Oscar Nominations – Ripple Effects

Oscar Nominations 2012

Feb. 26th is Oscar night. I’m reposting here my take on the Best Picture nominees, and some more… a post I wrote on Jan. 24th, shortly after they were announced at 5:30 am PST.

***

With the announcement of the 84th Academy Awards Nominees this morning, I’ve prepared here a guide to the nominated films for Best Picture plus some more. I’ve seen them all except one, which I admit is somewhat unexpected, that’s Extremely Loud and Incredibly Close. For some of the others, do click on the link in the title to read my full review.

Here are the 9 nominees for Best Motion Picture:

The Artist — Riding high the waves in this Awards Season, and most likely to grab the top Oscar. Kudos to the filmmakers for taking a bold and contrary step to pay homage to the silent era of Hollywood. Audacious in its attempt at a black and white silent film in 2011, where CGI and 3D’s are the cinematic effects, a long way from the great advancement of sound. Sure it’s light and frothy, which makes me admire all the more the boldness and foresight of the financial backers. Actions do speak louder than words. 10 noms in all.

The Descendants — Well acted, probably George Clooney’s best performance I’ve seen, a close Oscar contender with Jean Dujardin of The Artist for Best Actor. The idyllic setting in Hawaii shrouds conflicts among family members: between husband and wife, parents and children, and in the extended level, relatives when it comes to monetary gains and interests. A fine film from Oscar winning director Alexander Payne of Sideways fame. While there are interesting twists and turns, the ending is predictable. A close contender with The Artist for Best Picture.

The Tree of Life — I’m excited to see Terrence Malick’s existential epic included in the list. The film generally draws two opposing reactions, like its premiere in Cannes, boos and applause. Ironically, those might well be the two ways the film portrays, two possible views towards life. Other noms: Terrence Malick for Best Director, and deservedly, Emmanuel Lubezki for Best Cinematography.

Midnight In Paris — It has been a long time since Woody Allen won a Best Picture Oscar (Annie Hall, 1977), glad it’s time again for a nod, even though its chance of winning is slim. As in a few other nominated movies on this list, nostalgia is key. An imaginary trip back to Paris during the literary and artistic golden age of Gertrude Stein, Hemingway and Picasso, an aspiring writer from California learns the notion of golden is only relative. What’s precious may well be the time at hand. Woody Allen also receives noms for Directing and Original Screenplay.

Hugo — Leading the Oscar nom counts with 11. Another homage to the cinema, or, the creation of the cinema dating back to the Lumière Brothers, but specifically to Georges Méliès, the French innovator of cinematic special effects. Interesting to see Martin Scorsese uses the modern technique of 3D to honor the pioneer Méliès. A visually stunning adaptation of Brian Selznick’s The Invention of Hugo Cabret. Scorsese has proven to me that 3D doesn’t have to be synonymous with soulless gimmick. Heart-warming, beautiful film for everyone.

The Help — As Roger Ebert was labelled “a lackey for imperialism” after writing that he likes ‘Downton Abbey’, I must put in this Disclaimer: I have high respect for the courageous fighters in the civil rights movement, both on a societal level like Martin Luther King Jr. and those making personal steps like Rosa Parks. How I feel about this movie is strictly to do with the movie itself. Ok, here it is: I find it riddled with simplistic and contrived sentiments. The pool of major acting talents are morphed into caricatures. As I was watching, I felt they were all acting, not being. Can’t blame them, they were following a script and a director. Viola Davis nom for Best Actress, Jessica Chastain and Octavia Spencer for Best Supporting Actress. And the Oscar likely goes to Spencer.

The War Horse — Again, a Disclaimer here: I’m not against animals in movies… often, it’s the humans that leave much to be desired. Personally, I’m surprised that this is from Spielberg. Lacklustre storytelling, cliché moments and superficial characterization. The most natural and beautiful actor could well be Joey, the horse. The film is an adaptation of the children’s book of the same name written from the POV of the horse. Now, that sounds fresh and unique.

Moneyball — Can strike the heart of even non-baseball fans. A well paced and edited, engaging movie. The real story of Oakland A’s general manager Billy Beane. It’s always satisfying when the underdog wins, David overcoming Goliath, especially when money is involved. Brad Pitt getting Best Actor nom, and Jonah Hill Best Supporting. Other categories include Editing and Adapted Screenplay.

Extremely Loud and Incredibly Close — The is the only one among the nine I have yet to see, for truly I did not expect it to be nominated for Best Picture. I’ve read Jonathan Safran Foer’s novel, the source material, with mixed feelings. And for it to be adapted into a film, much has to be done to interpret, alter, and display. So, I reserve judgement on the film until I’ve seen it.

Other Nominees:

Meryl Streep for Best Actress in The Iron Lady — If you want historical accuracy, go see a documentary. But even there it depends on the POV of the filmmaker. Director Phyllida Lloyd (Mamma Mia!) has conjured up an internal world of the only woman Prime Minister of Britain, Margaret Thatcher. Unless she comes to rebut the director’s view, who are we to argue against it? Let’s just go beyond the debates and appreciate the marvellous performance by Meryl Streep. This might well be her chance for a second Best Actress Oscar since Sophie’s Choice in 1983. Jim Broadbent always complements superbly.

