's performance as David Larabee. In what was his debut performance, Kinnear plays a rich Long Island playboy who spends his time living the good life instead of helping his brother (Ford) to run the family business. Its hard to believe that Kinnear had no previous film experience since this is clearly a performance given by a professional. As David, Kinnear makes good use of what is definitley the film's flashiest role and injects it with the pitch-perfect comedic timing and charisma that it requires.
http://www.youtube.com/watch?v=pQv3u_aj5m4
2000s:
-Ben Affleck for Hollywoodland (2006) instead of Mark Wahlberg for The Departed
-Affleck took a decidedly Hollywood route after winning his Oscar for Best Original Screenplay by attempting to carve out a leading man niche for himself in films like Bounce and Paycheck while doing favors for good friend Kevin Smith. Yet none of those roles was ever successfully able to capture his abilities as an actor quite like the true-life mystery Hollywoodland. As actor George Reeves (TV's Superman) who was found shot dead mysteriously in his home in the Hollywood Hills, Affleck showed a side of himself no one thought existed. He portrays Reeves the way many believe he was in real life; scared, angry, frustrated, and depressed. Affleck has truly never been better and one can only hope that a role such as this finds him in the future.
http://www.youtube.com/watch?v=iZvDDWQfgFA
Tomorrow...Best Actress!!
Monday, 22 February 2010
They Weren't Even Nominated!! Best Supporting Actress Nominees that Never Were...
-This year's race for Best Supporting Actress was rather interesting with regards as to which actresses would make up the final five nominees. Some were sure Julianne Moore would get in for her turn in A Single Man, which was unlike anything she had ever turned in before, while others expected at least one of the ladies from Inglorious Basterds to score a nomination. While none of them made it into the final five, their snubs are just the latest in a long line of overlooked performances. The Academy has been faced with a great number of supporting actress performances over the years that have stood out, yet not quite enough to be considered worthy of a nomination. To pay tribute to some of these great performances, here are 7 past supporting actress turns that were excellent on the screen, yet didn't even get a nomination...
1940s:
-Lucille Ball for The Big Street (1942) instead of Agnes Moorehead for The Magnificent Ambersons
-The future comedy legend was truly remarkable as a sought after nightclub singer who takes the world around her for granted until a devastating accident leaves her handicapped. There's no trace of the carefree and whimsical Lucy in this film whatsoever. Instead, the audience sees Ball as an accomplished actress, playing a character that is not necessarily likable, yet still somehow elicits sympathy. It was a worthwhile performance worthy of more recognition than it got.
http://www.youtube.com/watch?v=5ljzn3BxIZ4
1950s:
-Marlene Dietrich for Stage Fright (1950) instead of Hope Emerson for Caged
-Not many remember Hitchcock's first entry in the decade 0f the 50s, but the theatrical murder mystery Stage Fright is not only a worthy entry into the cannon of 50's Hitchcock, but also features one of Dietrich's greatest turns on screen. As a vain stage legend who persuades an admirer to cover up her husband's murder, Dietrich literally steals the show. Dietrich plays her character as not just vain, but in a way also philosophical and surprisingly level-headed. As with most roles she was offered, Dietrich plays a woman who is captivating and intimidating and she does it well.
http://www.youtube.com/watch?v=_7u3wyxjTaQ
1960s:
-Ethel Merman for It's a Mad, Mad, Mad, Mad World (1963) intead of Joyce Redman for Tom Jones
-Ethel Merman has gone down in history as a stage legend, but her broad, comic turn in Stanley Kramer's all-star farce bears no trace of the Merman that came before. Merman plays Milton Berle's domineering mother-in-law who, like everyone else in the film, is after a suitcase full of money hidden somewhere in California. Her consistent whining, nagging, and outright bullying would definitley get to be tiresome after a while, yet the actress' comic timing is excellent enough that she ilicits laughs throughout her entire performance.
