TowleroadFar From Heaven being adapted into a stage musical. I've been burned on this sort of thing too many times but at least it's by the composer of Grey Gardens and that had a few lovely tunes.
And would make a good stage-to-movie candidate actually...
NYT the latest injury from the set of the Spider Man musical on Broadway. Wednesday matinee cancelled. I am 100% certain that someone will one day write a bestseller about the behind-the-scenes of this disaster prone production Cinema Blend Peter Weir not interested in a sequel to Master & Commander. Awww. Maybe they should just adapt it for a stage musical instead. Kidding.
Movie|Line has a jolly interview with Mike Leigh on the eve of the release of Another Year. I love this bit on why he'd never make a superhero film (no, really. the question was posed to him in a way that's not as crass as it sounds)
I use film to make a personal kind of film in a very specific, particular way. And there is no more reason for me to do what I think you're suggesting than there would for me to give up being a film director an become the pilot of a jumbo jet flying across the Atlantic. Or a brain surgeon or, indeed, a coal miner.
I love thinking of Mike Leigh as coal miner. Tee hee. Come to think of it. He would make a GREAT director for a coal mining movie or a... wait a minute. I have it. Topsy-Turvy demonstrated that Leigh can sell a musical number. So... Mike Leigh, directing the acclaimed musical Floyd Collins about that explorer trapped in a cave!
Floyd Collins is so pretty. Let's listen to a couple of its songs.
Her Awesomeness Audra McDonald & Hair's Will Swenson doing "Through the Mountains" from Floyd Collins.
Matt Doyle (Gossip Girl) doing "How Glory Goes" from Floyd Collins. This song is perfection but it must be hard to sing because there are a lot of bad versions on YouTube. This version gets better as it goes.
My brain does like to wander. Obviously needed a break from thinking / writing about Oscar Oscar Oscar Oscar Oscar...
Moving On... Pop Eater have you heard this crazy story about 80s star Marilu Henner? Seems she has something called "superior autobiographical memory" - fascinating story really and totally unrelated: I've always thought Marilu was a hilarious celebrity. Go Fug Yourself Fug or Fab Style: Mila Kunis In Contention Jafar Panahi banned from making films. So terrible. As Guy says, this puts the silly annual Oscar bitching into perspective. AV Club Will Smith and Mark Wahlberg offered $1 million to box each other for charity cuz they both starred in boxing picture, see? This story cracks me up on so many levels. Like, no movie stars would risk their billion dollar faces for charity. The only risk movie stars take with their moneymakers is plastic surgery.
Tired of critics awards yet? You can say so if you are. The London Critics Circle have offered up nominations. Sadly, The King's Speech -- the only British film that doesn't need any Oscar boost -- is the only one they're willing to back for crossover attention; it shows up on both their "Film of the Year and "British Film of the Year" lists and doubles up on Helena Bonham-Carter and Colin Firth in two acting categories, too. (sigh) Whew... I thought Colin Firth was in danger of losing his Oscar momentum there for a second. Thank god, they threw their weight behind him.
Y'all remember when I did this for the ladies so I figure it's twin-time. You have to have both pieces of a matching set. Not that I'm looking forward to this one as much. Impress or surprise me fellas! You're not actresses so you have to work harder to provide Film Experience jollies. (If you have time to watch the full video it's at the bottom of the post.)
1:00Robert Duvall (Get Low) tells a rambling story about becoming an actor and reveals "my brothers were both professional singers." The Duvall Brothers, eh? I so wanna hear that record. Would it be like the Osmonds except with less smiling?
3:00 The discussion turns to acting as a rewarding profession. Colin Firth (The King's Speech) picks up this Duvall baton.
"You get to play all your life. Most people have to grow out of it. The fantasy thing stays alive which is wonderful. It can be a little hard on the people living with you..."
He then reveals the dangers in staying a child when you're a grown-up. Those who do get very susceptible to external matters of fame; they become needy about attention and far too giddy if someone pats them on the back.
4:00 The first laugh of the hour comes from Mark Ruffalo (The Kids Are All Right) who pats Firth on the back. Right then.
Blazing young star and seasoned professional.
6:03 Firth is still talking three minutes later but the thing that struck me here is realizing how young Ryan Gosling (Blue Valentine) is. He just turned 30 two weeks ago. I never think about this but seeing him in this context I'm suddenly like 'oh, yes. baby star' Sometimes I forget that though actresses are regularly giant stars in their 20s, the male actors take longer to ascend.
7:00 This is funny. The reporters try to lead Firth to name projects he hated.
Reporter: Have you done a film or a role where you really felt it wasn't quality and you knew it? Firth: Have you glanced at my CV?
Funny. Firth is still talking. I don't recall any of the actresses hogging the convo this much.
7:40Linguistic Trivia! Firth claims that English civilians use the word "resting" to describe time off between actor's roles but he says that actual actors don't use the word as there's nothing "restive" about it. Ruffalo says he calls this "rotting."
9:02 The toughest moment in Ruff's career? He's talking about the bi-coastal issue of theater and the perception being if you're doing theater in LA people think you're a loser. It took him forever to get his first movie role. So he's doing theater and bartending (in LA) and going "Where's my Rumblefish?" This leads to an incredibly off moment where James Franco (32) suddenly gets confused about how old Mark Ruffalo is (43). Awwwk-kwward. (From the looks of things, Jesse Eisenberg doesn't know what a Rumblefish is.)