Michelle Williams for Best Actress in My Week With Marilyn — Michelle Williams proves her amazing versatility here. I mean, after seeing Wendy and Lucy, Blue Valentine, can you imagine a more diverse role as Marilyn Monroe? She delivers convincingly. Kenneth Branagh gets the nom for Best Supporting Actor as Sir Laurence Olivier. And who’s that obscure chap that gets to spend a week with Marilyn? Why, he’s Eddie Redmayne, Angel Claire in Tess of the D’Urbervilles.

Gary Oldman for Best Actor in Tinker Tailor Soldier Spy — Film scholar David Bordwell suggests that we see it as ‘a moving mosaic’. This film is made up of fragments of John Le Carré’s complex and massive work. So it’s better that you’ve read it first before watching. But if you’re like me, abandoning the book without finishing, you can still appreciate the overall atmosphere and the fine acting. Intricately weaving characters and time frames, the film’s intriguing ending has prompted me to go back to the book after watching it. CLICK HERE to read Bordwell‘s insightful review to help you through the Labyrinth.

***

CLICK HERE for a full list of Nominees.

Oscar Nominations 2012

With the announcement of the 84th Academy Awards Nominees this morning, I’ve prepared here a guide to the 9 nominated films for Best Picture plus a few more. I’ve seen them all except one, which I admit is somewhat unexpected, that’s Extremely Loud and Incredibly Close. For some of the others, do click on the link in the title to read my full review.

Here are the 9 nominees for Best Motion Picture:

Other Nominees:

***

CLICK HERE for a full list of Nominees.

Big Movies, small films

‘Big’ and ‘small’ are relative terms.

According to Box Office Mojo, the production budgets for this year’s Oscar Best Picture nominees are as follows (in million of dollars):

Toy Story 3: 200

Inception: 160

The Social Network: 40

True Grit: 38

The Fighter: 25

127 Hours: 18

The King’s Speech: 15

The Black Swan: 13

The Kids Are All Right: 4

Winter’s Bone: 2

Strange that we call some motion pictures ‘movies’, and others ‘films’. Other than the generic meaning which is used interchangeably, they sometimes denote certain inherent differences. The money that goes into making them just might be a factor: The higher the cost, the more likely it’s a movie… the lower, a film. A movie is likely a Hollywood studio production, with better-known stars, big budget marketing, and aims at popularity among a wider spectrum of viewers. A film is more or less associated with indie, art-house, and caters to a much smaller range of audience.

Such was the dichotomy between last year’s Oscars’ David and Goliath scenario: Avatar and The Hurt Locker. And I was glad to see the little guy win.

But this year is a bit different. Many of the Best Picture nominees are small budget productions. They draw big buzz because of the pictures themselves, the quality of their productions, their subject matter, and the characters that drive the story. They all depict little persons achieving big, however reluctantly.

Here’s a small glimpse of what’s big in some of these stories:

127 Hours: The real life, harrowing ordeal of Aron Ralston, who is caught in a small crack of a big boulder and how he used a penknife to cut his arm off to free himself. James Franco nominated for Best Actor.

True Grit: A small, 14 year-old girl by sheer guts and determination, ventures out in the big, wild West to seek justice for her father’s death. Newcomer Hailee Steinfeld nominated for Best Supporting Actress.

Winter’s Bone: A teenaged Ozark Mountain girl trying to keep her family intact in utter poverty, and save the shack they call home by finding her father who has fled bail for drug dealing, an act that threatens the big crystal meth economy of the area. 20 year-old Jennifer Lawrence nominated for Best Actress.

The Fighter: A down and out boxer with a small name like Micky Ward from a dysfunctional home in a drug-infested neighbourhood bounces back to win the WBU champion.

The Social Network: A college student called Mark Zuckerberg in his little dorm room launching a big business by changing the way people in the whole wide world connect and socialize. Jesse Eisenberg nominated for Best Actor.

The King’s Speech: A big role of a king being filled by a small, shy man hampered by a debilitating stammer big as cancer. It could be all psychological, sure, that’s why it’s insurmountable… and overcoming it takes big courage. Colin Firth nominated for Best Actor.

A small person overcoming big obstacles one small step at a time always makes a good story. It is so with the little character, true also with the little film.

Oscar Nominations 2011

Here are the ten movies you might like to watch before the 83rd Academy Awards on Feb. 27:

Best Picture Nominees:

Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter’s Bone

For a complete list of nominees and to watch the announcement from this morning in case you missed it at 5:30 am (PT) or 8:30 am (ET), CLICK HERE.

The nominations count are as follows: King’s Speech = 12, True Grit = 10, Social Network = 8, Inception = 8, The Fighter = 7, 127 Hours = 6

The King leads the pack. A royal flush they say, hope that’s the hand on Oscar night. Colin Firth, Helena Bonham Carter, Geoffrey Rush, and director Tom Hooper all get nods. Other categories include Art Direction, Cinematography, Costume Design, Editing, Original Score, Sound Mixing, Screenplay. To read my review of The King’s Speech, CLICK HERE.

The surprise here is True Grit. The Coen brothers’ film got snubbed at the Golden Globes and comes back with a vengeance. Two years in a row they get the nod for Best Picture, after last year’s A Serious Man (my review here). True Grit is a remake of the 1969 Western for which John Wayne got his Oscar. Here we have a distinct Coen style film with smart dialogues and great acting. “Nothing is free except the grace of God,” the beginning voice-over says, matched with the tune of the old hymn ‘Leaning on the Ever Lasting Arms’… I was amused to see how these two notions echo at the end of the film. At 13, Hailee Steinfeld beat out 15,000 other girls in the audition to get the role of tough and articulate Mattie Ross, seeking justice for her daddy’s death. Now one year later, she has landed at the Oscars. Amazing. Also, Jeff Bridges gets the nom again, after snatching the Best Actor Oscar from Colin Firth last year. It’s interesting to note that, while Colin Firth can act with half a voice, Jeff Bridges here shows us he can act with just one eye.

