Showing posts with label Oscars. Show all posts
Showing posts with label Oscars. Show all posts

Monday, March 1, 2010

Monologue - It's War! Or is It?

Jose here.



What better way to kick start Oscar week than with a call to battle by one of the greatest performances of all time? George C. Scott as Gen. George S. Patton Jr.

When Patton begins, the General reminds his soldiers that,

No bastard ever won a war by dying for his country. He won it by making the other poor, dumb bastard die for his country.

After taking hold of your attention with this impressive statement he continues affirming that

Americans, traditionally, love to fight. All real Americans love the sting of battle.

When you were kids you all admired the champion marble shooter, the fastest runner, big league ball player, the toughest boxer. Americans love a winner and will not tolerate a loser. Americans play to win all the time. I wouldn't give a hoot in hell for a man who lost and laughed. That's why Americans have never lost and will never lose a war, because the very thought of losing is hateful to Americans.

Seen under a modern perspective the speech might come off as looking either awe inspiring or psychotic. Those very words very well could represent the moral ambiguity some think is lacking at the center of this year's The Hurt Locker.
The effect after all is the same; you either agree or disagree.

Even if the film is set in WWII, the speech has become a timeless symbol of pro and anti war movements. At the time of its original release this sequence cause such a stir that soldiers-home from Vietnam-would stand up to attention and salute the screen as Scott addressed them and you need do nothing more than to browse YouTube to see how it's deformed, reshaped and parodied by fans who use it to reference the Middle East conflict, Obama's political campaign and self reflections on the state of the American psyche.

Towards the end of the speech though we are reminded that this man was above all a brilliant leader disguised as a reckless army General.

He finishes by saying:

Alright, now you sons-of-bitches, you know how I feel. Oh... I will be proud to lead you wonderful guys into battle anytime, anywhere.

Without the need of being too obvious he reveals his humanity and compassion towards the troops without hiding his demigod-ness within the army.

Scott rightfully won the Academy Award for Best actor, in a slightly controversial Oscar win (he used to call the Oscars a "meat parade") and entering into the days leading to the big battle, it's nice to put everything in perspective.

There are far too many problems in the world, to take a bunch of movie awards we rarely agree with, so seriously. Right?
So why not just breathe and bash in their ability to entertain us, they have always succeeded at it.

At ease.

Wednesday, February 24, 2010

Curio: Pick Your Cupcake

Alexa from Pop Elegantiarum here. Anyone who follows my blog knows that I'm all about pop culture sweets, and cupcakes are on top of the list. There's nothing better than a great movie cupcake on Oscar night, and I still haven't come up with a plan on what to bake for this year's party. Blue Avatar treats? Hurt Locker bomb component cakes? By way of inspiration, here are a few of my past film-themed favorites.

I've been meaning to replicate Deidre Jean's Fargo wood chipper cupcakes for some time now, but I'm nervous about sickening my guests:


A bit more enticing are my Sugar Magnolias. I can tell you from experience that no one turns down a Dolly Parton red velvet cupcake:


For Oscar night, instead of choosing one film maybe I could follow Leigh-Anne Dennison's example: she created these movie-treat sprinkled, poster-topped cakes for 2008's awards:


For those of you in New York with cash to spare, Eleni's bakery makes fantastic Oscar night treats. Check out last year's Oscar cupcakes:


This year, Eleni's is making equally fantastic (and pricey) best actress and actor cookies:


Enjoy! Now I'm off to figure out how to make wires and detonators out of fondant...

Tuesday, August 19, 2008

Olympian (Almost)

Overhearing conversations in my hotel, glancing at the headlines on papers and listening to the television commentary gives me the sense that all anyone cares about during the Olympics are record breakers like Michael Phelps. As for myself, I'm not winner focused. I blame that on my ancient obsession with Oscars. I'm more fascinated by the nomination process than who wins. It's also why when I started my online punditry many years ago (many many many many years ago. sheesh I'm Gandalf) I passed out virtual gold, silver and bronze medals rather than a single trophy. That's commonplace around the blogosphere now but I trail blazed that Olympic take on movie awards.

This is all a long way of saying that I get really bored with what I view as bad sportsmen statements that you hear all during the games "he/she won't be happy with a silver medal!" as if being second best in the entire world is something to be ashamed of. Maybe I just don't have enough of a competitive spirit but I watch these games and I get bored with the winners (Michael Phelps ...again? There are so many great swimmers) just like I get bored with multiple repeat Emmy winners or regular Oscar nominees who don't deserve shortlisting every single time. Instead, I feel so much for the Olympic "losers". They are amazing amazing athletes. Imagine being among the very best in the world at any one thing? It's just... gah! What a thrill it should be. And yet we focus only on the gold.

So here's to all the fourth place finishers in Olympic events and here's to anyone who ever lost an Oscar! And please raise your glass to all the people who were ever great at anything. And even all the people who were ever almost great. Working at being nearly great is better than most people manage, don't you think? So here's to all the Olympians from everywhere and the alternates, too.

And, finally, here's to Geena Davis !


