Distant Relatives: Repulsion and Black Swan

Robert here, with my series Distant Relatives, where we look at two films, (one classic, one modern) related through a common theme and ask what their similarities and differences can tell us about the evolution of cinema.  Since one of these films is still in theaters, I thought I'd mention that while certain plot elements are revealed I've done my best not to spoil any of the film's dramatic resolution.

Women well into their nervous breakdowns

We love to watch people go mad in the movies.  We watch people go mad because of fame and money.  We watch people go mad because of war or tragedy.  And we watch people go mad because of the relentless pursuit of perfection.  We're especially fascinated by beautiful people going mad.  "I hate to do this to a beautiful woman," said one of the cameramen of Catherine Deneuve on the set of Repulsion.  As if tormenting a plain looking person would be somewhat less repulsive.  We envy and idealize the beautiful.  What reason should they have to go mad, when life has dealt them such a winning hand?

But Natalie Portman's Nina and Catherine Deneuve's Carol do spiral down into madness.  Both are haunted by visions of walking nightmares.  Both see their reflections become broken and distorted.  And both are eventually brought to violence.  Each film contains moments of such fierce discomfort, we begin to expect (or fear) that the director is capable of showing us anything.  Now that is horror.  A scene of cuticle cutting in Repulsion suggests that Darren Aronofsky was probably influenced by that film's understanding of our empathy toward hangnail trauma.  But it's not fear of physical pain that's the catalyst for these beauties' insanty.

Would you fuck that girl?

They're all the same these bloody virgins, they're all teasers that's all.

Sex is dirty.  Sex is bad.  Both of these women have stilted sexuality in a world that demands they be sex objects.  Each film does a superb job of getting us into their heads, making us understand how they see sex.  As Carol lies in bed at night, hearing the animalistic moans and grunts being made by her sister and her sister's beau in the next room, we agree that they don't sound sexy at all.  They don't sound like something Carol would want to partake in.  They don't sound like something we would want to do.  For Nina, a subway encounter with a perverted old man tells us all we need to know about how sex appears before her: dirty, aggressive, a violation.  There's nothing present that suggests the comfort of love or even the enjoyment of pleasure.

For both of these women, being virginal is part of attaining or maintaining perfection.  Carol's pursuit of this ideal is subconscious.  She doesn't hope to achieve anything by accomplishing it, but being spoiled by a man would be akin to falling from grace.  For Nina, avoiding sex is part of her active pursuit of artistic perfection.  Her mother has pushed her in the direction of the pure innocent ballerina.  When company director Thomas Leroy insists that sexuality is her only path to perfection, it both contradicts and reinforces her attitudes toward sexuality and innocence.  After all, he demands she become sexual to embody the black swan, the dark character.  So sex may now be the goal, but it's still something sinister.

No way out

The activeness of Nina versus the passiveness of Carol is one of the major differences between these two films.  Yet in both cases it seemingly makes their downfall more inevitable.  Carol has no direction in life, no goals, no hobbies even.  Her descent into madness seems a natural progression of that emptiness.  For Nina, her pursuit of artistic triumph is so great, it can only lead where it eventually does - downward.  What both of these women do share is obsession, and that, however manifest, is the key to their fates.  The two women justify their darkness differently as well.  Black Swan plays with the doppleganger (echoing Swan Lake).  Nina, perhaps unable to accept any darkness within herself, creates mirror images of herself, onto whom she can project her inner evil.  Carol recedes within herself, becoming further and further the eternal victim.  She rationalizes her actions as necessary self-defense.  She has to.  By the end of her film, even the walls are attacking her.

In the over forty-five years between these two films, we notice that audiences have changed little.  Stories of beauty and obsession are still captivating.  Both films present us with a heroine who the picture empathizes with and sexualizes, almost becoming another one of the many gazing and lecherous men that surround them.  Like Nina, Black Swan the film is more active in its pursuit of our emotional distress.  The film is bombastic, swirling around, throwing a large amount of stimuli at is from all sides.  Repulsion is more passive like Carol, building slowly to a point where fantastic images truly shock.  Both methods work for their respective films, though the more modern one is maybe indicative of a time when the weight of film history and media saturation requires images be louder.  But however the times have changed, we still respond to beauty in peril.  We still are shocked at beauty embodying evil.  And like that camerman we feel terrible about it, but keep it in our gaze.

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For Natalie & Benjamin: A Swan-Themed Wedding.

By now you've probably heard the exciting news that Natalie Portman and Benjamin Millipeid, the Black Swan pair who've been our "crush of the moment" for too many moments now (see sidebar), are pregnant and engaged.

a photoshopped imagining of their wedding cake
top from The Film Experience.

There's no exact word on when either of the blessed events (baby & wedding) are to occur though hundreds of thousands of years of human history tell us that the genetically lucky baby, certain to possess both dark haired beauty and physical grace, is coming in 2011.

We immediately tweeted advocating for a swan-themed wedding. Which is an obvious joke but come on. Swan has to be a common theme for weddings anyway and the possibilities are endless. Here are some other great suggestions from friends @jigsawlounge, @joereid and @moviedork18 on twitter.

I told Joe Reid that Timothy Hutton (Beautiful Girls) has to share that duty with Jean Reno (The Professional) if we're going there. But we shouldn't go there. That said, it does cause the mind to wander into Natalie's large filmography for wedding ideas. I still haven't figured out a way to work Clive Owen (Closer) in. Moviedork's comment made me giggle because it reminded me that Black Swan isn't the first time Natalie has had doubles. Remember those Queen Amidala decoys in the Star Wars prequels?!

He's sleeping with Natalie Portman and you're not.
The future Mr. Natalie Portman, choreographer/dancer/actor Benjamin Millipeid.

 But we digress...