I’m excited to see Mike Leigh finally getting recognition for his poignant original screenplay for Another Year. Unfortunately, the film does not get any more Oscar nods. Veteran British actors Jim Broadbent, Ruth Sheen, and Lesley Manville give a performance of deep resonance. Lesley Manville is no less deserving than anyone on the list of Best Actress nominees. This is one of the most neglected movies of 2010. I saw it at the Calgary Film Festivals last year. I know some cities are just showing it now. Don’t miss it. CLICK HERE to read my review.

Toy Story 3. The animated feature that gets into the major league, following the only two other animations ever to be nominated in a Best Motion Picture category, Up (2009) and Beauty and the Beast (1991). The theme of growing up and parting with your beloved and familiar finds its way into a touching animation that may well appeal to parents more than kids. The idea of a child leaving home for college has been used in several movies in recent years, most notably, The Blind Side (2009) and The Kids Are All Right (2010). I’ve watched all of this year’s ten Best Picture nominees. But, don’t laugh, Toy Story 3 was the only time I’d shed a few tears.

For Best Documentary Feature, I’m glad to see our notorious graffiti artist Banksy’s film Exit Through the Gift Shop has not evaded the Academy. To read my review CLICK HERE.

The Academy Awards will take place on Sunday, Feb. 27. This time Anne Hathaway and James Franco (a Best Actor nominee himself for 127 Hours), the youngest of Oscar hosts, are set to offer a fresh new look. Hathaway had proven her versatility dancing and singing with Hugh Jackman two Oscars ago, and Franco has been hailed as the new Renaissance Man… Just hope they will live up to expectations.

The Hurt Locker (2008, DVD)

UPDATE March 7: The Hurt Locker has just won 6 Oscars including Best Picture and Best Director. CLICK HERE to read Oscar Results 2010.

UPDATE Feb. 21: The Hurt Locker just won Best Picture at the BAFTA Awards (British Academy of Film and Television Arts). Kathryn Bigelow became the first woman to win Best Director. “I would like to dedicate this to never abandoning the need to find a resolution for peace,” she said in her acceptance speech. Mark Boal won Best Original Screenplay. CLICK HERE TO READ MORE.

CLICK HERE TO VIEW THE ACCEPTANCE SPEECHES.

With The Hurt Locker, Kathryn Bigelow could well have shattered the stereotype of female filmmakers, if there even was an image established for them. But a good guess is that they have generally been misconstrued as merely producers of romances, tear jerkers, simply put, ‘chick flicks’. A look at Bigelow’s filmography shows a track record of action thrillers. But it’s with The Hurt Locker, a captivating work about a bomb disposal team in Iraq, that she has garnered floods of accolade.

Professor Martha Lauzen of San Diego State University studies women in the movie industry over the years. She found that women represented only 9 per cent of Hollywood directors in 2008 – the same figure she had recorded in 1998. In this male-dominated circle, Bigelow is only the fourth woman ever in the 82-year history of the Oscars to be nominated Best Director. The other three were Lina Wertmuller (Pasqualino Settebellezze, 1975), Jane Campion (The Piano, 1993) and Sofia Coppola (Lost In Translation, 2003). None of them won.

Recently, Bigelow made history by being the first woman to win the Director’s Guild Award with The Hurt Locker. According to past trend, winners of the DGA usually went on to win the Oscar, with a few exceptions. Bigelow could be making Oscar history as well comes March 7. But of course, she has tough competition from her ex James Cameron.

The Hurt Locker focuses on an Explosive Ordnance Disposal (EOD) team in Iraq in 2004. In this urban guerrilla war zone, the signature weapon is the Improvised Explosive Device (IED), or, roadside bomb. What stands out in this film is the intense psychological tension captured by the camera, the excellent editing, and the poignant performance of the three specialists in the EOD team. The nuanced playing out of their opposing psyche and the dynamics of their interactions are what fuel the riveting momentum.

Into this three-men EOD team the story zooms in on one character, Sgt. Will James (Jeremy Renner), bomb specialist, reckless maverick whose hubris and adrenalin cravings propel his dubiously heroic acts. The quote at the beginning gives a hint of what is to come: “… war is a drug.” Unlike other typical reactions to war, James embraces it. The whole movie is a character study exploring such a psychological make-up. And we are held on the edge of our seats as we follow the Dirty Harry of Baghdad clearing IED’s on the streets.

But the script excels in presenting a multi-layered character. As the story progresses, we see a softer side to the tough bomb expert, and yet, all revealing is movingly restrained. Renner’s performance is magically convincing. He has me on his side as soon as he appears on screen.

Using relatively unknown actors, the film poignantly portrays the vulnerability of Everyman in the war zone. But they can’t be unknown anymore after this. Jeremy Renner (Sgt. Will James), Anthony Mackie (Sgt. Sanborn), and Brian Geraghty (Spc. Owen Eldridge) have left their impressive marks here. Pitching in, albeit for only short moments, are some more well-known actors, Ralph Fiennes, Guy Pearce and David Morse.