For the record Rumblefish debuted in 1983 when Ruffalo was only 16 and not legally allowed to serve alcohol. He meant it aspirationally rather than real-time concurrently. Duh, Franco!
10:49 Ruffalo says he's from Kenosha, Wisconsin. Wisconsin readers? Are you proud to claim the Ruff?
11:54 Now he is talking about seeing A Streetcar Named Desire on TV and realizing what acting was for the first time. This is the second random reference to Marlon Brando and we're only 12 minutes in. That man casts quite a long shadow with thespians.
14:00 Hmmm. Amazing descriptive nugget of great acting from Duvall "Terrific interior moment that works in the imaginary set of circumstances." I love that. But then he has to go and ruin it by bagging on critics for a split second. I hate when actors do this because it's so short-sighted. I always wish people would stop and ask themselves where the legends of entertainment would be, or rather, how large would their legend be if you removed the perceptive things that have been written about them over the years, the monuments to their performances and such. Not as legendary that's where they'd be.
17:24 Gosling explains that he worked on risky material now because of starting on undemanding television shows. He talks about growing up around a lot of crazy characters and not seeing them reflected on television or the screen.
They were good or they were bad [on film]. The people I was growing up around were everything all the time. They were good people but they were bad people. They were funny but they were doing terrible things. So I think I just naturally gravitated to those kinds or roles
He then talks about superhero films and the like and how he isn't sure he could do them and assumes they'd be hard to do, acting against nothingness rather than another actor. Brief shoutout to Michelle Williams for her difficult role in Blue Valentine.
20:54 James Franco claims that he no longer fights for roles. He thought he wasn't going to get 127 Hours but it turns out that the audition just went awkwardly because Danny Boyle thought he was stoned. The reporter, bless, says "were you?" "NO!" comes Franco's quick shocked response. Oh, Franco. Everyone always thinks you're stoned. It's the sleepy eyelids, glazed eyes and perpetual naughty smile.
21:53 Interesting bit on 127 Hours, where Franco likens the crew to actors since he had no one to act off of. So the cinematographer, director, etcetera felt like fellow actors to him.
25:37 Franco "I can only have one master." [*numerous hands raise for volunteering at computer screens across the world*]
26:15 The reporter brings up the not so uninteresting topic of disagreement with directors but these actors are too cagey to answer. Franco sees through this immediately and here is his silent response.
Firth makes an elusive stab at the question.
If you have faith in this person than you probably give your idea up for theirs. That's exhilarating. But that's awful if you don't trust the person which is not that unusual, really.
The King with the stammer then clams up after that tantalizing confession. So damn cagey. Why will no one answer? You don't have to name names. Speak cryptically to give us some guesswork at home. Think of the audience. You're entertainers, so entertain.
28:04 Ohmygod. It's weird. You know, I enjoyed watching The King's Speech but it's one of those movies that seems boring to discuss. They're talking about the research of playing a kingzzzzzzz. Biopics put me to sleep. Speaking of which why was Christian Bale not invited to this? Is it because he would hate this sort of thing?
34:00 We're still on researching biopics. I'm going to grow old and die while watching this. Cobwebs are growing twixt keyboard and screen. It's rather remarkable that Jesse Eisenberg (The Social Network) is just now speaking more than halfway into this thing and it's making me realize why the Actress roundtable was so much more interesting. And it's not, I swear, just because actresses are more interesting. I believe if you watched these back-to-back you would quickly realize that the actresses actually talked to each other. Banter sprung forth. This is just a group of six men waiting to be questioned. They're not interacting. Zzz.
Jesse says he was discouraged from researching Mark Zuckerberg but he found it impossible not to.
How could I not meet a guy I'm going to be playing?... I thought it would be limiting to play somebody real and so specific but it turned out to be really freeeing... maybe it would start as mimicry but then it would have some kind of visceral response and ultimately take you into it further.
36:50 Jesse talking about reading the script from Zuckerberg's point of view and feeling he was completely justified in everything. God, being an actor would be so weird, right? Constantly removing yourself and embodying other ethos and personalities.
38:40 There's a split second where I think we're going to get a good back and forth. Jesse glances at Mark and mentions that they've both worked for him (David Fincher though he is weirdly not named) but Ruff' doesn't respond. Duvall seems totally confused by Eisenberg's description of filming The Social Network ... since he keeps talking about 50 takes.
41:00 Gosling and Ruffalo are totally laughing about Eisenberg's candor and obsessiveness. He's telling about a director being pisssed at him for keeping track of which takes he thought he was terrible in and sharing his notes about which to use. (Not Fincher)
Duvall speaks his mind. He has opinions, this one.
42:05 Finally something interesting! It seemed like Duvall was deaf or confused by the Fincher discussion but it turns out he was listening. He says he turned down a role in Se7en (!) -- but mentions that he thought it was a great movie -- but is not happy to hear about Fincher's fondness for endless takes.
"Can I say one thing? To me 'The great Stanley Kubrick' was an actor's enemy. He was an actor's enemy. I can point to movies that he's done, the worst performances I've ever seen in movies. Terrible performances. Maybe great movies but terrible performances."
We'd probably have a spirited throwdown right then in a roomful of critics or chattier actors but these are polite hesistant interviews so he then trails off into discussing Brando again who has now been mimicked twice. Both Duvall and Ruffalo have done Brando during the first 42 minutes.