http://www.youtube.com/watch?v=Ee3CPfH2O_I
1970s:
-Jane Fonda for California Suite (1978) instead of Penelope Milford for Coming Home
-While her costar Maggie Smith's worthy performance went on to win the Oscar for this film, Jane Fonda's turn in this Neil Simon ensemble is the true stand out. Fonda plays a divorcee who travels from New York to Los Angeles to reunite with her ex-husband (Alan Alda) to discuss their daughter's future. This is perhaps one of Fonda's best onscreen moments. As a woman who has not been able to completely let go of her bitterness toward the past, the actress projects an air of self-control coupled with emotional fragility that is impeccable. Its not often one sees this kind of Jane Fonda.
http://www.youtube.com/watch?v=F9KsZHMxzw8
1980s:
-Ally Sheedy for The Breakfast Club (1985) instead of Amy Madigan for Twice in a Lifetime
-The Breakfast Club was one of the seminal films of the 1980s. The story of a group of diverse high schoolers forced to spend an etire Saturday together in detention resonated with many teenagers who saw themselves in at least one of the now iconic characters. Without a doubt the most unique amongst the group was Sheedy's Allison. As the slient, all-black wearing, reclusive outcast, Sheedy represented a girl wise beyond her years whose outlook on life was decidedly bleak, but somehow optimistic with regards to the possibilities she could have outside of high school. Its one of Sheedy's most famous roles, and by far, her most touching.
http://www.youtube.com/watch?v=OaLJPjLIdRQ
1990s:
-Isabella Rossellini for Death Becomes Her (1992) instead of Joan Plowright for Enchanted April
-I imagine it would be hard to try and stand out in a film when your entire role consists of scenes opposite Meryl Streep and Bruce Willis. Yet Rossellini manages to quite easily as a mysterious enchantress in this dark comedy. As a madonna-like figure who holds the key to eternal youth, Rossellini is positively captivating. Oozing sexuality and dispersing romantic notions of the bilssfulness of youth while possessing an air of control, Rossellini is without question, at her greatest. Its a shame the film was so heavily edited that the actress' role consists of mainly two large extended scenes. But memorable, they are.
http://www.youtube.com/watch?v=fN3L7umTdTU
2000s:
-Michelle Pfeiffer for White Oleander (2002) instead of Catherine Zeta-Jones for Chicago
-Pfeiffer did some of her best work in this female-driven ensemble drama about a young girl's struggle with her dangerous mother. Pfeiffer plays a single mother/artist who kills her last boyfriend after their relationship ends causing her to be sent to prison, but is still able to maintain a hold on her teenage daughter. This is without question one of the actress' most complex roles. As Ingrid, Pfeiffer plays a woman who truly loves her child, but who manipulates that love and uses it as a weapon against her daughter. Her love and need for control knows no bounds as she is willing to silently destroy anyone she feels is trying to take her child away from her. Its a Pfeiffer that is both chilling and heartbreaking.
http://www.youtube.com/watch?v=An6T_66uHLI
Tomorrow...Best Supporting Actor!!
1940s:
-Lucille Ball for The Big Street (1942) instead of Agnes Moorehead for The Magnificent Ambersons
-The future comedy legend was truly remarkable as a sought after nightclub singer who takes the world around her for granted until a devastating accident leaves her handicapped. There's no trace of the carefree and whimsical Lucy in this film whatsoever. Instead, the audience sees Ball as an accomplished actress, playing a character that is not necessarily likable, yet still somehow elicits sympathy. It was a worthwhile performance worthy of more recognition than it got.
http://www.youtube.com/watch?v=5ljzn3BxIZ4
1950s:
-Marlene Dietrich for Stage Fright (1950) instead of Hope Emerson for Caged
-Not many remember Hitchcock's first entry in the decade 0f the 50s, but the theatrical murder mystery Stage Fright is not only a worthy entry into the cannon of 50's Hitchcock, but also features one of Dietrich's greatest turns on screen. As a vain stage legend who persuades an admirer to cover up her husband's murder, Dietrich literally steals the show. Dietrich plays her character as not just vain, but in a way also philosophical and surprisingly level-headed. As with most roles she was offered, Dietrich plays a woman who is captivating and intimidating and she does it well.