Congratulations to the happy couple.

What would you suggest for Natalie's wedding? How would you work her filmography into the nuptials?
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Anticipation... The Year in Film Promotion

Year in Review

NATHANIEL: Hey kids. So some time ago I was introduced to Mark Blankenship who writes The Critical Condition. I've been reading that blog ever since. Mark writes about everything pop culture -- I love his music posts especially -- and he's now officially a "talking head" having done a couple of Joy Behar Show gigs. We decided to have a little year in review convo. Part one is here at The Film Experience and tomorrow Critical Condition will run Part two. Got it?

MARK: Hi Nathaniel!

NATHANIEL: Hey you.

MARK: With Hurricane Award Season upon us and year-end lists popping up everywhere, I thought it would be fun to look back at the year in movie promotion. In 2010, which trailers, posters, and campaigns were the best? Which ones were the worst?

In the category of Worst Promotion of a Good Movie, I'll nominate Despicable Me. I mean... seriously. I've seen a billion previews for that film, and I still don't know what it's about. Yellow tic-tacs in overalls? Steve Carell learning a life lesson from the Orphaned Triplets of Belleville? Who can say? Apparently, though, Despicable Me is really good. It certainly connected with ticket buyers, and New York's David Edelstein put it in his year-end top ten. Yet because of my weeks-long irritation with the previews, I'm still dubious.

On the other hand, the promotion for Sofia Coppola's Somewhere gets my vote for Worst Promotion of a Good Movie. Because, really... Somewhere is a dense, rewarding experience that's being marketed as a pretentious suck-a-thon about a rich dude's problems. Coppola's previous film, Marie Antoinette, was so boring it actually made me angry, yet it got a sexy, energetic campaign. Why couldn't someone do the same for a movie that actually has some sexiness and energy?

Alright... that's my opening salvo. Which campaigns are you thinking about?

Minions! (a.k.a. "Millions" ...in merchandising)

NATHANIEL: How can I even get to the campaigns that I might be thinking about when you have already given me so much to lob back at you?

I can one up you on Despicable Me; I've SEEN the movie and I still couldn't tell you what it was about. It's fun to watch and it's funny but it evaporates in your head within a week's time. The only thing I do remember now is the ad campaign. I think we have to consider this a strange case where a bewildering ad campaign actually does truth tell. As I recall, the movie is disjointed and slapsticky and it does feature plenty of scenes involving yellow tic-tacs. I suppose the main narrative thrust is Steve Carell learning life lessons. Which lessons those were I can't recall but I remember there was much cuteness. And not just by way of yellow breath fresheners.

As for the Coppola Now: Redux... I shall refrain from answering until you tell me what your position is on Harry Potter and the Deathly Hallows Pt 1. (speaking of suck-a-thons about rich dude's problems)

MARK: It's interesting you should ask about HP7: The Hallownator. I promised my family that I'd wait to see it until I went home for the holidays, so for the time being, my opinion is entirely based on the promotional campaign. And as someone who hasn't really liked any of these movies---I've found them all to be ploddingly literal adaptations of exquisitely imaginative books---I've found a couple of reasons to hope. For one, I was heartened by the story that the movie wouldn't be released in 3-D. To me, it suggested that quality was being chosen over extra revenue. Also, the trailer (and especially the music in the trailer) has a grandness that matches the weight of the story.

That said, the posters I've seen plastered all over New York are just... zzzz. The dimly list cast photos may tell me the movie is coming out, but they don't tell me anything about it. Really, though, I don't guess that matters, because it's not like this movie needs that much help to get butts in the seats.

NATHANIEL:  EVERYONE's opinion of Harry Potter is entirely based on the promotional campaign, not just yours! You've stated the truth of it. In fact, you have already seen the movie if you've read the books or seen the commercials or plan to see the final movie next year. Nothing happens. Or, rather, if something happens it's the same thing that's already happened. It used to be the same film every year with minor changes in window dressing. Now, they're not even bothering to make a film anymore. Warner Bros has made the world's first 145 minute bookmark/commercial and they're making hundreds of millions for their evil con job. They've robbed the public blind and the public loves it.

Marketing is the new Stockholm Syndrome.

I love Sofia Coppola's movies (even and especially Marie Antoinette -- so there!) but they're their own repetitive franchise. Sofia is a better wizard because mise en scene trumps CGI every time.

Sofia Coppola and the Virgin's Suicide
Sofia Coppola and the Suntory Times Adventure
Sofia Coppola and the Cake-Eating Queen
Sofia Coppola and the Deadly Chateau Doldrums Pt. 1

poor little world famous rich boys

Somewhere and Hallows Pt 1 are essentially the same story: Famous Mopey Rich Boy (wizard Harry Potter / movie star Stephen Dorff) has a big problem (Voldemort/Ennui). Watch him wander aimlessly through foreign places not knowing exactly what he's looking for (Godrick's Hollow /Italy) whenever he's not resting aimlessly in his comfortable quarters (Magic Tent / Celebrity Hotel) with his loved one (Hermione / Elle Fanning). All the while he's worrying about that overarching problem that he really doesn't know how to solve. In the end he sort of decides to move forward towards his goal. Maybe. It's vague.

My longwinded point -- I promise to be much briefer moving forward-- is that I'm going to mentally slap the next Harry Potter fan who calls any "arthouse" movie boring because "nothing happens."

MARK: I think you've cracked the Da Vinci Code with your Harry Potter/Somewhere comparison. Some addendums: Famous Mopey Rich Boy relies on souped-up transportation (Firebolt Broomstick/sports car) and has a dopey friend whose relationship with a young woman provides a convenient dramaturgical contrast to his relationship with her (Ron/Chris Pontius.) Also, a set of twins tries to amuse Rich Boy with tricks that only end up distracting him from his quest (those Weasley boys with the magic shop/those strippers with the portable pole.)