43:05 Finally some interaction. It took Duvall's Kubrick smackdown to wake them up (even if they didn't join in the fight) and they're actually talking to each other. Sometimes conflict on the set is good they all agree.
44:00 Franco says he's never had a director like that (hundreds of takes) but thinks that Fincher makes great movies.
45:00 God, I love Mark Ruffalo. He seems to be enjoying this the most (or is at least the most laidback of the six) and is describing those excruciatingly long days on Zodiac. 'You hit your stride and you're on take 25 and He starts walking toward you. You're thinking to yourself 'I hope he's coming over here to fire me' [laughter in room] And then he just walks past you and moves the extra behind you an inch...'
First there was no interaction and now physical interaction. Will there now be slash fiction involving Ryan & Mark? I offer this picture up for inspiration.
Ruff' says it's in moments like this that you realize that Fincher is a director who is always thinking of the entire frame and you are just happy to be taking up your small percentage of it. If this subject intrigues you and you're new to the Film Experience you might want to check out these recent comments from Jake Gyllenhaal on the same issue.
48:00 This leads to a bit about Gosling being fired from The Lovely Bones. Funny story about Peter Jackson and Gosling not seeing eye to eye on the character. "He hired me at 150 lbs and I showed up weighing 210 lbs" His diet consisted of melting down Häagen-Dasz and when he was thirsty he would drink it instead of water. YUM. Anyway, they had different ideas about the father and he was fired. "So I was unemployed and fat." He seems glad that he got fired which can only lead me to believe that he has seen the finished movie. The Häagen-Dasz saved him!
52:00 A question about expectations versus actual experience in Hollywood is asked but doesn't get traction. Jesse talks about his experiences as a child actor and trusting your own instincts about which projects to say "yes" to. He alludes to a horror movie (I'm guessing that'd be Cursed) that his agent and his dad were at odds about whether he should do and he went with the agent's advice but says his Dad was right.
56:00 The reporter tries to end with a "great takeaway from your life/career?" proudest moment type round table question. Duvall brings up The Godfather but it sounds like he's bringing it up just because it's expected of him. What really gets his emphasis is the TV miniseries Lonesome Dove.
58: 21 Colin says he can't do it, can't answer this question. Colin is pissing me off. He talks so much but he won't answer the questions. Yet his refusals are complicated and verbose. Shut it Darcy.
59:00 Oh! Sorry. I didn't mean to force the issue. The video shut off on me just as I typed that. No joke. It's a sign from the blogging gods that I've gone too far; shut it Nathaniel.
Here's the complete video if you have a full hour free.
Footnote (just for the helluva it) Movies/TV & Stars Name Checked
Duvall: Marlon Brando, The Great Santini, Eleanor Dusa, Sarah Bernhardt, Sandy Meisner, Othello, Stanley Kubrick, A Clockwork Orange, The Shining, Lonesome Dove, Se7en, The Godfather, American Buffalo
Firth: Christoph Waltz, Nostromo
Ruffalo: A Streetcar Named Desire, Marlon Brando, Stella Adler, Rumblefish, Zodiac
Gosling: Young Hercules, Michelle Williams, Peter Jackson, The Lovely Bones, Blue Valentine
Franco: Danny Boyle, Milk, 127 Hours, James Dean, Alfred Hitchcock.
Bridget Jones was born on a day like today. She's the chubby, British spinster we all love to watch but fear to become: neurotic, obsessive, insecure and very, very unlucky. Do you remember how she spent her birthday in 2001?
Oh joy! I am broadcasting genius, celebrating by cooking birthday feast for close friends. I have a sneaking suspicion I'm also something of genius in the kitchen as well!
Coming from a great day at work she decided to cook for her friends. Is it normal for the birthday girl to cook her own party food?
String soup?
Bridget was obviously not as genius as she thought...
But ah, she has the perfect savior in the shape of good ole booze.
That is until the perfect savior comes along in the shape of Mr. Darcy (Gotta love how Colin Firth pulls off those white shirts...)
Judging by the guests' faces the dinner was far from scrumptious.
But still she deserves a toast!
To Bridget who can not cook but who we love just as she is...
And boy how we do!
Ah, can you believe it's been almost ten years since this movie was released? Has Renée Zellweger ever been as lovable again? What would you give Bridget for her birthday?
You guys. I'm so not (quite) ready for this. It's only November 1st and in English language cinema we've already had at least three awards lineups outside of the film festivals: NY's Gotham Awards, Australia's AFI, and now BIFA... which translates to the British Independent Film Awards.
BIFA considers Oscar-buzzing Lesley Manville as "Supporting"
It will surprise virtually no one that the Oscar hopeful Brit films like The King's Speech (and all of its actors), Made in Dagenham and Another Year are in play for various prizes. It may surprise some that the indifferently received Never Let Me Go, the divisive Kick-Ass, and the largely undiscussed Brighton Rock received multiple nominations as well.
A complete list of nominees (with Oscar-adjacent comments) follows after the jump but I shan't clog the main page with these über long lists that each awards groups hands out.