http://www.youtube.com/watch?v=_7u3wyxjTaQ
1960s:
-Ethel Merman for It's a Mad, Mad, Mad, Mad World (1963) intead of Joyce Redman for Tom Jones
-Ethel Merman has gone down in history as a stage legend, but her broad, comic turn in Stanley Kramer's all-star farce bears no trace of the Merman that came before. Merman plays Milton Berle's domineering mother-in-law who, like everyone else in the film, is after a suitcase full of money hidden somewhere in California. Her consistent whining, nagging, and outright bullying would definitley get to be tiresome after a while, yet the actress' comic timing is excellent enough that she ilicits laughs throughout her entire performance.
http://www.youtube.com/watch?v=Ee3CPfH2O_I
1970s:
-Jane Fonda for California Suite (1978) instead of Penelope Milford for Coming Home
-While her costar Maggie Smith's worthy performance went on to win the Oscar for this film, Jane Fonda's turn in this Neil Simon ensemble is the true stand out. Fonda plays a divorcee who travels from New York to Los Angeles to reunite with her ex-husband (Alan Alda) to discuss their daughter's future. This is perhaps one of Fonda's best onscreen moments. As a woman who has not been able to completely let go of her bitterness toward the past, the actress projects an air of self-control coupled with emotional fragility that is impeccable. Its not often one sees this kind of Jane Fonda.
http://www.youtube.com/watch?v=F9KsZHMxzw8
1980s:
-Ally Sheedy for The Breakfast Club (1985) instead of Amy Madigan for Twice in a Lifetime
-The Breakfast Club was one of the seminal films of the 1980s. The story of a group of diverse high schoolers forced to spend an etire Saturday together in detention resonated with many teenagers who saw themselves in at least one of the now iconic characters. Without a doubt the most unique amongst the group was Sheedy's Allison. As the slient, all-black wearing, reclusive outcast, Sheedy represented a girl wise beyond her years whose outlook on life was decidedly bleak, but somehow optimistic with regards to the possibilities she could have outside of high school. Its one of Sheedy's most famous roles, and by far, her most touching.
http://www.youtube.com/watch?v=OaLJPjLIdRQ
1990s:
-Isabella Rossellini for Death Becomes Her (1992) instead of Joan Plowright for Enchanted April
-I imagine it would be hard to try and stand out in a film when your entire role consists of scenes opposite Meryl Streep and Bruce Willis. Yet Rossellini manages to quite easily as a mysterious enchantress in this dark comedy. As a madonna-like figure who holds the key to eternal youth, Rossellini is positively captivating. Oozing sexuality and dispersing romantic notions of the bilssfulness of youth while possessing an air of control, Rossellini is without question, at her greatest. Its a shame the film was so heavily edited that the actress' role consists of mainly two large extended scenes. But memorable, they are.
http://www.youtube.com/watch?v=fN3L7umTdTU
2000s:
-Michelle Pfeiffer for White Oleander (2002) instead of Catherine Zeta-Jones for Chicago
-Pfeiffer did some of her best work in this female-driven ensemble drama about a young girl's struggle with her dangerous mother. Pfeiffer plays a single mother/artist who kills her last boyfriend after their relationship ends causing her to be sent to prison, but is still able to maintain a hold on her teenage daughter. This is without question one of the actress' most complex roles. As Ingrid, Pfeiffer plays a woman who truly loves her child, but who manipulates that love and uses it as a weapon against her daughter. Her love and need for control knows no bounds as she is willing to silently destroy anyone she feels is trying to take her child away from her. Its a Pfeiffer that is both chilling and heartbreaking.
http://www.youtube.com/watch?v=An6T_66uHLI
Tomorrow...Best Supporting Actor!!
Friday, 19 February 2010
They Shoulda Won!! Best Picture Winners From Past Years...