She's the only famous actress I know of who was also nearly an Olympian. It's my favorite bit of Olympic sports trivia. "Thelma" tried out for the US archery team way back in 1999 but didn't make the finals. She did win the Oscar. She also got to have famous pretend sex with Brad Pitt. But then her movie career dried up long before anyone expected it would. The moral of this story is that you really can't win them all. But win or lose, be game.
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Saturday, August 2, 2008

The Oscars as a Starting Point


I've seen every Best Picture winner, even the ones not available on DVD. I've seen them on late night tv, cable, vhs, dvd, etc. Whatever format, whatever time, I've made sure over the years that I saw each one. And with few exceptions, I've seen just about all of the nominees. Oh, and as a point of useless trivia, I can name the Best Picture winners, in order of course, in less than a minute. It was a lot easier when I was a kid and there were thirty or so less but I can still reel them off in just under sixty seconds. Why? I'm obsessed that's why.

When I was but a tyke I started reading the encyclopedias my parents had and when I came to the "Motion Picture" entry I found my true love. But what really drew me in was the last part of the entry where they listed the Oscar winners through the years. Being a normal kid I was enthralled with Star Wars and was fascinated to see Alec Guinness, Obi-Wan Kenobi, listed in the Oscar winners for some movie called The Bridge on the River Kwai. I knew I had to see it. And that's when it started. That's when the obsession with seeing all the Oscar winners started.

Are the Best Picture winners the best movies of all time or even their respective years? No, of course not. But before the days of A.F.I lists and movie magazine top 100 polls the Oscars provided a template for a young cinephile to start seeing some of the most talked about and celebrated films in Hollywood history. Seeing all of them gave one then, and still does, a fairly good starting point for the Hollywood essentials, whether or not they're great being beside the point. The winners like Wings, All Quiet on the Western Front, It Happened One Night, Gone With The Wind, Rebecca, Casablanca, The Lost Weekend, The Best Years of Our Lives, All About Eve, An American in Paris, etc give one a good starting point for seeing some real classics.

And then there are the losing nominees. Endless discussions about The Thin Man, Grand Illusion, Wuthering Heights, Citizen Kane, The Magnificent Ambersons right up through recent years gets people, and definitely young cinephiles, discussing the true merit and artistic achievement of film and what should or shouldn't be considered the best.

All of these things make the Oscars worthwhile in my book because they bring the year, and the discussion of film, to a culminating point that wouldn't exist without them. But the real reason, the big reason, the overriding reason I love the Oscars and value their existence is the effect they have on the studios. Folks, if it wasn't for the Oscars there would be nothing but summer blockbusters all year long. Don't get me wrong, I love blockbusters but I want some more adult fare every now and then too and the studios are all about two things: Who makes the most money and who has the most prestige. Without the Oscars they wouldn't make distribution deals with independent productions, foreign productions and finance smaller more intimate dramas. You think Brokeback Mountain got backed because the studios thought they'd make a fortune? Hell no! It was backed because they wanted nominations and awards and prestige.

So all hail Oscar! It fires the flame of young cinephiles, fuels the existing flame for film fans everywhere and provides a necessary quality check for the studios. I wouldn't get rid of them for an instant. I'm glad they're here.

Oscar the Grouch

Rob here. As long as we're thinking about The Oscars (and when aren't we?), and are at the cusp of awards season I thought I'd pop out a few thoughts here. More and more I'm starting to dislike The Oscars.

Don't get me wrong, I still watch. But now more than ever, movies are forever defined by The Academy Awards. Do we want to see upcoming movies like Revolutionary Road and Milk because they look great or to see how they fit into the upcoming Oscar race. Take a movie like Brokeback Mountain. It is forever defined as the movie that lost to Crash. The actual quality and historical significance of the movie is almost a footnote.

And who do we blame for this? The studios who saw a marketing opening and cater all of their quality films to the Oscars? The oodles of associations who've jumped onto the awards bandwagon thus making Oscar season into a marathon? Ourselves? When we watch a trailer is our curious response, "will it be good?" or "will it be nominated?" When we watch a movie do we consider more whether a performance qualifies for our personal Oscars or how well it actually contributes to the experience of the film?

I know I do these things. I can tell you my Best Whatever winners for each year. I can give you my personal predictions for this year. I get wrapped up in it. But each time I hear a lazy critic describe a great performance as Oscar-worthy, each time a film friend of mine watches an old movie and gives me their "nominations" in lieu of any real opinion, I shudder a little more and more.

I wonder what a year would be like without the Oscars. Hypothetically, if all the releases stayed the same but without The Academy Awards? How would we, collectively react to all of the years movies without caring that they'd be vying for the title of "best"? Would it make things better? Maybe not, but I doubt it could hurt.