Impressively shot like a documentary, its every scene intense, drawing the viewer in like a participant, an onlooker. Great camera works, excellent editing, breath-taking pacing, and thoroughly human.

Unlike other war movies, there are few bloody scenes, no gratuitous war mongering or protesting. Bigelow in the special feature mentions that the film takes an apolitical, non-partisan stance. Such a neutral, matter-of-fact depiction, focusing on the micro-level of three men handling the most dangerous job in the world, is no less powerful in conveying the danger, the sacrifice, and the courage needed to go through every single day in Iraq. The film stands out among other war movies in its sensitive and sometimes even eloquent treatment of the raw emotions and the dynamics of personalities caught in a hurt locker.

The term ‘hurt locker’ refers to a situation of extreme pain and hardship. The production itself could well illustrate the point. Filmed on location in Jordan, cast and crew had to endure long hours in searing heat of 115 degrees, had to make do with scarce resources, and improvise in tough circumstances. It had been suggested that “no woman over 40 could possibly have the stamina to direct a feature film.” Overcoming such a sexist view is the challenge every woman director has to face. Bigelow has proven herself to be admirably competent, crafting and delivering a superb production with an all male cast, (except a short appearance by Evangeline Lilly), in a land far from home.

The Hurt Locker ties with Avatar with 9 Oscar noms, including Best Picture and Best Director, but it gets nods in two categories that Avatar doesn’t, Best Actor and Best Writing, Screenplay written directly for the screen.

Jeremy Renner receives a Best Actor nod for his engrossing performance as Staff Sgt. William James. A fusion of James McAvoy and Russell Crowe, Renner has proven himself to be a worthy contender in the Oscar race.

Mark Boal gets an Oscar nom for his very first screenplay. This in itself is impressive, and a pointer to what makes a good piece of writing: write what you know. His personal 2004 experience in Baghdad as an embedded journalist with a bomb squad is what makes the story, characters, and every single detail so real and poignant.

The DVD has some fascinating Special Features capturing the Behind The Scene moments, a Gallery, and commentaries from Bigelow and Boal. Those who want to see the film before the Awards show will have to opt for the DVD. As a smaller, indie production, The Hurt Locker had only a short release in selective theatres. Hopefully after March 7, it might get a chance to be put on the big screen again. So, now you know who I root for comes Oscar night.

~ ~ ~ ½ Ripples

***

Click here for an insightful panel discussion on the movie, Spoiler Warning though, from Canada’s National Post.

***

Popularity versus Art

This year’s Oscars marks a new battleground for the dichotomy of art-house vs. blockbuster movies. By increasing the Best Picture category from 5 to 10 selections, it looks like the Academy is aiming at allowing the blockbusters a shot at the coveted statuette, and not the other way round.

[picapp align=”center” wrap=”false” link=”term=oscars+statuette&iid=6857799″ src=”0/7/6/2/Academy_Of_Motion_6f24.jpg?adImageId=10186953&imageId=6857799″ width=”234″ height=”156″ /]

Why do I say that? A look at the past winners in recent years would give a hint or two: Slumdog Millionaire (2008), a production of just $15 million and a cast of unknown, foreign actors; No Country for Old Men (2007), a $25 million production and not a big hit domestically in terms of box office sales.

Several of the Best Picture contenders in recent years are represented by low-budget indie films, such as Juno (2007) and Little Miss Sunshine (2006). Mind you, they might have reaped millions from their Oscar nods after the fact.

Not that blockbusters are necessarily artistically deficient, or that indie films must be artistically worthy, but it’s safe to say that blockbuster movies are crowd pleasers and more readily received. Art-house films are offered only in limited release, and appreciated by a much smaller audience. Their low budget usually means no A-list stars. It also restricts the profuse use of innovative technology as in big budget productions such as Avatar (2009). So their general appeal is the essence of the screenplay, the acting, the storytelling within very limited means.

[picapp align=”center” wrap=”false” link=”term=oscars+academy+awards&iid=7789226″ src=”7/2/4/e/Kathryn_Bigelow_nominated_99e7.JPG?adImageId=10186835&imageId=7789226″ width=”234″ height=”156″ /]

The two front-runners of this year’s nominations best illustrate this point. The battle of the ex-es aside, Avatar and The Hurt Locker are neck and neck with 9 nods, competing in many of the same categories. But The Hurt Locker appears in two that are crucial in defining its artistic value as a motion picture: Best Actor (Jeremy Renner) and Best Writing, Screenplay Written Directly for the Screen (Mark Boal), while Avatar falls short in these categories.

From the popularity angle, some refer their contention as David and Goliath. The Hurt Locker, with a production cost of just $11 million and box office sales of $12.6 million, is miniscule when compared to that of Avatar’s $635 million, so far, and a reported budget of $237 million, one of the most expensive movies ever made.

Another way of seeing the two is the number of theatres screening the movies. Avatar has over 3,000 theatres domestically, while The Hurt Locker, well, you’re lucky to catch it before it disappears from its limited release. The DVD is out, so that really helps if you want to see it before the Awards night.

The other contenders pose a similar scenario. Other than Avatar, four Best Pictures nominees have passed, way passed, the $100 million box office sales:The Blind Side ($242 million), Up ($293 million), Inglorious Basterds ($120 million), and District 9 ($115 million). Slightly trailing behind are Up In The Air ($77 million) and Precious: Based On The Novel Push By Sapphire ($46 million).