-I honestly cannot imagine a single category that's harder to judge at the Academy Awards than Best Picture. The film which is awarded the top prize not only represents what the Academy as a whole liked the most over the past year, but the film chosen in a way also signifies the state of society over the past year as well as the mood and tone of the country. Sometimes films are awarded because of prestige. It looks good to vote for a film directed by one of the most edgy underground filmmakers around. Other times a film can make it based on sheer popularity. Big box-office returns often times sit comfortably with the voters. Still, at other times full-on campaigning can be a constant for a Best Picture nominee. A studio can push, and push, and push a nominated film relentlessly in front of voters until they have no choice but to select it as their pick for film of the year. This year the Academy has allowed 10 nominees to be entered into the Best Picture category even though only 7 of those deserve to actually be there (sorry District 9, A Serious Man, and The Blind Side). Still, it will be interesting to see with such a broad range of films, just which one of the three methods the Academy will succumb to. In any case, I'm taking this opportunity to look back on some past Best Picture nominees that fell victim to at least one of the above-mentioned tactics.
1940s:
Double Indemnity (1944)- lost to Going My Way
-The original blueprint for the classic film noir, this Billy Wilder classic was grossly robbed when it came time to had out the Best Picture Oscar. The film told the story of an insurance man played by Fred Macmurray who falls for the wife of one of his clients who convinces him to take part in the murder of her husband. The film was heavily criticized by censors of the day for being too racy with certain bits of dialogue. Yet the taut plot, solid direction and the pitch perfect performances from the two leads (especially Stanwyck who herself received a nomination for her role) led Double Indemnity to not only helping to establish a new genre, but also to become one of the best films of the decade.
http://www.youtube.com/watch?v=r69dQZHjkmY
1950s:
Giant (1956)- lost to Around the World in 80 Days
-One of the most grand and beloved films ever made about Texas, Giant was a sprawling epic spanning two generations of the wealthy Benedict family. Based on the novel by Edna Ferber, Giant was a classic Hollywood production if there ever was one. Not only did the film have a top cast including Rock Hudson, Elizabeth Taylor and James Dean (in his final screen role), but also one of the most sought after directors (George Stevens) at the helm. Only a film like Giant could capture the feeling of Texas within the different eras. The racism, the pride, the tradition, the way of life and the changing of times are all captured accurately here and for all that is depicted, good and bad, Texas has never looked better.
http://www.youtube.com/watch?v=ot1PmYwdXq8&feature=related
1960s:
Guess Who's Coming to Dinner? (1968)- lost to In the Heat of the Night
-I have always said that Guess Who's Coming to Dinner was one of the films that defined the decade of the 1960s. The film tells the story of a liberal couple who are caught off guard when their daughter announces she is marrying a black man; causing them to question their own beliefs. This film so brilliantly captures the many views on interracial couples from all sides and angles and does so in quite an entertaining way. Its speeches about society and the way of the future are presented not as sermons, but rather as wise observations and lessons. Above all, the film is about the enduring power of love and how it is an emotion which truly knows no bounds.
http://www.youtube.com/watch?v=9Yt0wxoFl4o
1970s:
The Last Picture Show (1971)- lost to The French Connection
-It's absolutely appalling that one of the most seminal films of the 1970s was not given the Oscar for Best Picture. The Last Picture Show told the story of the citizens of a small Texas town in the 1950s. Shot in black and white and painted with a true authenticity by Peter Bogdanovich, The Last Picture Show truly feels like it came out of 1955. More than just an homage to the decade though, the film was also a love letter to the small town America which was rapidly disappearing.