BEST BRITISH INDEPENDENT FILM
Four Lions
Kick-Ass
The King’s Speech
Monsters
Never Let Me Go
Interesting that Another Year did not make the "Best Film" list, despite important nominations elsewhere. BIFA has no problem with "genre" films as evidenced by the inclusion of both Monsters & Kick-Ass. I'm sure there will be pockets of online rejoicing if this film gets an awards run. I'd like to kick the ass of anyone who votes for it though. Metaphorically speaking! I'm mostly a pacifist. Plus an 11 year-old girl could probably kick my ass in real life, even if she didn't have Hit Girl's training.
BEST DIRECTOR
Mike Leigh - Another Year
Matthew Vaughn - Kick-Ass
Tom Hooper - The King’s Speech
Gareth Edwards - Monsters
Mark Romanek - Never Let Me Go
Leigh and Hooper are safely in the hunt for Best Director Oscar nominations. The rest of them, well, at least they have this homegrown honor to brag on.
BEST DEBUT DIRECTOR [THE DOUGLAS HICKOX AWARD]
Debs Gardner Paterson - Africa United
Clio Barnard - The Arbor
Rowan Joffe - Brighton Rock
Chris Morris - Four Lions
Gareth Edwards - Monsters
I was confused about Rowan's nomination here until I remembered this wasn't Roland Joffe but his son. Clio Barnard (pictured left) recently on "best newcomer" at the BFI London Film Festival for the same film. It's a documentary that's also apparently an acted biopic (it's one of those uncategorizables) about the playwright Andrea Dunbar and her experience growing up in a housing project in Northern England.
BEST SCREENPLAY
Jesse Armstrong, Sam Bain, Simon Blackwell, Christopher Morris - Four Lions
Jane Goldman & Matthew Vaughn - Kick-Ass
David Seidler - The King’s Speech
William Ivory - Made In Dagenham
Alex Garland - Never Let Me Go
BEST ACTRESS
Manjinder Virk - The Arbor
Ruth Sheen - Another Year
Andrea Riseborough - Brighton Rock
Sally Hawkins - Made In Dagenham
Carey Mulligan - Never Let Me Go
Good on Ruth and Sally who are both subtly fantastic in their movies.
BEST ACTOR
Colin Firth probably won't stutter during his Oscar acceptance speech
Jim Broadbent - Another Year
Riz Ahmed - Four Lions
Colin Firth - The King’s Speech
Scoot McNairy - Monsters
Aidan Gillen - Treacle Junior
I suspect this is the only place we'll see honors for Jim Broadbent because Ruth Sheen has the screentime in Another Year and Lesley Manville the showiest character. More pointedly: anyone wanna wager how many Best Actor prizes Colin Firth is going to have to accept this year.... 5? 10? 15? 20? 25? All? I always forget to count but I think there's something crazy like 30+ prizes one can win during precursor and Oscar season.
BEST SUPPORTING ACTRESS
Lesley Manville - Another Year
Helena Bonham Carter - The King’s Speech
Rosamund Pike - Made In Dagenham
Keira Knightley - Never Let Me Go
Tamsin Greig - Tamara Drewe
Interesting that in the two "local" awards so far (this and the AFI) we've seen Oscar contenders show up in the opposite category in which they've been pegged for Oscar consideration. It's safe to assume that Jacki Weaver would only be Supporting in her American awards run (despite the "lead" vote in Australia, where she's "a national treasure" according to her director and co-stars) but Manville could obviously go either way, depending on how the Another Year campaign plays out. The most interesting inclusion here is Rosamund Pike. She has a couple really great scenes in Dagenham -- and was my favorite supporting actress in the film -- but I had expected that Miranda Richardson, a more well known 'prestige' actress, would be the one to win honors and Oscar traction. Maybe not?
BEST SUPPORTING ACTOR
Kayvan Novak - Four Lions
Guy Pearce - The King’s Speech
Geoffrey Rush - The King’s Speech
Bob Hoskins - Made In Dagenham
Andrew Garfield - Never Let Me Go
<-- Hi, Kayvan! Nice to meet'cha. About this list: I'm pleased for Garfield. As you know, I really loved him in that movie. Meanwhile: This is the first memory jog I've been given that Guy Pearce is in The King's Speech since all the buzz and the trailer attention and whatnot is on the central three characters (Geoffrey, Helena and Colin).
MOST PROMISING NEWCOMER
Manjinder Virk - The Arbor
Andrea Riseborough - Brighton Rock
Tom Hughes - Cemetery Junction
Joanne Froggatt - In Our Name
Conor McCarron - Neds
Riseborough (pictured right in Toronto -- must have been a crazy year for her) was amazing in Never Let Me Go with almost nothing to work with and also highly watchable in Made in Dagenham in another sideshow role so I'm curious if she's even better in Brighton Rock with a big meaty role? Is more truly more with Andrea? I'm intrigued.
BEST ACHIEVEMENT IN PRODUCTION
The Arbor
In Our Name
Monsters
Skeletons
Streetdance 3D
RAINDANCE AWARD
Brilliant Love
Jackboots On
Whitehall Legacy
Son of Babylon
Treacle Junior
BEST TECHNICAL ACHIEVEMENT
The Arbor - Sound - Tim Barker
Brighton Rock - Cinematography - John Mathieson
The Illusionist - Animation - Sylvain Chomet
The King’s Speech - Production Design - Eve Stewart
Monsters - Visual Effects - Gareth Edwards
BEST DOCUMENTARY
The Arbor
Enemies of the People
Exit Through the Gift Shop
Fire In Babylon
Waste Land
BEST BRITISH SHORT
Baby
Photograph Of Jesus
Sign Language
Sis
The Road Home
Wow. I've actually seen one of these. Photography of Jesus, about photo archive requests,is cute and interesting and well animated. You can watch it here. Better yet, it doesn't outstay its welcome (which is always a plus whether we're talking short or feature length films).