Strippers with port-a-poles. Best scene in Somewhere!

Meanwhile, I can tell you that I'm seethingly jealous about your recent interaction with Barbara Hershey. (But also happy for you!) What did you think about the lead up to Black Swan: Revenge of the Back Feather?

NATHANIEL: Ah, Black Swan. The topic of the month. This is a rare case where I'd believe that the marketing campaign was directed by the filmmaker (I'm sure it wasn't) because the commercials are of the same exact tenor of the product: outre, mysterious, sick, sexy, highbrow clothing but lowbrow soul (note how thrilled the trailer is by its big campy gotcha moment (that feather yanked from Natalie's back!). The commercials are so cinematic you can taste popcorn. In short: ticket sold!

Even the posters are using truth in advertising. The first one, with Natalie's Black Swan ballet makeup is full frontal confrontrational as introduction. That art deco/Erte-ish series that followed are true enough about the movie's love of artifice and theatrical design. The ugly one with Natalie's badly photoshopped red arm reveals real commercial instincts - it's not exactly a subtle movie. Finally, the latest one with Natalie's cracked face, is yet again underlining that this girl is beautiful but cracked.

...She bonkers!

Black Swan's Truth in Advertising.

Part 2 of this convo ~
Now Playing at The Critical Condition

...for more on favorite promotions and movie posters. Read it.

More Critics: Oklahoma, Austin, Women Film Critics...

If you'd like to discuss the latest round of critics awards, have at it.

Three more groups have announced and so the usual suspects play the game of musical chairs. The most interesting note right off the bat is that the Women Film Critics Circle have bestowed an award on Black Swan that isn't a flattering one. They've given it "Worst Female Images in a Movie".

I understand the impulse behind this sort of "tsk-tsk"ing  having been burned over the years with the often problematic depiction of gay characters but I think it's wrong-headed to a degree.




Black Swan is about a very specific drumtight world and a very specific tightly strung character completely encased in that world. In other words, this is not a portrait of Woman in the broader sense. What's more one can even argue that just about every person in the film is presented in an unreliable way, the whole picture being influenced by Nina's own psyche.  Furthermore, the film screws around with genres (horror and psychological thrillers) which could easily be undone by positive portrayals. Nina is no positive role model (for ballerinas, for artists, for bisexual or gay women, for anyone); she has a lot of issues. But this "award" seems to miss the point of what the movie is.

Identity politics isn't always the best way to judge art. I've made the same mistake myself but if you're too focused on it the dark side is that you're in danger of promoting vanilla-flavored art or pedantic work that's better suited to generic uplift or sermonizing than deeper artistic merit.  Even so I'm always interested in what they have to say and some different films get prizes here. Yes!

Mother Bening (and random Child)

Women Film Critics Circle
Best Movie About Women Mother & Child
Best Movie By A Woman Debra Granik's Winter's Bone
Best Woman Storyteller [Screenplay] Lisa Cholodenko, The Kids Are All Right
Best Actor  Colin Firth, The King's Speech
Best Actress Annette Bening in The Kids Are All Right
Best Young Actress Jennifer Lawrence in Winter's Bone
Best Comedic Actress  Annette Bening in The Kids Are All Right
Best Foreign Film by or About Women (tie) Mother (South Korea) and Women Without Men (Iran)
Best Female Images in a Movie  Conviction
Worst Female Images in a Movie Black Swan
Best Male Images in a Movie  (tie) Another Year and The King's Speech
Worst Male Images in a Movie Jackass 3D
Best Theatrically Undistributed Movie Temple Grandin
Best Equality of the Sexes  (tie) Another Year and Fair Game
Best Animated Females Despicable Me
Best Family Film Toy Story 3
Lifetime Achievement  Helen Mirren
Acting & Activism Award Lena Horne
Adrienne Shelley Award (Films Opposing Violence Against Women) Winter's Bone
Josephine Baker Award (Women of Color Experience Award) For Colored Girls
Karen Morley Award (Women's History) Fair Game
Courage in Acting  Helen Mirren in The Tempest
Invisible Woman Award (Ignored Performance) Q'Orianka Kilcher in The Princess Kaluhani
Best Documentary by a Woman A Film Unfinished
Best Ensemble Mother & Child
Best Screen Couple Tom & Gerri (Jim Broadbent & Ruth Sheen)

• It's nice to see Another Year (to which that does not apply) get some kudos... and though I have a couple of very minor concerns about the movie I do love the central portrait of Tom & Gerri quite a whole lot. They're a wonderful happily married screen couple and you sure don't see many portraits of that on screen.
• A lot of love for Winter's Bone here. It seems safe for a Best Picture nod given how well it's done in the precursors... but we've still got the problem of 11 or 12 films doing well and only 10 slots.
• Can someone explain to me how Helen Mirren is being courageous by starring in The Tempest? Is this because Julie Taymor is so dangerous to actors. (Sorry, couldn't help it.)

Oklahoma Film Critics
Best Picture The Social Network
Top Ten The Social Network, Inception, Black Swan, The Fighter, Winter's Bone, True Grit, The King's Speech, Toy Story 3, The Kids Are All Right and 127 Hours
Best Director David Fincher, The Social Network
First Feature Chris Morris, Four Lions
Obviously Worst Movie Sex & the City 2
Not-So-Obviously Worst Movie Alice in Wonderland
Best Actress Natalie Portman, Black Swan
Best Actor  Jesse Eisenberg, The Social Network
Best Supporting Actress Mila Kunis, Black Swan
Best Supporting Actor Christian Bale, The Fighter
Best Adapted Screenplay Aaron Sorkin, The Social Network
Best Original Screenplay  Chris Nolan, Inception
Best Documentary Exit Through The Gift Shop
Best Animated Film Toy Story 3
Best Foreign Film A Prophet

• I have nothing to say.