http://www.youtube.com/watch?v=uU0ddrNtZ-k
1980s:
The Killing Fields (1984)- lost to Amadeus
-One of the most compelling journalistic pieces ever put to film, The Killing Fields explicitly depicts the Cambodian war and how it affected the two men covering the events. On the one side is New York Times reporter Sydney Schanberg who was able to leave Cambodia before the opposing force took over. On the other is Dith Pran, a photographer from Cambodia who worked alongside Sidney during this time. The film chronicles Pran's detention in Cambodia and his struggle to stay alive during this time of war and Schanberg's neverending efforts to locate his friend and bring him to the saftey of his family in America. It is one of the most incredible survivor stories ever and certainly one of most touching depcitions of cross-cultural friendship.
http://www.youtube.com/watch?v=_Z1sj7gzpCk
1990s:
As Good as it Gets (1997)- lost to Titanic
-While comedies don't seem to fare well with the Academy, James L. Brooks' humorous film about an obsessive-compulsive romance novelist, a sweet Manhattan waitress and a gay artist warmed the hearts of the film industry. The film offers plenty of laughs thanks to a rich script and high caliber actors, all of whom are at their career bests. But more than just a simple comedy, As Good as it Gets is a tesament to the strength of the human spirit in times of uncertainty and how human beings possess the ability to endure and win out against any kind of strife. Its a film about damaged people and how, in spite of their flaws can save one another.
http://www.youtube.com/watch?v=BXHxg6Ug9GM
2000s:
Finding Neverland (2004)- lost to Million Dollar Baby
-While merely looked upon as a weepy drama, Finding Neverland is much, much more than that. Inspiried by the true story of how playwright J.M. Barry came to write the classic Peter Pan, the film is about the power of imagination and the importance of carrying it with you throughout life. The film is overflowing with many elements that make movies essential, real charactrs, a compelling story, and an overall magical quality that never ceases til the end.
http://www.youtube.com/watch?v=hqXYTSYHFKI
1940s:
Double Indemnity (1944)- lost to Going My Way
-The original blueprint for the classic film noir, this Billy Wilder classic was grossly robbed when it came time to had out the Best Picture Oscar. The film told the story of an insurance man played by Fred Macmurray who falls for the wife of one of his clients who convinces him to take part in the murder of her husband. The film was heavily criticized by censors of the day for being too racy with certain bits of dialogue. Yet the taut plot, solid direction and the pitch perfect performances from the two leads (especially Stanwyck who herself received a nomination for her role) led Double Indemnity to not only helping to establish a new genre, but also to become one of the best films of the decade.
http://www.youtube.com/watch?v=r69dQZHjkmY
1950s:
Giant (1956)- lost to Around the World in 80 Days
-One of the most grand and beloved films ever made about Texas, Giant was a sprawling epic spanning two generations of the wealthy Benedict family. Based on the novel by Edna Ferber, Giant was a classic Hollywood production if there ever was one. Not only did the film have a top cast including Rock Hudson, Elizabeth Taylor and James Dean (in his final screen role), but also one of the most sought after directors (George Stevens) at the helm. Only a film like Giant could capture the feeling of Texas within the different eras. The racism, the pride, the tradition, the way of life and the changing of times are all captured accurately here and for all that is depicted, good and bad, Texas has never looked better.
http://www.youtube.com/watch?v=ot1PmYwdXq8&feature=related
1960s:
Guess Who's Coming to Dinner? (1968)- lost to In the Heat of the Night
-I have always said that Guess Who's Coming to Dinner was one of the films that defined the decade of the 1960s. The film tells the story of a liberal couple who are caught off guard when their daughter announces she is marrying a black man; causing them to question their own beliefs. This film so brilliantly captures the many views on interracial couples from all sides and angles and does so in quite an entertaining way. Its speeches about society and the way of the future are presented not as sermons, but rather as wise observations and lessons. Above all, the film is about the enduring power of love and how it is an emotion which truly knows no bounds.
http://www.youtube.com/watch?v=9Yt0wxoFl4o
1970s:
The Last Picture Show (1971)- lost to The French Connection
-It's absolutely appalling that one of the most seminal films of the 1970s was not given the Oscar for Best Picture. The Last Picture Show told the story of the citizens of a small Texas town in the 1950s. Shot in black and white and painted with a true authenticity by Peter Bogdanovich, The Last Picture Show truly feels like it came out of 1955. More than just an homage to the decade though, the film was also a love letter to the small town America which was rapidly disappearing.