BEST FOREIGN FILM
Dogtooth
I Am Love
A Prophet
The Secret In Their Eyes
Winter’s Bone
An odd mix of last year's Oscar nominees (Prophet, Secrets), a current submission (Dogtooth) and two directorial feats that are strangely mostly discussed only in terms of their fine leading actresses (Love, Bone).
NOT YET ANNOUNCED The Richard Harris (Outstanding Contribution Award), Variety Award and Special Jury Prize have not yet been announced.
And there you have it. What do you make of all of this? *
I suppose I must pick up my Oscar-pundit speed now. Sorry for the delays...
Let's talk about The King's Speech
As you know this film came roaring out of Toronto as the audience award winner (see previous post) and The Film to Beat at the Oscars... unless you think that's The Social Network but it's since it's only late September fans of either (in reality or in theory) need to calm down. We were always confident that The King's Speech was an Oscar film even before they started filming which is why we've predicted it for several nominations since April. But now that the trailer is here allowing non-festival goers to have a looksee, what do we think?
On the bright side, it looks fun. Or at least it looks fun to anyone who loved watching Eliza Doolittle learn to properly e·nun·ci·ate. It also gives Colin Firth a meaty role that seems like a reward for elevating A Single Man (2009) (but for the fact that he probably signed for this before anyone saw how great he was in last year's nominated turn). I'm also THRILLED -- and yes it needed to be typed in all caps -- to see that Helena Bonham Carter has managed to escape Burton's gothic dungeon for some badly needed air. She's probably heading straight to her second Oscar nomination with relative ease; You know how they love those supportive wives. What's most surprising about the trailer is that the production values look superb and not in some vaguely rote prestige way but with a vividly handsome specificity. I didn't expect great visuals so maybe Tom Hooper's Best Director buzz isn't so far-fetched for a film that on paper seemed like one for the acting and production design branches mostly.
On the other hand, I am completely allergic to Geoffrey Rush in hambone mode. His win for Shine (1996) is one of my least favorite Best Actor prizes in the category's history and they nominated him for the entirely wrong film in 1998 as he was much more restrained and effective in Elizabeth than he was in Shakespeare in Love. He looks to be bringing the kook to scenes that already have inherent kookiness (speech therapy's comedy friendly exercizes) and I may just break out in hives watching him go for a second Oscar. I'm taking epipen into the theater with me... just in case.
Then we come to the Oscar Bait -- as if Royalty Porn weren't enough of it -- which is the World War II 'Nazi's are coming!' time frame. I hope it's less awkwardly handled here than it was in Mrs. Henderson Presents which this film vaguely reminds me of sight unseen. That's not a purposeful mental jump. It's worrisome rather but probably just based on account of early Oscar buzz, prestige actors, and the world war haunting the periphery of a "light" film.
Again, I might need the epipen but the festival buzz is certainly something to think about in an optimistic way. I'm a Yes leaning Maybe So because, again, Geoffrey Rush is a total No for me most of the time ...especially whilst clowning around. Look, we can't help what we're allergic to. Don't give me a hard time about it.
Are you a Yes, No or Maybe So? And do you buy the Oscar frontrunner (or thereabouts) hype? *
Is it a Gay Heresy to admit that you didn't love A Single Man, gay icon and fashionista Tom Ford's directorial debut? A Single Man, based on the Christopher Isherwood novel, follows George (Colin Firth) a grieving middle aged professor through a typical day as he eyes attractive students, ponders suicide, resents his neighbors and makes plans with his best friend (a sozzled Julianne Moore). He's still grieving his dead lover Jim. Jim is played by the fantastically attractive Matthew Goode in flashbacks (his second time playing a perfect human specimen this year, see also Watchmen, such flattering typecasting!)
There's a lot to recommend in George's journey through grief: Colin Firth and his leaking eyeballs are so stupendous and moving that he's surely Oscar-nomination bound (it's enough to forgive his previous nonsensical gayness in Mamma Mia!), Julianne Moore is funny and bracing even if the role is nothing much, and the men are all outrageously beautiful. But what does it all mean?
Most fans of established actors believe that one day their favorite will be nominated for an Oscar. In 2009 campaigns hopes are particularly high for Sandra Bullock, Alfred Molina, Colin Firth and Christopher Plummer. Fans of James McAvoy and Sam Rockwell still hold out longshot hope. But guess what? The odds are, generally speaking, against them on February 2nd (two months hence!) when the lucky 20 are called.
Most actors aren't ever nominated for the big prize. People seemed surprise to read in an old Oscar Mythbusting column I wrote years ago that the majority of nominated actors (approximately 67%) never receive a second nomination. But I did the research and it's true. Even less likely than a second nomination: a first one. Consider this...
The following (living) legends have still never been nominated despite rich bodies of work and several classic films or exuberantly praised performances: Mia Farrow, Isabelle Huppert, Christopher Plummer and Donald Sutherland. Outrageous, right?
