Showing posts with label Chris Cooper. Show all posts
Showing posts with label Chris Cooper. Show all posts

Wednesday, March 10, 2010

And the Winner Is... Christoph Waltz (Oscar's Undefined Category)

Oops, I forgot to cover Best Supporting Actor in my "best Oscar wins of past decade" list that we did for supporting actress, actress and actor. Now that the 2009 film year has its statues... the decade lists can finally wrap. Christoph Waltz swept nearly all of the 30ish (?) prizes that are given out each film year (from minor critics organizations to precursors to the big one itself, Oscar) but it didn't get tiring to see him win for his evil Nazi because he never repeated a speech. A neat trick that more sweepers should try and master.

Like Mo'Nique, another deserved sweeper, I do find it interesting to imagine what would have happened had he not been around this year. If Inglourious Basterds hadn't opened, would it have been Woody Harrelson (The Messenger) vs. Christopher Plummer (The Last Station) down to the finish line? Or does the whole chemistry of a category change if one element is removed? Theorize with me in the comments.

My favorite Oscar wins in supporting actor this decade are the following...


...with apologies to Jim Broadbent in Iris (2001). He was fantastic, sure, and he won at exactly the right time in his career (a rarity!) but I just wish it had been for his other 2001 picture... the one wherein he did backflips as master of ceremonies.

The favorites lists above means, just like in supporting actress, I feel that Oscar has had a weird three-year streak of tremendously good taste in what is undoubtedly the category in which they have the worst taste, historically speaking. At least as far as the makeup of their shortlists goes.

If Oscars were only handed out once a decade, I have no idea what my ballot would look like (tho' Chris Cooper's tremendous turn in Adaptation would surely be there). Looking over my own lists I seem to have lots of categorization problems. Oscar's own predilection for deeming lead roles supporting has resulted in lots of blurring and confusing of the lines and weirdly inconsistent reactions to the same, even from me, a known loudmouth opponent of their desire to pretend that people like "Robert Ford" are not the leads of three hour movies called The Assassination of Jesse James by the Coward Robert Ford or that people who are in every scene of their movie are "supporting" bigger stars who are in only every other scene. Anyway... I can find few lists of my own OR Oscars that aren't all troubled with the "what is supporting?" concept and I am now completely fatigued of the troubles.

NEXT!

Oscars in Review: worst & weirdest moments, most wonderful moments and all 09/10 awards season posts
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Thursday, September 11, 2008

It's a Look


Episode 9 of The "Best Picture From the Outside In" series is ready for your eyeballs. Nick's Flick Picks hosts this week's discussion in which Nick, Mike and yours truly wax longwinded (you would too!) about 1999's American Beauty Inconsistency and 1936's bio-epic The Great Plain Ziegfeld.

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In the odd chance you're just joining us...the complete series (so far)
episode 1 No Country For Old Men (07) and Wings (27/28)
episode 2
The Departed (06) and Broadway Melody (28/29)
episode 3 Crash (05) and All Quiet on the Western Front (29/30)
episode 4
Million Dollar Baby (04) and Cimarron (30/31)
episode 5
LotR: The Return of the King (03) and Grand Hotel (31/32)
episode 6
Chicago (02) and Cavalcade (32/33)
episode 7 A Beautiful Mind (01) and It Happened One Night (34)
episode 8 Gladiator (00) and Mutiny on the Bounty (35)
episode 9 American Beauty (99) and The Great Ziegfeld (36)

Monday, October 1, 2007

NYFF: Patty, Will You Marry Me?

From the 45th Annual New York Film Festival (Sept 28th thru Oct 14th)

<--- I am in love with Patty Clarkson. I've declared this fondness before... albeit in a more platonic professional fashion. But my suddenly matrimonial intent was not a solitary one in the Walter Reade theater last week. The entire audience @ her new film Married Life was eating out of her hand. She was all flirtation and humility while working that crowd during the Q & A that followed. Boy does that woman spark. [My favorite moment: she affectionately referred to her character as "a deep redheaded ladygirl." Emphasis hers.]

Life director Ira Sachs, who hogged most of the questions, said he wanted to show Patty in a new light in this film and he does: There's one particularly fresh scene with Ms. Clarkson in lingerie that'll make you envious of her scene partner. She plays a grandmother but da-amn. But, anyway, the movie...

Married Life
opens on one of those kitschy illustration-filled title sequences. It's essentially suggesting that you're about to view a comedy. The narration by "Richard" (Pierce Brosnan), is of the serious but winking variety of running commentaries. It suggests that you're watching a noir or a black comedy. Yet the movie that unspools is neither of those and more things too: a treatise on coupling, a melodrama, a bedroom farce. I shan't spoil the story's twists for you but the comic premise itself is known: Harry Allen (Chris Cooper) has fallen in love with a young woman Kay (Rachel McAdams) and decides to spare his wife Pat (Patricia Clarkson) the pain of divorce by murdering her.

I'm all for tonal mishmashes if they work but Married Life doesn't. In a period film that doesn't open up much (it's based on a book but you're forgiven if you assume it was a play) you're left with only the actors to sell the material. Despite their collective talent (considerable) the effort shows. Chris Cooper has the most to work with and acquits himself well though his interpretation is so serious that it tilts the movie far into sober drama.

Maybe that's the intent since Rachel McAdams also goes for a portrait of deep hurt. This Canadian actress is the one that everyone wants to crown as the newest bonafide movie star but in this film she only continues her stardom avoidance tour. She's quite good at hinting at unexplored depths but the movie seems mostly interested in her beauty and its ability to hold the frame.


Patricia Clarkson, always a joy to watch, is assigned whatever levity this quiet serious film can muster. Unfortunately, "Pat" is the character that makes the least sense in retrospect as more and more of the story becomes known. It's as if the earlier scenes are purposely obscuring the story rather than playing as organic parts of the whole. Married Life ends with a dinner party but the dish it's serving up smells weird. There are tasty ingredients but this movie is a clash of flavors. C

Thursday, May 11, 2006

Russell. Morgan. Paul. Alessandro. Chris.

The Top 100 Actor Countdown Continues... with numbers #45 through #41


Read and then return to discuss if you're so moved. Unless your name is Russell Crowe and you're carrying something heavy. I don't have enough medical insurance.

(Plus: Last two days to vote in the latest actor poll. Do it)

tags: Paul Rudd, Alessandro Nivola, Russell Crowe, Chris Cooper, Morgan Freeman

Russell. Morgan. Paul. Alessandro. Chris.

The Top 100 Actor Countdown Continues... with numbers #45 through #41


Read and then return to discuss if you're so moved. Unless your name is Russell Crowe and you're carrying something heavy. I don't have enough medical insurance.

(Plus: Last two days to vote in the latest actor poll. Do it)

tags: Paul Rudd, Alessandro Nivola, Russell Crowe, Chris Cooper, Morgan Freeman