Austin Film Critics Association
Best Picture Black Swan
Top Ten Black Swan, The Social Network, Inception, Toy Story 3, The King's Speech, True Grit, The Fighter, A Prophet, Winter's Bone and Scott Pilgrim vs. The World
Best Director Darren Aronofsky, Black Swan
First Film Gareth Edwards, Monsters
Best Actress Natalie Portman, Black Swan
Best Actor  Colin Firth, The King's Speech
Best Supporting Actress Hailee Steinfeld, True Grit
Best Supporting Actor Christian Bale, The Fighter
Best Adapted Screenplay Aaron Sorkin, The Social Network
Best Original Screenplay  Black Swan
Best Original Score Daft Punk, Tron: Legacy
Best Cinematography Matthew Libatique, Black Swan
Breakthrough Chloe Moretz, Kick-Ass/Let Me In
Austin Film Award  Ben Steinbauer's Winnebago Man
Best Documentary Exit Through The Gift Shop
Best Animated Film Toy Story 3
Best Foreign Film A Prophet
Special Honorary Award Friday Night Lights (for producing excellent, locally made television and contributing to the film community in Austin for the past five years)

• You'd think Oklahoma and Austin were Twin Cities proximate given how closely their opinions align. In fact, looking over top ten lists from numerous critics groups and looking at pundit predictions for Oscar's Best Picture's it seems like we're heading for an exact consensus match (or close enough). It's like nobody loves anything other than about 12 movies. Either that or the decimation of critical jobs has resulted in critics organizations full of people who maybe don't have as diverse or adventurous of taste as they used to...? Or are critical taste shifting ever more toward Oscar's middlebrow tastes... Or are Oscar's middlebrow tastes shifting towards critical consensus? ...Or are both moving inexorably towards the center where we'll share one brain. I'm asking this in a silly way but it is a little disturbing. I guess this is why Armond White seems more famous than he used to be. Being a contrarian is no longer a common critical position ;)
• I can't resist pushing this button since we'd just had a theme week "Older Actresses get no respect" and I was called "Reverse Ageist". But Austin likes 'em even younger than Chicago. They've never awarded Best Actress to anyone over 29 in their entire existence. And this year's average age (3 girls awarded) is 18 years of age! Hee. Why do I like to push buttons? I do not know.
• Super happy to see Friday Night Lights honored. Aren't you?

Wimps?

Michael C here trying to piece together some conclusions from this first wave of precursors.

One thing we can say for certain. With all the support materializing for Black Swan this past week the message is unequivocal: no discussion of the year’s best work will be complete without Aronofsky’s dance phantasmagoria in the mix. Yet Swan’s place in the lineup isn't the sure thing it should be. Due to the film’s extreme nature it is widely assumed that for every one Academy member who has the stomach for it, there will be ten others who are fleeing the screening with their hands over their ears, humming the score from Driving Miss Daisy to blot out the horrible sounds coming from the screen.

Are Oscar voters wimps?

One could be forgiven for getting that impression reading the conventional wisdom bandied back and forth about films like 127 Hours or Black Swan. The standard issue reaction for any film that has more than a sprinkling of realistic violence, sex, or stylistic daring is, "Oh, this is too much for the Academy." The average academy voter is, according to this view, a stodgy old fogey whose taste in movies calcified sometime around the release of My Fair Lady and is horrified that a movie might stray outside the bland Oscar template. They thought Inception was too confusing, Rabbit Hole was too depressing, and a lot of them avoided 127 Hours altogether. While there is undoubtedly some truth to this (we all remember the reports of some voters flat-out refusing to so much as watch Brokeback Mountain) I think it misses the larger story.

There is, of course, the simple fact that more outre the film is the less of a consensus it's going to build, but it still doesn’t add up. How could all these Academy members reach prominence while being artistic scaredy-cats who dive under their seat when things get too intense? To succeed in creative professions one needs some open-mindedness, some adventurousness of taste. After all, a lot of the current voting body is made up of people who cut their teeth during the golden age of 70’s filmmaking, people who worship at the altar of Scorsese and Altman. Yet, these are the folks who somehow mistake The Blind Side for an artistic milestone?

The Average Oscar Screening?

While there is surely bad taste and timidity around the margins, I believe the larger shortcoming of the voting pool is not that their taste is so tame but that they assume yours is. The Academy prizes its own relevance above all else, and they know marking ballots for Fish Tank and Dogtooth isn’t going to secure it for them. They can't be throwing Mulholland Drive in the lineup if it going to lead to three months worth of perplexed movie-goers promising to never trust the Academy again as long as the live.

The fact that the Academy in the past has honored films as adult as the Silence of the Lambs, Midnight Cowboy, or The Departed proves that they’re not necessarily as timid as their reputation suggests. It’s just that if they’re going to risk upsetting the blue hairs of the world than those films are going to have to arrive stamped as pre-approved hits.



I think it is fair to say Black Swan's status as an Oscar lock is going to have less to do with the intestinal fortitude of the Oscar voter and more to do with how well it performs in this, its first weekend of wide release.

(Here are the current figures)

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SAG Injustice: When a Nomination is Still a Snub

In the afterglow of the SAG nominations, when publicists, stars and pundits are all aglow with congratulatory messaging of every sort and critics are bemoaning the fate of talented but snubbed performances, one annual dismaying group of snubs always slips through the cracks. I'm talking about the people who contributed to the movies nominated as Best Ensemble but weren't actually included when the nomination was awarded.  The nominated ensemble casts of The Fighter, The King's Speech, Black Swan, The Social Network and The Kids Are All Right do not, in all cases, fully represent the acting achievements within the film.