Movie stars and/or respected actors who've never been nominated: Christian Bale, Drew Barrymore, Maria Bello, Paul Bettany, Gabriel Byrne, Steve Buscemi, Daniel Craig, Jamie Lee Curtis, John Cusack, Jeff Daniels, Hope Davis, Cameron Diaz, Kirsten Dunst, Dakota Fanning, Colin Farrell, Bruno Ganz, Hugh Grant, Maggie Gyllenhaal, Hugh Jackman, Scarlett Johansson, Ashley Judd, Val Kilmer, Jennifer Jason Leigh, Joseph Gordon Levitt, Tobey Maguire, Catherine O'Hara, Mary Louise Parker, Robin Wright, Parker Posey, Charlotte Rampling, Christina Ricci, Mark Ruffalo, Kurt Russell, Meg Ryan, Peter Sarsgaard, Bruce Willis, Evan Rachel Wood and Jeffrey Wright.
And that's just a sampling.
Moral of the Story: If you're rooting for any particular favorite this season, cross your fingers but never hold your breath. *
Emil Jannings, Warner Baxter, George Arliss and Lionel Barrymore. Wallace Beery and Fredric March simultaneously. Charles Laughton, Clark Gable and Victor McLaglen. Paul Muni and Spencer Tracy². Robert Donat, Jimmy Stewart, Gary Cooper and James Cagney. Paul Lukas, Bing Crosby, Ray Milland and Fredric March, who was worth returning to. Ronald Colman, Laurence Olivier, Broderick Crawford, José Ferrer and Bogie. 'Coop' again. William Holden and Marlon Brando a few years late. Ernest Borgnine, Yul Brynner and Alec Guiness. David Niven, Charlton Heston and Burt Lancaster. Maximillian Schell, Gregory Peck and Sidney Poitier who made history. Rex Harrison, Lee Marvin, Paul Scofield, Rod Steiger, Cliff Robertson and 'The Duke'. George C Scott though he refused. Gene Hackman. Marlon Brando by way of Sacheen Littlefeather. Jack Lemmon, Art Carney, Jack Nicholson and (posthumously) Peter Finch. Richard Dreyfuss, Jon Voight, Dustin Hoffman, Robert De Niro and Henry Fonda. Ben Kingsley, Robert Duvall, F Murray Abraham, William Hurt and Paul Newman who waited way too damn long. Michael Douglas and Dustin Hoffman (this time more humbly). The British Invasion of Daniel Day-Lewis, Jeremy Irons and Sir Anthony Hopkins. Al "Hoo-Ah" Pacino and Tom Hanks twice over. Nicolas Cage before the fall. Geoffrey Rush, Jack coming back and Robert Benigni leaping on chairs. Kevin Spacey, Russell Crowe, Denzel Washington and Adrien Brody, the youngest of them all. Sean Penn, Jamie Foxx, Philip Seymour Hoffman and Forest Whitaker. Return trips to Daniel Day-Lewis and Sean Penn before _________ ?
Hey, MattCanada here with this weeks queer cinema post. I finally got around to watching Another Country. It was not what I expected at all and this did affect how much I liked the film. My expectations going into the movie were of a spy thriller with a hefty dose of gay sex, not PG fondling. What I was confronted with was a drama which explores the British class system through the study of Guy Bennett's (fictionalised Guy Burgess) disenfranchisement from his class because of his homosexuality at an unnamed Boys Public School (read: super posh). The film is beautifully shot, wonderfully acted, and intelligently written - a Merchant Ivory film in everything but name.
Rupert Everett in his star-making role (first on stage, then on screen)
The lead actors are all strong, especially Rupert Everett's flamboyant toff Guy Bennett. Everett does not overplay him which is a surprise given the actor's subsequent career. For Bennett he finds the perfect balance of class and performative gayness. Though the routines and affected speech of all the schoolboys would have to be classified as dandy-ish, Everett's pushes Bennett to be a little more excessive. There are times, during the cricket games and the military role calls, where his flamboyance will not be contained by the masculine structures of the ceremony, and this is what is eventually so reviled by the prefects. That is to say, it is his indiscretion and public acknowledgement/celebration of his homosexuality which is contemptible, not the actual act of having sex with men. Most of the other boys engage with other men sexually in lieu of female company, but it is not talked about, made public, or acknowledged as enjoyable. Also great are Colin Firth (in his screen debut) as the idealistic Marxist Tommy Judd who veers between petulant and intrepid, and the fascistic Fowler played brilliantly by Tristan Oliver.
Cary Elwes in his film debut (unless you count a bit as "disco dancer")
The look of the film is beautiful, and I'm not just talking about the male leads (although Cary Elwes might be prettier here than the Art Direction). The boarding school, which has many similarities to Eton, is a perfect expression of the other country in which the privileged live. The lush cinematography (Peter Biziou was honored for this work at Cannes) and meticulate costume and set design construct a world that is totally foreign to the vast majority of spectators, and allows the audience to understand how Guy's alienation from this privilege, because of his homosexuality, is enough to turn him towards espionage and treason. When Judd says: "All problems solved, no commies and no queers", he is circumscribing what is unacceptable and what blocks these men from attaining the power they were born to posses, and expresses how alienation and oppression made them bedfellows.
Colin Firth (in his film debut) as "Judd" and Rupert Everett as "Bennett"
[photo src] Everett & Kenneth Branagh in the West End production, 82. Guess who played the roles in 83? Daniel Day-Lewis (!) and Colin Firth
The script, adapted by Julian Mitchell from his own Laurence Olivier Award-winning play, is nuanced, intelligent, witty and provides a great closing line (featured in F&L a few weeks ago).