So what stand out are two little films, meager in comparison in terms of box office sales: An Education ($9.6 million) and A Serious Man ($9.2 million).Their high acclaim from critics do not materialize in popular reception from movie goers, which is not surprising, for generally, these two groups don’t always see eye-to-eye.

Box office sales are the mark of popularity. They measure how many have flocked to the theatres and are willing to pay to see a movie. Low ticket sales of course is related to how widely released the movie is, but it also gauges popular taste. There’s the rub, would the Academy members vote for a movie that has been seen by just a fraction of the viewing public? Would they judge a movie only on its artistic and technical merits rather than the sales it generates?

[picapp align=”center” wrap=”false” link=”term=oscars+academy+awards&iid=7783787″ src=”6/8/5/9/The_Blind_Side_eb8a.JPG?adImageId=10187133&imageId=7783787″ width=”234″ height=”156″ /]

Michael Phillips of Chicago Tribune calls the inclusion of The Blind Side in this year’s Best Picture pool “a triumph of the till”. Many critics are surprised to see it on the list. And I suppose for Hollywood insiders and members of the Academy, they know very well what the bottom line is. I’ve heard the argument before: If you want to see indie films and artsy productions, go to Sundance and Cannes. I can hear them grumble … be realistic, the Oscars is a celebration of the movie business in all its glory and glamour.

I’ve appreciated what one entertainment writer has noted:

… popularity is the spiritual currency of Hollywood’s art. That’s why we call it ‘pop culture.’

It seems that nowadays, spurred on by reality talent shows which generate winners through popular votes, the contention of popularity versus skills or artistic merits is tipped way out of balance. The critics are now made up of the populace; the panel of judges can only voice their opinion, however biting, but they do not get to vote.

And for the lesser known gems like An Education and A Serious Man, I’m glad they are included in the Best Picture pool, thanks to those who have nominated them despite their meager showing at the box office. After all, besides the money-generating function, film is in essence an art form. Art for art’s sake or for profit remains the on-going debate. Of course, the two need not be mutually exclusive… reality is, the financial component often is the main sustenance of a production. It’ll be interesting to see though how the battle of David and Goliath turns out at the Oscars this year. The implications could be more far-reaching than just churning out another winner.

Oscar Nominations 2010

February 2, 2010 was a big day for announcements. We’d all been waiting for this special occasion… yes, groundhog day. For us who live in the Calgary area, we welcomed the news as we began the day: our very own groundhog Balzac Billy did not see his own shadow. A reward for us resilient folks: an early spring.

But even hours before Balzac Billy popped his head out of his burrow, another excitement stirred at 5:38 am PST. At the Samuel Goldwyn Theater in Beverly Hills, CA, Academy President Tom Sherak and actress Anne Hathaway got up on the stage and announced this year’s Oscar Nominations to a house full of early risers. What a way to start the day. Click here to watch the announcement video.

[picapp align=”none” wrap=”false” link=”term=oscar+nominations&iid=7783783″ src=”4/b/0/8/Anne_Hathaway_and_a398.JPG?adImageId=9870627&imageId=7783783″ width=”275″ height=”300″ /]

The major change this year of course is the expansion of the Best Picture category from 5 to 10 selections. I’ve pondered the pros and cons about this move. While more films can be included so not to snub deserving ones, it also begs the question of what’s so deserving if the number of contenders are increased.

For the full list of nominations, CLICK HERE. I won’t repeat them here but I’ll just highlight some items that pique my interest.

The Golden Globes and the SAG Awards remain the best predictors of the Oscars. So, there are no surprises, just delights, for the three films I’ve reviewed here on Ripple Effects have all been nominated for Best Picture.

[picapp align=”none” wrap=”false” link=”term=oscar+nominations&iid=7783801″ src=”8/7/b/4/Up_in_the_bd47.JPG?adImageId=9870657&imageId=7783801″ width=”395″ height=”275″ /]

Up In The Air receives 6 noms. Other than Best Picture, Jason Reitman gets a nod for Best Director and Best Adapted Screenplay. Clooney, Kendrick, and Farmiga all nominated in their respective acting category.

[picapp align=”none” wrap=”false” link=”term=oscar+nominations&iid=7784549″ src=”9/b/d/e/Carey_Mulligan_nominated_8cec.JPG?adImageId=9870639&imageId=7784549″ width=”395″ height=”270″ /]

An Education gets a Best Picture nod with Nick Hornby nominated for Best Adapted Screenplay, while Carey Mulligan, who plays 16 year-old Jenny, gets to compete with Meryl Streep, 16-time Oscar nominee, this time as Julia Child in Julie and Julia.

[picapp align=”none” wrap=”false” link=”term=oscar+nominations&iid=7784555″ src=”5/a/2/b/Meryl_Streep_nominated_5614.JPG?adImageId=9870681&imageId=7784555″ width=”395″ height=”275″ /]

I’m glad too that the Coen brothers’ A Serious Man gets a nod for a chance at the Best Picture Oscar Award as well as a nom for Best Original Screenplay.

Are these deserving smaller films getting the nods reaping the benefits of the expanded Best Picture category? Or, is it just the other way round, that popular, big box office hits get a chance to be included because of their mass appeal? It’s that same old art vs. popularity debate again… well, some other time.

Avatar and The Hurt Locker each receives 9 nominations. Both are contenders in the coveted Best Picture and Best Director categories. Yes, James Cameron will be competing with his ex-wife Kathryn Bigelow for these two coveted prizes. In all of the Academy Awards’ 82 years history, there have only been three female directors nominated, and none has won. Kathryn Bigelow is the fourth. Will she make Oscar history this year by being the first woman Director taking home the statuette? After all, it’s a decade past the twenty-first century now.