The following actors were not nominated in "ensemble"

Black Swan ~ This nomination includes all those demented raven-haired beauties: Natalie Portman, Barbara Hershey, Mila Kunis, Winona Ryder and the man fucking with their pretty heads: Vincent Cassell. Noticeably absent: Benjamin Millepied, the principle male dancer should have also been listed. While it's true he doesn't have a lot of "acting" to do, he gets some in, and actors sometimes get nominated for a lot less; he is one of the chief contributors to the film being its choreographer as well.

The Fighter ~ This nomination includes only the principle Oscar seeking cast: Wahlberg, Bale, Adams and Leo and one more for good measure. That's Jack McGee who plays Melissa Leo's husband so beautifully. Noticeably absent: cameo players like Sugar Ray Leonard (remember that Gwen Stefani got nominated for dressing up like Jean Harlow in The Aviator), the entire gaggle of big haired comic relief sisters, Mickey O'Keefe, the cop/trainer who Bale loves to mock (name?) and everyone else who contributed to the film's invaluable local color and weird but hugely enjoyable tragicomic bent.

The Kids Are All Right ~This nomination includes only the immediate family: Moms Bening & Moore and kids Mia Wasikowska & Josh Hutcherson and "Interloper" Mark Ruffalo. Noticeably absent: Yaya daCosta, who so deliciously handles her role of Ruffalo's fuckbuddy and employee. Seriously now, she delivers fantastic line readings in this movie and underlines some of the movie's more subtle points about Ruffalo's character as well as contributing to its randy high spirits. I consider it an egregious omission. Also absent are Mia & Josh's friends and the gardener who Julianne fires who each get more than one scene.

The King's Speech ~ This nomination includes the three principles plus Anthony Andrews, Jennifer Ehle, Michael Gambon, Derek Jacobi, Guy Pearce and Timothy Spall. It's arguably the most inclusive of all the nominated cast lists but it still manages to diss one key player. Noticeably absent: Eve Best (from Nurse Jackie) who plays the controversial and plot-relevant Wallis Simpson.The royals didn't want her around and treated her like shit. So... did the Weinstein Co decide to follow suit and do the same? 

The Social Network ~ The Facebook movie has the most bizarre and confusing case of the internal snubbings. Obviously the triumvirate of Eisenberg, Garfield and Timberlake are accounted for as are the Winklevi (both played by Armie Hammer) and their business partner (Max Minghella). But what's most curious is that the body actor Josh Pence who helped to play the Winklevi but whose face does not appear in the film was nominated but the following six actors were not. Noticeably absent: Rooney Mara's soulful portrayal of Erica kicks off the entire successful dynamic of the film's rapid-fire dialogue which in turn reveals, comments on and delights in every badly managed personal relationship within the film. The film is smart enough to return to Mara on three key occasions but she was not nominated. All of the lawyers, officials and interns are also absent. You can't include everyone of course but a few people's contributions are very noticeable including Douglas Urbanski's audience-beloved cameo as Larry Summers, John Getz and Rashida Jones as Zuckerberg's council, Denise Grayson as Eduardo's lawyer (great write up of her work at Nick's Flick Picks) and Brenda Song as Eduardo's terrifying girlfriend?

Can someone please explain how these people are not an intrinsic part of the acting network within The Social Network? 

From my understanding, the nominating committee does not pick and choose which members of a cast receive the official title of SAG nominee, they merely vote on the film titles. The studios themselves also sometimes submit For Your Consideration cast lists that already do the omissions (The Fighter's FYC screener, f.e., lists only the five names). Or perhaps the problem is the SAG rules which go like so

"The Cast of a Motion Picture includes all performers whose names appear in the cast credits of the final release print. Motion Picture casts shall be represented by those actors billed on separate cards in the main titles, wherever those titles appear. In cases of special, unusual or non-billing or credit, eligibility shall be at the sole discretion of the Screen Actors Guild Awards Committee. Members of the cast who are not single billed but are credited in the cast crawl of the motion picture announced as the recipient of the Outstanding Performance by the Cast of a Theatrical Motion Picture shall each receive a certificate."

So by this rule, no matter how great you are in a movie, no matter how large your role, if your agent can't get you single billing, you can't be nominated.
Every year there are glaring examples of actors adding to the texture, tone and overall success of their movie, that are kicked to the curb when it comes time to say "Great Ensemble!"  We think, in a prize meant to honor the whole being greater than the individual parts, that this is a terrible and avoidable injustice. So here's to those snubbed actors inexplicably dropped from the honor bestowed to their co-workers! We salute you one and all.
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Good News: Black Swan Spreads Its Wide Wings

Your wait is over (or nearly so depending on where you live). Due to its constantly packed houses -- it's been landing in the top ten US box office daily despite being on less than 100 screens -- Black Swan goes wide quite a bit earlier than expected. Tomorrow the one-of-a-kind movie flies into 800+ more theaters. Enjoy. Report back.

Critics Awards Cometh. Swan vs. Network?

Ballots were due today for the BFCA "Critics Choice Awards" so you can be sure I did my share of handwringing before I sent it in. My god, you think you know what you want to vote for and you stare at the ballot and it's just >gah< indecision! (It doesn't help that you can only vote for 3 items in each category, 5 for best picture). Those nominations will be announced on Monday.

Tomorrow we'll be hearing from the LAFCA (who will begin announcing at 12:30 PST) -- who have the Academy's ear by way of proximity and major representative outlets--  and the New York Film Critics Online (not to be confused with the the ancient NYFCC which votes on Monday) and then we're off. Neither the critics awards nor the top ten lists will let up thereafter for at least the next month. If you're curious about what I'm predicting you can check out Gold Derby's roundup of pundits here. Other than Best Picture (The Social Network -duh.), predicting critics awards can be a bit like throwing darts. We hope there are lots of fun surprises this year.