http://www.youtube.com/watch?v=uU0ddrNtZ-k
1980s:
The Killing Fields (1984)- lost to Amadeus
-One of the most compelling journalistic pieces ever put to film, The Killing Fields explicitly depicts the Cambodian war and how it affected the two men covering the events. On the one side is New York Times reporter Sydney Schanberg who was able to leave Cambodia before the opposing force took over. On the other is Dith Pran, a photographer from Cambodia who worked alongside Sidney during this time. The film chronicles Pran's detention in Cambodia and his struggle to stay alive during this time of war and Schanberg's neverending efforts to locate his friend and bring him to the saftey of his family in America. It is one of the most incredible survivor stories ever and certainly one of most touching depcitions of cross-cultural friendship.
http://www.youtube.com/watch?v=_Z1sj7gzpCk
1990s:
As Good as it Gets (1997)- lost to Titanic
-While comedies don't seem to fare well with the Academy, James L. Brooks' humorous film about an obsessive-compulsive romance novelist, a sweet Manhattan waitress and a gay artist warmed the hearts of the film industry. The film offers plenty of laughs thanks to a rich script and high caliber actors, all of whom are at their career bests. But more than just a simple comedy, As Good as it Gets is a tesament to the strength of the human spirit in times of uncertainty and how human beings possess the ability to endure and win out against any kind of strife. Its a film about damaged people and how, in spite of their flaws can save one another.
http://www.youtube.com/watch?v=BXHxg6Ug9GM
2000s:
Finding Neverland (2004)- lost to Million Dollar Baby
-While merely looked upon as a weepy drama, Finding Neverland is much, much more than that. Inspiried by the true story of how playwright J.M. Barry came to write the classic Peter Pan, the film is about the power of imagination and the importance of carrying it with you throughout life. The film is overflowing with many elements that make movies essential, real charactrs, a compelling story, and an overall magical quality that never ceases til the end.
http://www.youtube.com/watch?v=hqXYTSYHFKI
Thursday, 18 February 2010
They Shoulda Won!! Best Actor Nominees From Past Years...
-What classic performance comes to mind when one thinks of the term "best actor??" For some its Gregory Peck's Atticus Finch in To Kill A Mockingbird or James Cagney's classic footwork in Yankee Doodle Dandy, Jack Nicholson's manic McMurphy in One Flew Over the Cuckoo's Nest, or Anthony Hopkin's Hannibal Lecter in The Slience of the Lambs, among countless others which have come to represent the very best in screen acting. All of the aforementioned examples contained fire, intensity, passion, beauty, and above all a commitment to the role and the art of filmmaking. It seems as if there are no limits with regards to the kinds of roles the Oscar chooses to recognize. Villians and saviors, savants and charlatans have all been portrayed on the screen and the men who have brought them to life have been honored for thier fine work. This year's crop of nominees up for Best Actor contain one of the mosst diverse groups in years thereby reinforcing my point. A washed up country singer, a suicidal college professor, an army officer, a disconnected businessman and one of the greatest world leaders in history have all been brought to life on screen this year and now stand amongst each other for the Best Actor Academy Award. In honor of these roles as well as the many other nominated performances from before, I present to you seven Oscar-nominated performances that sadly went unrewarded.