[picapp align=”none” wrap=”false” link=”term=avatar&iid=7789230″ src=”9/2/0/c/James_Cameron_nominated_7354.JPG?adImageId=9871271&imageId=7789230″ width=”160″ height=”235″ /]

[picapp align=”none” wrap=”false” link=”term=hurt+locker&iid=7764534″ src=”f/7/c/d/Kathryn_Bigelow_wins_6674.JPG?adImageId=9871306&imageId=7764534″ width=”210″ height=”235″ /]

Inglorious Basterds is another major contender with 8 nods. Quentin Tarantino’s altered-history fantasy is ingloriously riveting. Christoph Waltz, who brilliantly plays the cold, callous, and calculating Nazi Colonel Hans Landa, is likely to continue his winning streak following the GG and SAG.

Christopher Plummer gets a nom for his role as Tolstoy in the film The Last Station, a biopic about the last years of the great Russian author. So, why is he nominated in the Best Supporting Actor category? Who is he supporting? Mrs. Tolstoy? … whose star Helen Mirren gets to be nominated for Best Actress, not supporting.

[picapp align=”none” wrap=”false” link=”term=oscar+nominations&iid=7788913″ src=”3/4/1/b/Christopher_Plummer_nominated_c758.JPG?adImageId=9871178&imageId=7788913″ width=”152″ height=”190″ /]

[picapp align=”none” wrap=”false” link=”term=helen+mirren+oscar&iid=7784548″ src=”3/b/8/5/Helen_Mirren_nominated_6e30.JPG?adImageId=9871651&imageId=7784548″ width=”215″ height=”160″ /]

It’s interesting to see the animated feature Up get to compete with the other nine feature films, aiming for the highest prize in the Best Picture category. I believe only Beauty And The Beast had that honor in the past. Animated features have taken on a brand new versatility in recent years, with all sorts of technical innovations creating fresh new visual effects. But it’s always the story that is the winning factor. Up deserves the nom.

[picapp align=”none” wrap=”false” link=”term=oscar+nominations&iid=7783800″ src=”4/d/4/2/Up_nominated_for_5299.JPG?adImageId=9870774&imageId=7783800″ width=”385″ height=”275″ /]

So hopefully March 7 will not only bring star-studded excitement but the warm and gentle breeze of spring for me as well.

**All photos from the copyright-free picapp.com**

81st Academy Awards Nominations (2009)

oscars

CLICK HERE to read The 2009 Oscar Results.

So, the news is out. For a complete list of the 2009 Oscar nominees, click here to go to the official Oscars website. For those who didn’t bother getting up at 5:30 am PT to watch the announcement live, here’s the video clip.

The clear front runner is The Curious Case of Benjamin Button, grabbing 13 nominations, just one short of the record shared by All About Eve (1950) and Titanic (1997).

Slumdog Millionaire is not far behind, a fantastic rags to riches exemplar in itself, garnering 10 nominations.

When I look at the Best Picture categories, I notice that four of the five nominees are produced from an adapted screenplay. Here are the origin of these now famous movies, the source materials that first spark and channel the creative energy of screenwriters, causing them to propel a much lesser known work into the orbit of box office profits:

The Curious Case of Benjamin Button: Loosely based on a short story of the same name by F. Scott Fitzgerald. The imdb site does not even mention this source material. But for those of you who want to acknowledge the original writer’s work, click here to read the short story online.
Frost/Nixon: Based on a play by Peter Morgan. To read the NY Times review of this theatre production, click here.
The Reader: Based on the novel by the German writer Bernhard Schlink. To read the discussion of book into film at guardian.co.uk, click here.
Slumdog Millionaire: Based on the novel Q & A by the Indian novelist Vikas Swarup. To read his interview on guardian.co.uk, click here.

So I say, kudos to all the original writers out there, without getting as much notice, not in this part of the world anyway, until their work is chosen to be made over into a movie, or picked by Oprah (The Reader). It says a lot about our consumer and celebrity driven culture, that a piece of writing gains recognition only when it is released in a movie tie-in edition, or favored by a TV icon.

Well, the message of Wall-E is relevant here. I’m glad to see it getting 6 Oscar nods including Best Original Screenplay. The last time an animated feature received 6 nominations was Beauty and the Beast (1991), itself a case in point with the hype of commercialism boosting the literary form.

And then on another note, I read about the first edition of Emma that Jane Austen signed and gave to her friend Anne Sharp (thought to be the inspiration for the character of Mrs. Weston in Emma) was on sale at the Antiquarian Book Fair in Hong Kong last week, asking price HK$3.95 million (approx. US $500,000). I wonder also how much all those movies profited from adapting her novels. I lament Jane who died impoverished.

Photo Source: guardian.co.uk

*****

The 80th Academy Awards

Just a few days to the Oscars and I still haven’t written my take on the grand event of the year. Let me catch up.

I’ve been asked about my view on the nominees. Having seen all of the movies in the Best Picture category, I’ve to admit my opinion may very well differ from other critics’. Case in point is No Country For Old Men, one of the two favorites to grab the Best Picture Oscar. I may well be ostracized for saying this, but I feel that the movie is way overrated. In this already dysfunctional and desensitized world of ours, why would we still need a 2-hour movie showing the dark and evil side of human by graphically depicting the deepest hell evil can raise through a psychotic killer let loose, introducing new ways of killing and getting away with it, on and on with no end in sight? I admit I haven’t read Cormac McCarthy’s book, maybe he’s more well-meaning than the film adaptation, having chosen William Butler Yeat’s line for his title.