In the past decade critics prizes have become both more plentiful and repetitive, with one film always the obvious champ. Even in years where you'd think there'd be a battle royale (like 2007's No Country For Old Men vs. There Will Be Blood) it never really goes ten rounds before one film K.O.s the other. It's less about critical battles than it used to be and more about declaring your allegiance to the hivemind. Which, if you stop to think about it, is exactly what online movie culture is about, with off-consensus critics being (virtually) burned at the stake if they dare to dislike [insert popular movie here]. Which is all a long way of saying that you'll hear the title The Social Network over and over again this season. As often as you heard The Hurt Locker last year probably.

But both are great films so I don't mi---Oh no. I've been assimilated, too. Noooooooooooo

I'm guessing that if we see any challenge to Fincher's Networking this year it'll be Aronofsky & Team Swan (still all the rage at the specialty box office). But how much of a fight do those crazy ballerinas have in them?


Care to make any predictions?

Comment Party. "We've Got Choreography!"

Which Academy Awards category that doesn't exist should?
...Stunts? Ensemble? Casting? Which nonexistent category do you wish they'd invent?

You know that if they still had Best Dance Direction (1935-1937 RIP) or some such choreography prize, that Benjamin Millipied who dances, acts, and choreographs Black Swan (as well as romancing Natalie Portman offscreen) would be in the running for an Oscar.

For more on Millipied, check out his Out Magazine interview.

“My curiosity goes a lot further than just the ballet world... my body has a certain amount of knowledge that has nothing to do with ballet.”

Given his modelling, off ballet interests, Portman dating, and now acting, maybe we'll be seeing more of him after Swan? For someone who can leap so high in the air, Millipied's official site is weirdly horizontal --- scroll scroll scroll across not up or down.
ANYWAYYYY.. Oscar categories that don't exit. Discuss.
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12 Hungry Films (Plus: Black Swan Geek-Out)

My Oscar charts are in terrible need of reassessment but I've been devoting all my hours to working on the new website. It's a hungry beast. So, in the interim, you should check out my new article at Tribeca Film where I wonder about the 12 pictures that seem to have the most heat going into balloting season. 8 films have looked to be fairly settled for Best Picture nods for a couple of months now (The Social Network, 127 Hours, The Town, The Kids Are All Right, Toy Story 3, The King's Speech, Inception and Winter's Bone) but the problem is that there are 4 newer, and thus shinier, December pictures that want in (Black Swan, True Grit, The Fighter and Another Year). 8 + 4 ≠ 10 so something's got to give.  Which films are most vulnerable? And will the Globes upset expectations, as they are prone to do, propping up a 13th or 14th option?

read the article @ Tribeca Film

Many of you (here and offblog) have told me that I've been underestimating Black Swan's Oscar capacity and I tend to agree; just haven't had time to update the charts. Next week everything will need a major overhaul anyway given the busy awards calendar.

<-- Beautiful Barbara Hershey. Will any critics group acknowledge her unsettling maternity in Black Swan?

I had the pleasure of attending the Fox Searchlight holiday party earlier this week here in NYC and though four films were being honored, Black Swan was sucking up the oxygen. Otherwise James Franco was consistently surrounded by well wishers, journalists, and other industry types and Conviction's Sam Rockwell (see 'best in show' article) and Juliette Lewis (our fab interview) were in high spirits and on their way to a charity event after the party.

I had a geeky fanboy moment with Darren Aronofsky, who I had to share with a few other critics since he was so in demand for conversation. After thanking him for a filmography that's always worth writing about (a huge plus whether you consider the individual films follies or masterpieces), the group conversation somehow turned to top ten lists. He actually teased me about how high Black Swan would place in mine. 'Top ten? That's it?' he asked in mock disappointment. 'What, does that mean, like, #9? These things are important.' Funny guy who one expects would be über serious in person; blame those obsessively dramatic films that we've dramatically obsessed over for the past decade.

Glory of the 80s: Barbara Hershey's
consecutive Cannes Best Actress Wins

Finally, me being me, you can probably guess that I made a B line for Barbara Hershey the second I arrived. I had to tell her how great it was to see her in something high profile again and then we chatted briefly about some 80s movies. (Hannah and Her Sisters and The Last Temptation of Christ are, as it turns out, the movies people stop to talk to her about the most.) I brought up A World Apart and Shy People "It's not even on DVD!" she exclaimed about the latter. I co-miserated. I didn't bore her with this next bit but I consider it a huge failing of our modern film culture that even if you win Best Actress at Cannes (Twice!) your films can sometimes vanish from view entirely.

"You sweet girl."

When I said goodbye I told her that I hoped her phone is ringing off the hook post Black Swan. "Not yet." she replied.

Sheesh, what's a girl got to do for Hollywood to recognize her gift? Casting directors need to jump on that. She's still beautiful at 62 (Black Swan downplays this, given the terror implicit in her role, but in person it's a different story) and still a fine actress. Not that anyone should have doubted her ability after that special '84-'88 run, the Oscar nomination for Portrait of a Lady (1995) and this Swan dive into a major portrait in miniature. How can she pack so much into so little screentime as Erica Sayers? It's all there from lost dreams, to shut-in enabled demons through to the total negation of self. She's emptied herself out to make room for vicarious living through Nina. It's just too tragic that even her vicarious living is self sabotage, she's projecting failure every chance she gets.

It's the role, isn't it? I knew it would be too much for you. I knew it.

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Box Office Blather: Unstoppable Potter and the 127 Tangled Swans

No, not that BOB.

Box Office Blather. Let's call it "BOB".