1940s:
Lew Ayres for Johnny Belinda- lost to Laurence Olivier for Hamlet
-While the main focus of Johnny Belinda focuses on Jane Wyman's performance as a deaf mute farm girl who is raped by a local, many neglect to mention the beauty and intensity of Ayres' work. As the new town doctor who falls in love with Wyman, Ayres is incredibly heroric in a decidely low-key fashion, taking the troubled Belinda under his wing and believing in her ability to learn. The audience feels for his character which has the purest of intentions, a kind heart and an open mind; making what happens to Belinda all the more painful.
http://www.youtube.com/watch?v=OSlBeXCIhi8
1950s:
Charles Laughton for Witness for the Prosecution (1957)- lost to Alec Guiness for The Bridge on the River Kwai
-In all of the screen performances of that decade, there was hardly one as unique as Laughton's turn in the film adaptation of Agatha Christie's Witness for the Prosecution. As a famous lawyer recovering from a heart attack who takes on a murder case, Laughton is positively at his best. Only a skilled performer like Laughton is able to inject the proper doses of drama during the many courtroom scenes and delicious comedy in the sequences with his cheery nurse. Such a role requires an actor not afraid to juggle the two sides, which Laughton does masterfully.
http://www.youtube.com/watch?v=Fq3UK04pNrY
1960s:
Richard Burton for The Spy Who Came in From the Cold (1965)- lost to Lee Marvin for Cat Ballou
-John La Carre's stories have always seemed to translate well to the screen; captivating audiences with his tight plots of intrigue and complex male protagonists. For many, Richard Burton represents the quintessential La Carre hero with his gruff persona and cynical outlook on life. There isn't a shred of the dashing shakesperean leading man audiences had grown accustomed to, instead this film sees a different Burton in a role which remains one of the standouts of his entire career.
http://www.youtube.com/watch?v=lNrjAMV0HJk
1970s:
Albert Finney for Murder on the Orient Express (1974)- lost to Art Carney for Harry and Tonto
-Of the various actors who have portrayed Agatha Christie's famous sleuth Hercule Poirot, Finney's portrayal was reportedly the closest to the author's inital image of the character. As the world-famous detective called upon to solve a murder aboard a train, Finney is unrecognizable with a waxed moustache and gleaming black hair. His performance is truly a tour de force that only gets better as he loses himself more and more in the role to the benefit of the film. If there was ever a time when the actor deserved the top prize, it was here.
http://www.youtube.com/watch?v=5w-KfnLShIc
1980s:
Edward James Olmos for Stand and Deliver (1988)- lost to Dustin Hoffman for Rain Man
-While most feel that no one but Dustin Hoffman was entitled to the Oscar that year, no one can deny the Olmos' performance as a high school math teacher who changes the lives of a group of inner-city students comes a close second. Olmos has always been one of the screen's most dependable actors, but in Stand and Deliver he is truly inspiring playing this real-life figure. In what has otherwise become a tired and cliche-infested genre, the script and Olmos' portrayal make this a truly enriching movie experience.
http://www.youtube.com/watch?v=cIlHJsv0Joc&feature=related
1990s:
Richard Dreyfuss for Mr. Holland's Opus (1995)- lost to Nicholas Cage for Leaving Las Vegas
-While most films about inspirational teachers focus on the students they teach, Mr. Holland's Opus looks at the teacher as an individual. As a struggling composer whose life is transformed after accepting a teaching job, Richard Dreyfuss is nearly flawless in one of best latter day roles. He plays Mr. Holland as a man whose dreams have escaped him leaving him deep in regret, yet finds meaning in a path he never expected to take.
http://www.youtube.com/watch?v=4tQJBBY7X6I
2000s:
Tommy Lee Jones for In the Valley of Elah (2007)- lost to Daniel Day-Lewis for There Will Be Blood
-I would venture to call Jones' performance in this film the culmination of his career. Jones plays a retired military officer investigating the disappearance of his son who has recently returned from Iraq. The beauty of the actor's performance here lies in how he is able to project worry and grief while remaining completely contained throughout; its a challenge for most actors, yet somehow it seems tailor-made for Jones.
http://www.youtube.com/watch?v=1EwmvAEetTs
Tomorrow...Best Picture!!