Call me ‘traditional’ or ‘moralistic’, when I go to see a movie, I still look for something ‘wholesome’. Yes, I’ve long passed that stage when, as a child watching a movie, I would constantly be asking whether a character is ‘good’ or ‘bad’. But now as a meaning-seeking adult, I still yearn for the ‘point’ of the film. Despite the chaotic world we’re so used to nowadays, I believe there still remains in us a vacuum that can be filled only by ideals transcendent and relationships meaningful. And film, being a visual form of communication, can be a powerful medium to express this kind of human quest. And that is one of my main criteria of a worthwhile piece of entertainment.

Ok, so here’s Arti’s take on the major categories. Who will win and who I’d like to see winning can be very different.

Best Picture: Even though No Country for Old Men and There Will Be Blood are the critics’ favorites, I prefer Atonement.

Best Actor: While I haven’t seen Johnny Depp’s performance in Sweeney Todd, I think Daniel Day-Lewis has done an impressive job in There Will Be Blood and may well get to take home the golden statuette.

Best Actress: I’d love to see Julie Christie win another Oscars. The last time was more than 40 years ago, which I didn’t get to see. I think she well deserves another one with her performance in Away From Her.

Best Director: Although the favorite is the Coen Brothers for NCFOM, I’d like to see Julian Schnabel receiving it for The Diving Bell and the Butterfly.

Best Adapted Screenplay: I have 3 favorites here, Atonement, The Diving Bell and the Butterfly, and Away From Her. If I must choose one, I’d just wish to see lovely Sarah Polley winning it for Away From Her.

As much as I’ve enjoyed the movie Atonement, I don’t think it’ll grab the hearts of the voting members of the Academy. I can see it winning a couple in the minor categories like Best Costume, Best Art Direction, Best Music (Score), and hopefully Best Cinematography.

And, with all the rave Canada is making about Juno, and I’m glad to see it receive 4 major nominations, Best Picture, Best Actress, Best Director, and Best Original Screenplay, I’ve a feeling that the ‘Little Miss Sunshine episode’ may not be repeated this year. And, if I’m right, let’s just say getting these 4 Oscar nods is already phenomenal for so young an ensemble.

Click on ‘Movies Reviewed’ above to read my reviews on some of this year’s Oscar Nominees.

And…let’s occupy ourselves with meaningful endeavors to pass these three long days of anticipation…

Away From Her Movie Review

Update March 4: Away From Her won 7 Genie Awards last night in Toronto, Canada. Among them are Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actress, and Best Adapted Screenplay.

In light of all the awards Julie Christie is garnering in this Awards Season, first winning the Best Actress Golden Globe, then getting an Oscar nod, and just now winning the Screen Actors Guild’s Best Actress Award all for her role in Away From Her, plus director Sarah Polley’s Oscar nomination for Best Adapted Screenplay, I’m re-posting here my review of the movie I wrote 8 months ago in May, 2007. For those who missed the movie released in theatres last year, it’s timely to read the review and watch the DVD of this beautiful Canadian film, in preparation for the Oscars coming up February 24, 2008.

Away From Her

Away From Her (2006)–How can you turn a good short story onto the screen without compromising its quality? … By turning it into a screenplay written by an equally sensitive and passionate writer, and then, through her own talented, interpretive eye, re-creates it into a visual narrative. Along the way, throw in a few veteran actors who are so passionate about what the script is trying to convey that they themselves embody the message. Such ‘coincidents’ are all happening in the movie Away From Her.

Sarah Polley has made her directorial debut with a most impressive and memorable feat that I’m sure things will go even better down her career path. What she has composed on screen speaks much more poignantly than words on a page, calling forth sentiments that we didn’t even know we had. As Alzheimer’s begins to take control over Fiona, what can a loving husband do? Julie Christie and Gordon Pinsent stir up thoughts in us that we’d rather bury: how much are we willing to give up for love, or, how would we face the imminence of our loved ones’ and our own mental and physical demise.

Based on the story by Alice Munro, ‘The Bear Came Over the Mountain’, Polley brings out the theme of unconditional love not with your typical Hollywood’s hot, young, and sexy on screen, but aging actors in their 60’s and 70’s. It may not be as pleasurable to watch wrinkled faces hugging and kissing, or a man and a woman in bed, bearing age spots and all, but such scenes effectively beg the question: why feel uncomfortable?

Why does love has to be synonymous with youth, beauty, and romance? It is even more agonizing to watch how far Grant is willing to go solely for love of Fiona. Lucky for us, both writers spare us the truly painful at the end. It is through persistent, selfless giving that one ultimately receives; and however meager and fleeting that reward may seem, it is permanence in the eyes of love. And it is through the lucid vision of a youthful 27-year-old writer/director that such ageless love is vividly portrayed….Oh, the paradoxes in life.

~ ~ ~ Ripples

***

The Diving Bell And The Butterfly (2007)

DivingBellAndTheButterfly

Update Feb. 23: Julian Schnabel just won the Best Director Trophy and Janusz Kaminski the Best Cinematographer at the Independent Spirit Awards in Santa Monica today.

Update Feb. 11: Ronald Harwood just won the Best Adapted Screenplay at the BAFTA (British Academy for Film and Television Arts) Awards in London last night.