One should probably discuss it weekly (and not on Wednesday? Shut it. I'm late.) if only to be more "in the world" and less hermetically sealed in one's own bubble, he said to himself while gazing at his navel in his 360º mirror.

In all seriousness this is a problem. I sometimes stare at box office charts and think "'The Warrior's Way'?  What the hell is that?" And, bear in mind, I think and write about movies 7 days a week so these blind spots can be problematic. And yet, when you live in a big city and you have options you don't always notice what's playing in thousands of theaters when you can obsess over something like Black Swan which is playing in just over a dozen. Thus one stays sealed in one's bubble.

Box Office Blather Bakers Dozen
("Bobbed!"...why do I need names for everything? It's a sickness)

1. Tangled (2nd week) $21.6 [cumulative: $96.5] -55%
2. Harry Potter and the Deathly Hallows Pt 1 (3rd week) $17 [cumulate: $244.5] -65 %
3. Burlesque (2nd week) $6.1 [cumulative: $26.9] -48%
4. Unstoppable (4th week) $5.9 [cumulative: $68.7] -47%
5. Love and Other Drugs (2nd week)  $5.6 [cumulative: $22.5] -42%
6. Megamind (5th week) $4.9 [cumulative: $136.6] -60%
7. Due Date (5th week) $4.1 [cumulative: $90.8] -42%
8. Faster (2nd week) $3.9 [cumulative: $18.2] -53%
9. The Warrior's Way DEBUT $3.0
10. The Next Three Days (3rd week)  $2.5 [cumulate: $18.3] -45%
11. Morning Glory (4th week) $1.6 [cumulative: $29] -54%
    
12. 127 Hours (5th week) $1.6 [cumulative: $6.6] -5%
13. Black Swan DEBUT $1.4

A few random or obnoxious observations about that chart [src] come after the jump




Let's start off by alienating all of you! Wheeeee. Back in 2001 and 2002 I was incensed with Hollywood for being so lame / literal when the first two Harry Potters emerged and they were like books on tape only the tape was film. Then, through sheer force of ---FULL STOP. We should save this for the "Year in Review, Cinematic Shame" section later in December.

About 127 Hours... should it or shouldn't it be doing better business? It's a matter of perspective I suppose. One of my friends shared this on Facebook and said I could share it here. It's just too amusing while also illustrating a box office obstacle to the movie.

My parents' review of 127 HOURS (they went with another couple): "We all really enjoyed the movie a lot. But we didn't see the one you wanted us to see. We got to the theater, and Rhonda didn't want to watch the arm-cutting, so we saw 'Morning Glory' instead. It was adorable."

lol.

I'm sad that Burlesque isn't a smash. Now, we'll never get the sequel Burlesque 2 that Joe Reid pitched like so...

Burlesque 2, where Cher and Xtina must deal with a rival burlesque club that moves in across the street, run by a wizened Madonna and her protégée Britney Spears.

I would pay a month's wages to see that movie.

Moving on... Black Swan's $77,000 per screen average is a feat (a record for Fox Searchlight) as is the #13 status when it's only on 18 screens. But it remains to be seen how well that ballet thriller will transfer once it widens. "Weird" movies don't tend to play all that well at the box office, no matter how brilliant they are. You could counter with Inception but how weird is that? It explains the weirdness to you to make sure you don't get confused and the dream imagery, for all its gargantuan f/x thrills, isn't surreal like actual dreams. I'm trying to think of a strange movie that did well at the box office and I'm coming up blank. Do bizarre movies -- even the thrilling ones -- ever make a splash at the box office? (Post 1970s I mean.) Think of the fervor for Mullholland Dr (2001) and remember: it only managed $7 million in the States. My friend who I was discussing this with thinks I'm underestimating the accessibility of Swan but agreed that there's still going to be a ceiling; maybe Precious sized grosses? Help me out in the comments. What do you think the ceiling is for the high/low mix of psychological ballet thriller and camp horror hallucinatory artistic metaphor? 

Argh! And there I go again with the bubble. 127 Hours and Black Swan are only 451 screens between them and that's immediately what I start talking about. Perhaps this will be a project for 2011. Go to more mainstream movies. Experiment. (Didn't Tim Brayton agree to review anything that opened at #1 at the box office. Or did I imagine that? Think of the things you'd have to review!) My point is this: My brother called last week wanting to talk about Skyline which opened on 2800 screens and Megamind which opened on nearly 4,000. I hadn't seen them. Total bummer because I don't talk to my brother enough and he called about movies, sniffle, my favorite topic.

Tangled has nearly equalled the entire The Princess and the Frog gross
in its first two weeks.

So outside the bubble... Tangled. Do you think Disney will attribute its success to that misleading obnoxious ad campaign positioning it as a Shrek-like affair or to the fact that it's a throwback to their late 80/early 90s musical princess heyday. Or will they attribute it to both and advertise all future movies as the opposite of the type of movie they actually are?
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Links. Episode #∞

Noupe interesting overview of current movie poster design trends.
Black Book interviews the lovely Farran of 'Self Styled Siren' on classic movie blogging.
Go Fug Yourself "Unfug or Fab" catches up with Nicole Kidman & Keith Urban-Kidman.
Cinema Blend Emma Stone gone blonde for Spider-Man's "Gwen Stacy".
Back Stage Blog Stage Rob Reiner wants to make the stage musical Next to Normal into a movie. He wants this badly.
Low Resolution makes a case for an undersung Twilight player Jackson Rathbone. Wait, what? "It's seriously that shallow of a post. I can't defend it." Hee.
Pussy Goes Grrr looks back at Pedro Almodóvar's Matador and King Vidor's Duel in the Sun.