1940s:
Lew Ayres for Johnny Belinda- lost to Laurence Olivier for Hamlet
-While the main focus of Johnny Belinda focuses on Jane Wyman's performance as a deaf mute farm girl who is raped by a local, many neglect to mention the beauty and intensity of Ayres' work. As the new town doctor who falls in love with Wyman, Ayres is incredibly heroric in a decidely low-key fashion, taking the troubled Belinda under his wing and believing in her ability to learn. The audience feels for his character which has the purest of intentions, a kind heart and an open mind; making what happens to Belinda all the more painful.
http://www.youtube.com/watch?v=OSlBeXCIhi8
1950s:
Charles Laughton for Witness for the Prosecution (1957)- lost to Alec Guiness for The Bridge on the River Kwai
-In all of the screen performances of that decade, there was hardly one as unique as Laughton's turn in the film adaptation of Agatha Christie's Witness for the Prosecution. As a famous lawyer recovering from a heart attack who takes on a murder case, Laughton is positively at his best. Only a skilled performer like Laughton is able to inject the proper doses of drama during the many courtroom scenes and delicious comedy in the sequences with his cheery nurse. Such a role requires an actor not afraid to juggle the two sides, which Laughton does masterfully.
http://www.youtube.com/watch?v=Fq3UK04pNrY
1960s:
Richard Burton for The Spy Who Came in From the Cold (1965)- lost to Lee Marvin for Cat Ballou
-John La Carre's stories have always seemed to translate well to the screen; captivating audiences with his tight plots of intrigue and complex male protagonists. For many, Richard Burton represents the quintessential La Carre hero with his gruff persona and cynical outlook on life. There isn't a shred of the dashing shakesperean leading man audiences had grown accustomed to, instead this film sees a different Burton in a role which remains one of the standouts of his entire career.
http://www.youtube.com/watch?v=lNrjAMV0HJk
1970s:
Albert Finney for Murder on the Orient Express (1974)- lost to Art Carney for Harry and Tonto
-Of the various actors who have portrayed Agatha Christie's famous sleuth Hercule Poirot, Finney's portrayal was reportedly the closest to the author's inital image of the character. As the world-famous detective called upon to solve a murder aboard a train, Finney is unrecognizable with a waxed moustache and gleaming black hair. His performance is truly a tour de force that only gets better as he loses himself more and more in the role to the benefit of the film. If there was ever a time when the actor deserved the top prize, it was here.
http://www.youtube.com/watch?v=5w-KfnLShIc
1980s:
Edward James Olmos for Stand and Deliver (1988)- lost to Dustin Hoffman for Rain Man
-While most feel that no one but Dustin Hoffman was entitled to the Oscar that year, no one can deny the Olmos' performance as a high school math teacher who changes the lives of a group of inner-city students comes a close second. Olmos has always been one of the screen's most dependable actors, but in Stand and Deliver he is truly inspiring playing this real-life figure. In what has otherwise become a tired and cliche-infested genre, the script and Olmos' portrayal make this a truly enriching movie experience.
http://www.youtube.com/watch?v=cIlHJsv0Joc&feature=related
1990s:
Richard Dreyfuss for Mr. Holland's Opus (1995)- lost to Nicholas Cage for Leaving Las Vegas
-While most films about inspirational teachers focus on the students they teach, Mr. Holland's Opus looks at the teacher as an individual. As a struggling composer whose life is transformed after accepting a teaching job, Richard Dreyfuss is nearly flawless in one of best latter day roles. He plays Mr. Holland as a man whose dreams have escaped him leaving him deep in regret, yet finds meaning in a path he never expected to take.
http://www.youtube.com/watch?v=4tQJBBY7X6I
2000s:
Tommy Lee Jones for In the Valley of Elah (2007)- lost to Daniel Day-Lewis for There Will Be Blood
-I would venture to call Jones' performance in this film the culmination of his career. Jones plays a retired military officer investigating the disappearance of his son who has recently returned from Iraq. The beauty of the actor's performance here lies in how he is able to project worry and grief while remaining completely contained throughout; its a challenge for most actors, yet somehow it seems tailor-made for Jones.
http://www.youtube.com/watch?v=1EwmvAEetTs
Tomorrow...Best Picture!!
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