Director Julian Schnabel is an established New York artist/painter. Adhering to the ‘neo-expressionist’ style, his work has been exhibited at galleries around the world. In The Diving Bell And The Butterfly, Schnabel has turned into a master of realism as he vividly captures the traumatic experience of Jean-Dominique Bauby, not with a paintbrush, but with the potent use of the camera.

Jean-Do Bauby was the Editor-In-Chief of Elle magazine in France. At the age of 43 he suffered a stroke. His whole body was paralyzed except his left eye. He became a sufferer of a rare condition of “locked-in syndrome”: while he was able to comprehend what others were saying to him, he could not communicate with them. As if trapped inside a diving bell deep in the ocean tethered to life by a single chord, he was encased in his own body, completely isolated from the outside world.

With the help of his speech therapist Henriette in the hospital, Bauby learned to use what was left in his ability: the blinking of his left eye. With this minimal movement, he opened up a portal of his inner world. By painstakingly blinking to select the letters of the alphabet, Bauby was able to dictate to his therapist his memoir, completed a few days before his death. This film is the visualization of the book. To read my review and excerpts of the book, click here.

Imagine watching a movie with blurry camera work, frames cutting off the full head of people, and sometimes camera angle so close-up to a face you feel suffocated, …blurry shots, indefinitive dialogues…This is the realism of Julian Schnabel, the film director. He wants the viewer to look out from the left eye of Jean-Do Bauby.

Fortunately viewers are spared lengthy display of such realism, because in the memory of Bauby’s past experiences and in his imagination, we are able to see sharply focused and beautiful scenes… reality may be blurry and shaky, memories and dreams are clear as crystal.

From the artist eye of Julian Schnabel, to the blinking eye movement of Jean-Do Bauby, the film captures the poignant struggle of a human striving to live every single minute of everyday. It depicts the power of the mind and spirit, the humor that sustains, the painful yearning for love and intimacy, the daily human condition magnified a thousand times due to debilitation, the whole physical being tethered on the blinking of an eye and the inner searching of a soul alive.

Mathieu Amalric has a demanding role to play as the paralyzed Bauby, for his whole acting is confined to his one left eye. I must say he has done a remarkably engrossing and convincing feat.

Marie-Josée Croze (Best Actress at Cannes for The Barbarian Invasions, 2003), by taking up the role as therapist Henriette Durand, has the equally demanding task of looking into the camera and reciting the French alphabets numerous times, and each time, with passion, pathos, and persistence, each time transmitting a new beginning, a new hope.

Max von Sydow (with film credits too numerous to mention), the veteran actor playing the role of Bauby’s 92 year-old father, equally shut-in, yet ever alive in spirit, the only character seeping sentiments, however restrained. It is exactly because of such restraints that pathos gets through.

And Emmanuelle Seigner, the ex-wife of Bauby, the mother of his three children, the keeper of memory, creator of new experiences, and the butterfly for the soul trapped in the diving bell. A marvellous character.

Very poignant acting, a very dynamic and powerful movie, and, despite its subject matter, an uplifting film for every living, breathing, and feeling soul.

The Diving Bell and the Butterfly is nominated for 4 Oscars: Best Cinematography, Best Directing, Best Editing, and Best Adapted Screenplay. For the full list of Oscar Nominees, click here.

~ ~ ~ ½ Ripples

Canadian Content at the Oscars

Ellen Page

Sarah Polley

Update Feb. 25: Diablo Cody won the Best Original Screenplay at the Oscars last night. To read my Oscar Results post, click here.

Update Feb. 23: Juno just won the Best Feature trophy at the Independent Spirit Awards in Santa Monica today. Ellen Page won the Best Actress Award and Diablo Cody won the Best First Screenplay Award. To read my Independent Spirit Awards post, click here.

I’m glad to see some significant Canadian representation in this year’s Oscars Nominations:

Toronto’s Sarah Polley, the now 29 year-old director of Away From Her, getting the nod for Best Adapted Screenplay.
Ellen Page, the 20 year-old Juno star from Halifax, Nova Scotia, for Best Actress.
Jason Reitman, Montreal-born director of Juno for Best Director.
The film Juno, directed by a Canadian, starring two young Canadians Ellen Page and Michael Cera, and filmed in B.C. getting a Best Motion Picture nomination. (Even though it isn’t classified as a Canadian film due to its American producer Fox Searchlight)
Of course, others like directors David Cronenberg (Eastern Promises) and Paul Haggis (In The Valley of Elah) both have Canadian roots.

To read my review of Juno and Away From Her, just click on the movie title. (Update: To read my review on Ellen Page’s new movie Smart People ( 2008 ), click on the title.)

Also, while some call 2007 “Oscar’s Year of the Man”, it is all the more exhilarating to see the two young Canadian females Ellen Page and Sarah Polley acknowledged in a very male-dominated industry in the U.S.

Who cares what country they’re from, you may ask. Well, I do, because I once had to correct someone who strongly believed that Michael Ondaatje, the writer of The English Patient (1996), was an American author. And for that matter, just for clarification, Sarah Polley’s screenplay of Away from Her is adapted from Canadian writer Alice Munro’s short story “The Bear Came Over The Mountain”. And, watch for another Canadian literary icon Margaret Laurence’s novel now being turned into film, The Stone Angel (2007), also with Ellen Page.

Just a little clarification, Canada is more than just Margaret Atwood.