Despite everything positive I have to say about the film, and what a fine achievement I think Another Country is, I didn't love it. Maybe I did just want a sex filled spy thriller with double crosses. I'll have to watch it again to really appreciate all the complexities of the script, and beauty of the mise-en-scene. For now I will recommend it, but caution people against expecting a 1930s gay Bond.
Does it make me a bad movie lover for wanting a bit more sex, and some Ian Fleming-style intrigue?
Dave here, with the first of this week's daily reports from the LONDON FILM FESTIVAL, which is due to hit the unsuspecting public on Wednesday, but things have already brightened up for me now that I've moved into a rather grotty hotel. In a manner of speaking.
The first real success I've seen, A Single Man is a sensual, poetic, and really quite ravishing drama from fashion designer Tom Ford. It's a beautifully designed, stylish, effortlessly attractive film, and Ford's cinema-adjusted eye has a particular knack for the bodily, as you might expect - but all the stylistic flourishes tie into his own adaptation of Christopher Isherwood's novel with bountiful meaning. Particularly notable is his use of colour - dull and grey reflection of George's (Colin Firth) grief and depression frequently blossoms into sumptuous saturated colour, spurred by lust, laughter, or sometimes just the infectious spirit of youth. Slow-motion sequences set to flourishing violins strongly recollect Wong Kar-Wai, and there are probably other reference points you could pick out, but it doesn't feel like any sort of pastiche. Despite the novelistic origins, it feels like an intensely personal piece of work. The sombre drama the tragic beginning promises doesn't proceed; instead, a delicate, gently amusing, introspective story develops, with Nicholas Hoult and Julianne Moore delivering intriguing slivers about their characters, but both are seemingly hooked, as we are, on George. And Firth, for the first time in my memory, delivers a stunning performance. I'm not sure if Oscar will bite, but I did, and it tasted slightly wonderful. B+
You might react differently to me on hearing that 44 Inch Chest is from the writers of Sexy Beast (personally the reaction was one of indifference), but you won't fail to spot the most obvious connection between them. Perhaps getting John Hurt to shoot his f***ing mouth off isn't as big a coup as getting Sir Ben Kingsley to do it, but there's still some perverse delight in hearing all variety of swear words in that inimitably sonorous, slightly gruff voice. Perhaps it's the same perverse delight that comes from seeing the frighteningly imposing Ian McShane play a tough, calm and calculating gangster-type who just happens to wear sharp suits and like having naked men lie on his sofas. It's certainly more interesting than the central dilemma of this stagey, surprisingly introspective drama, which would be more impressive if it had anything perceptive to inspect. I suppose you have to give Ray Winstone points for dedicating himself (and his tear ducts) so fully to his cuckholded character's crisis of masculinity, but despite having access to his mangled brain's hallucinations, there's nothing emotionally incisive or funny enough here to make this worthwhile. C
Finally, Bruno Dumont's Hadewijch, which can easily take the title of most interesting screening thus far, even if all that interest ends up feeling rather impotent. The story of Céline's (newcomer Julie Sokolowski) passionate dedication to her God occasionally provides an oddly bewitching moment, but for the most part, Dumont's detached style (emphasized by his strongly realistic manipulation of the sounscape) keeps us distant and mystified about her decisions and behaviour, and the flashback (one assumes) coda's attempt to explain the lead up to the tragic ending feel like a cheap and poorly constructed addition. D+
Feel free to ask any probing questions if you'd like me to elaborate in the comments. I'll be back tomorrow with news of Samson, Delilah, and Robert Mugabe.
Obviously my early September Oscar predictions went the way of vinyl and VHS once Toronto and Venice and the flurry of shifting distribution fates hit. This happens at the end of September and in early October every year but it's always disorienting... at least for me. Maybe you're less driven mad by it than I. 'You mean this brand new movie that got incredible raves and dream buzz is going to wait 10 more months for release and this other movie that everyone had given up on and isn't all that excited about is now opening in two weeks. okaaayyyy, crazy distributor people. You do what you gotta do.'
Clooney and Day-Lewis discuss Oscar warm-up rituals
In Best Actor, I'm still holding on to my gamble that Oscar voters don't want to get mushy or frisky with Daniel Day-Lewis in Nine (he never gets nominated for his "soft" movies) but it's starting to feel like a lose-the-house bet with so little in the way of Best Actor heavyweights. Damn it! I really thought I was going to look brilliant when Oscar nomination rolled around and they skipped DDL. But maybe not. Oopsie. Anyway, could Colin Firth in A Single Manreally be the frontrunner, now that he's emerged from festival season so super-charged? It was so sudden and so... unexpected. Or maybe it's George Clooney for Up in the Air though a second Oscar in four years seems overly kind.
Over in Best Supporting Actor there's less drama. I hate when you think you've found the lineup as early as October. Something of note needs to happen soon. The only dramatic question is "who could win?" because that does seem like a question with five answers (for now).