Oscar buzz Cinema Blend Winter's Bone collected two more trophies at the Torino Fest. It's all about the little wins.
New York Mag Speaking of that Ozarks drama. It tops David Edelstein's top ten for the year though he gives over 36% of the list to documentaries. You know, I liked Winter's Bone a lot (bullseye B+) but I admit that I don't quite get how it's winning "#1s" in so many places. Was no one else bothered, for example, by how pristine white that banjo is at the end? It's as if it had just been picked up from the store brand new at top price. Nitpickers unite!

The Hollywood Reporter 5 films nominated for Best Movie at the Annies (for animation): Tangled, The Illusionist, Toy Story 3, Despicable Me and How to Train Your Dragon. Of course two of them will have to go at the Oscars since there'll be only 3 nominees (my predictions). You may remember that Disney and Pixar dropped their support of the Annie awards this summer over disagreements on the way films were honored and the makeup of the nominating body which is said to be highly populated by Dreamworks employees.

 Disney/Pixar got their Annie nominations in the top categories, but not elsewhere. For instance, the "Best Character Animation" category is entirely Dreamworks and "Animated Effects" is 80% Dreamworks. I worry that the Dreamworks-bias of the Annies will end up reflecting badly on any potential wins How to Train Your Dragon receives which is a real shame as it's such a worthy feature.


TV.
Parabasis looks back on Season 1 Buffy, and the balance between stand-alone vs. serial stories.
blastr Frank Darabont fires the writing staff of The Walking Dead. Weird way to celebrate the first season of a huge hit, right? (Not that I think it's very well written what with the paucity of interesting characters.)

Have you seen this making of preview of HBO's Game of Thrones? As stated before, I think it's an ideal property for television as it's so sprawling in scope, longform in plotting and character development and ensemble driven in every way. But I still worry about the sets, costumes and the budget.



I have a real problem with wigs in fantasy movies. Must get over that. They distract me. It's the Storm in X-Men problem. I'm supposed to be seeing hair and I see wig. Gemma Jackson is the production designer (Oscar nominated for Finding Neverland). The costume designer is Michele Clapton who hasn't done anything on this scale previously though she's worked on recent UK television events like The Diary of Anne Frank and The Devil's Whore.

Swan dive? Finally, there seems to be a small but growing contingent of people who are not as impressed with Black Swan as the rest. Will they be burned at the stake in our internet film culture which doesn't value actual discussion so much as the dogpiling of raves and pans as if there is only ever one opinion worth having on any movie? Here are three thoughtful non-rave reviews worth discussing from Bryant Frazer, Nick Davis, Kenneth Turan and Timothy Brayton all of which fall into the "It has it's moments but..." category.

If you'd like more "!!!" instead, since most seem to be feeling that way, try the recent raves from His Eyes Were Watching Movies and Serious Film.

I Love Like You Phillip Morris

Jim Carrey adds a little swish to his familiar physical dexterity as con-man Steven Russell in I Love You Phillip Morris. His rubber face sad-comic mask falls hard for mild-mannered Phillip Morris (Ewan McGregor), while both are in prison. Their affair prompts much elaborate scheming from Steven about how to bust them out.

The film's strange and gleefully offensive comic tone comes courtesy of the Bad Santa screenwriters but this time they serve it up with a fey twist. The politically incorrect gay humor is incongruously combined with genuine sincerity and even sweetness. You don't cast the dependably adorable McGregor if you're not willing to spike your booze with a little punch...

Read the rest at my weekly column @ Towleroad
(There's a couple more notes on Black Swan, too.)
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Red Carpet Lineup: Swan Break

The New York premiere of Black Swan was held last night at the Ziegfeld which is the theater for premiere's here in Manhattan. I have so many fond memories of the place. All the stars were in attendance including Darren Aronofsky, Vincent Cassell and Barbara Hershey. Plus the deliciously dark rival ballerinas Mila, Natalie and Noni.

I think it goes without saying but I'll say it: Winona Ryder is still one of the most beautiful women on the planet. Those eyes. That coloring. Gah.

Why Noni is wearing a tux we can't be sure but we love that she did. Why Aronofsky refuses to shave that Flynn mustache we can't be sure but we wish he would. Why Natalie is carrying around Nabokov's Lolita* we... wait, what?

There's got to be a story there. I hope it does not involve obsessive fans of The Professional.


*Okay, it's apparently a clutch by Olympia Le Tan  - thx Dom - fashioned as a replica of the literary classic. The replica costs only $1,321.00 more than the real thing. But can the real thing hold your lipstick, keys and money?

Mila Kunis, Natalie Portman

Spirit Awards. What They Do and Don't Say About Oscar.

Now that I've had a day to think over the Spirit Awards (nominee discussion) and what they reveal and obscure about the Oscar race, here's a deeper look for my Tribeca Film column.

Eligible "Best Feature" Snubs
Blue Valentine, Get Low, Somewhere, Rabbit Hole
Not eligible for "Best Feature" or Acting Prizes
The King's Speech, I Am Love, Another Year, Animal KingdomNot eligible for anything
Toy Story 3, The Social Network, True Grit, The Town, Etc...

Remember last year when Precious: Based on the Novel “Push” by Sapphire swept the Oscars, becoming the first... oh, no, wait, that didn't happen at all. That was the Film Independent Spirit Awards. They take place the day before the Oscars each year. And they take place in a tent. We don't know the square footage, but it’s safe to say that it’s got nothing on the Kodak Theater. 

Generally speaking, the Spirit Awards are a looser, rowdier event. You can even wear jeans. As a group, they’re much more likely to honor African-American abuse dramas (Precious) or intimate character studies of "broken down pieces of meat" (The Wrestler) or teen pregnancy comedies (Juno) than the mainstream Academy is. In fact, in their entire 25-year shared history with the Oscars, the “Best Feature” and “Best Picture” prizes have only gone to the same film once.

...read the rest in my weekly Tribeca Film column.
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