We discussed Best Supporting Actresslast week. Since then I'm aware that the talk about putting Marion Cotillard into lead for Nine is gaining momentum. If the studio actually does go through with this once the FYC drum-beating begins I think it a huge mistake. One, the Best Actress category is super competitive this year (wheee!) and Two, even if you give Cotillard a few more songs in Nine it's still a story with one lead, being about a man and his intense relationships to women, plural. They'd be sacrificing one potential nod for another. Doesn't make much sense... unless Cotillard's handlers are greedy/delusional and actually think they can win her two nominations for Nine (lead) and Public Enemies (supporting). And, well, I guess she has beaten considerable odds before.
A friendly pre-season luncheon. Drinks with Lea, Julia and Amelia
Each of these updated acting pages has adjusted text and predictions, though a few things haven't changed. I still insist that Best Actress is only a Meryl Streep (Julie & Julia) vs. Carey Mulligan (An Education) duel... and the other three nominations will be hard fought. More categories to come tomorrow or over the next couple of days depending on how the time flies.
Today's Must Read:Big Media Vandalism "Inglourious Snatch" which is not simply about Tarantino's latest film but more expansively about "the structural integrity of the shot" and classical film technique. Thanks to the response post on Scanners for pointing me its way.
Pop Vox good piece on Keats and Brawne as portrayed in Bright Star Filmbo's Chick Magnet has a great idea regarding film restorations for true movie lovers In Contentionchooses the best Best Picture winners. Let me count the ways I disagree with Kris's list... let's see one, two, three, four, five, six... Worth a look
The Big Picture We're entering the last quarter of the year. That means we'll soon see another Clint Eastwood picture. And that also means he's prepping his next picture. They both star Matt Damon Guardian the rebirth of Colin Firth with A Single Man Movies Kick Ass observes and learns from The Towering Inferno (fun!) The Film Doctor on Diablo Cody's feminism, male-dominated film criticism and Jennifer's Body My New Plaid Pants congratulations to JA for his contribution to Winq Magazine. Go, JA IndieWire ah, lists. This one claims that critics and bloggers liked the Coen Bros A Serious Man best at TIFF, what's surprising is that Precious is all the way down at #6.Colin Firth takes the #1 lead performance for A Single Man and Mo'Nique tops the supporting ranks. Could they both win Oscars?
Finally, Film School Rejects conveys the news on the upcoming Highlander remake. I liked the movie when I was a teenager (I had a thing for Christopher Lambert at roughly the same time Diane Lane did though I got it over more quickly than she) but "there can be only one" is so laughable now that the movie has spawned so many sequels and spinoffs. This also reminds me of a great line about reality television from the Monkey See Emmy live blog which went like so: "I love how we've reached a point in the genre's evolution where the best way to get on a reality show is to have been on a reality show." It's not just that genre's evolution. It's entertainment, period.
By now you've heard the news that Colin Firth received the papal blessing in Venice.
What?!?
The only church I believe in is the church of cinema and Ang Lee is a holy man. Don't tell me otherwise, blasphemer!
If you have to receive a blessing from an auteur, a vote of confidence if you will, what better man than Ang Lee? He has exceptional taste. Colin Firth might be floating up towards heaven even as we speak since Ang Lee and his Venice International Film Festival jury named Colin Firth Best Actor. The honor came for his work as a grieving gay academic in Tom Ford's A Single Man (see: related posts).
I'd like to intone "The Oscar race has begun" in sotto voce right about now, but has it? A Single Man's distribution is still up in the air. Though the movie, based on the Christopher Isherwood novel, is having a great week (positive reception at both Venice and Toronto) only time will tell if the film will be eligible for any more trophies in 2009. For now, it has two.
The Golden Lion winner, Lebanon, which takes place in a tank
Ang's other holy blessings Golden Lion (Best Film):Lebanon, directed by Samuel Maoz and Maoz Shmulik [Israel] Silver Lion (Best Director):Women Without Men directed by Shirin Neshat [Iran] Grand Jury Prize:Soul Kitchen directed by fest trophy magnet Fatih Akin of Head On and The Edge of Heaven fame [Germany]
The sidebar juries handed out the following prizes Lion of the Future (Debut Film):Engkwentro by Pepe Diokno [The Philippines] Queer Lion: A Single Man directed by Tom Ford [USA] Documentary:1428 directed by Du Haibin [China] Special Mention:The Man’s Woman and Other Stories directed by Amit Dutta [India] Controcompo Italiano:Cosmonauta by Susanna Nicchiarelli [Italy]
The only bum deal about the glorious Toronto International Film Festival that's in full swing as Venice shutters, is that they don't do juried awards. So this is your last big film award for awhile. Trophies, cups, scrolls, and golden statues are the way to go, you know. Oh sure, art is silly to quantify in that way but there's something generous and worthwhile about saying "you... you deserve this you beautiful piece of celluloid, you!" Ciao bella!
But back to "Darcy" himself for a second. I like Firth's chances in the Oscar race should the film find a distributor. Not only is that category awfully barren this year, but Firth is a respected enduring star who has never been nominated. When known previously neglected commodities do "best of career" work, big things can happen on Oscar night. Plus, he's a straight man playing gay as he reminded the world in his acceptance speech with a nod to his Italian wife.
I rarely seem to come home from Italy empty-handed – wine, balsamic vinegar, wife, two children, and now a nice piece of silverware.
Everyone knows how hard the Academy thinks that acting gay is for straight men. Imagine the unspeakable horror of locking lips with Matthew Goode! Poor, poor put upon Colin. He thought pretending to be in love with Bridget Jones was hard work.