Later Jonathan will present the pro-Oscar argument (in the pursuit of being, you know, fair and balanced)

Monday, February 25, 2008

Oscar Hangover

Part 1 of 2, Oscar Review
a rant about the way the media will continue to treat Oscar's declining ratings

It began with a hangover. Don't judge. Last night was Oscar night, who didn't have one too many? Something had to keep me going through the most conservative fashion show I can recall ever seeing on Hollywood's High Holy Night. The theme was either 'risk free" or they were all wearing black in mourning for Heath Ledger. But if so, I think it a poor tribute. He would have liked a spot of color. I mean, you saw the socks he wore to the Berlin Festival last year, right? You saw Michelle Williams dress on Brokeback night. This was not a conservative star and color is good. So, I frantically typed for 5 hours straight. What's wrong with me? I can't win an award for doing this. No shiny gold men for me. Why these enormous tasks I set myself? The hangover proved short lived and I trotted off to the other job... running a little late due to things like ironing, trying to find my keys, obsessing about the color of Tilda Swinton's eyes; you know, daily routines.

For what it's worth, they're very very green.

READ THE REST ... for anger-inducing misleading memes about Oscar's obscure favorites and the endless (context free!) desire the press seems to have to make the Oscars more like the People's Choice Awards.
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Sunday, February 24, 2008

Red Carpet Timelines & Oscar Linkage

Penélope Cruz


teflon goddess Nicole Kidman


Cameron Diaz


the perennial Cate Blanchett


last minute Oscar links
Style has a great feature on "fantasy" Oscar dresses for tonight's nominees
Nicks Flick Picks is finally back for the best night of the year
StinkyLulu Supporting Actress '07 Smackdown -five blog voices on the most unpredictable category this year
DListed Lindsay Lohan is now an award winning actress. But it's not the Oscar
Boy Culture hopes for a Blood upset and posts some fun No Country illustrations
Los Angeles Times on why a Michael Clayton win would be good for Hollywood

and...

New York Times has a very cool metrix of the year's box office with Oscar nominees in bold. That's some fascinating graphing that details the box office pull of certain times of years, Oscar bumps, and staying power (or not) of releases.

Back to the red carpet
Before I start live blogging (somewhere between 6:30 PM EST) I thought we should look to the person who will probably wear the weirdest, best or most swandress like fashion tonight. I can't recall if tonight's most deserving supporting actress nominee Tilda Swinton has ever made it to the Oscars before, but here are some things she has worn at various red carpet events.


* the asterisked outfit was not at a red carpet event but I included it because it's exactly what she was wearing the night I stood right next to her at a MoMA event here in NYC ~definitely in my all time favorite unexpected celebrity sightings list.
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Wednesday, February 6, 2008

I Know Who Linked / Featured Me

Thompson on Hollywood reports from the Oscar Nominee Luncheon
Awards Daily The "Poscars" return. Love you Susan!
<-- StinkyLulu investigates Razzie nominee Julia Ormond's "performance" in I Know Who Killed Me
I Watch Stuff on the Jim Henson bio
Buzz Sugar starring in an artist biopic Big Eyes. See! biopics are a deadly epidemic. They continue to multiply... which is so weird since they're rarely truly successful. What motivates Hollywood to make them? Is it only the Oscar appeal?
Jew Eat Yet? remembers character actress extraordinaire, Thelma Ritter
Little Gold Men could Michael Clayton win the screenplay Oscar?
Low Resolution is also digging into Tony Gilroy's story
MTV Movies Blog Taraji P Henson is Brad Pitts mama!
Topless Robot Ten Star Wars toys that look like celebrities. Really fun (thx, Defamer)

and...
A couple of recent freelance gigs that I wrote are up at Television Without Pity -it's for their Oscar Special. The first is a piece on "Egregious Oversights" --hardly definitive, just a dozen things that I happen to deeply dig that Oscar kicked to the curb. Do you love them too? I really wanted to include Christian Bale in American Psycho and Johnny Depp in Edward Scissorhands but I ran out of space (and jokes).

The second is a surreal peak into the Oscar party planner's imagination, offering you three "theme party templates" for your big night. I hope you'll click on over and read them. And, god help us all, if you use any of the Oscar Party suggestions. PLEASE take photos and send them in right here. You'll have a wild night.

Friday, September 7, 2007

Miyoshi Umeki (1929-2007)

Miyoshi Umeki, the first (and only) Asian actress to win an Oscar died last week from cancer. Her Oscar arrived once she played opposite Marlon Brando in Sayonara (1957) --Brando was a good luck Oscar charm for a lot of other actors wasn't he? Miyoshi won her Oscar in late March and was on the cover of TIME for her work in Broadway's Flower Drum Song by December. Quite a year she had in '58, huh?

Discussions of Oscar and ethnicity go way back but they usually focus, rather simplistically, on the black & white topic. Since Umeki's Oscar win I believe only four actresses of Asian descent have made the Oscar shortlist: Shohreh Aghdashloo (03), The Tilly sisters (a decade apart in 85 and 94), and Rinko Kikuchi just last year. And they're all in the supporting category [src]

There've been more men. But unless I'm forgetting someone and apart from arguably Ken Watanabe (The Last Samurai) no major Asian movie stars have ever been nominated for an Oscar. Most of the nominees have not been particularly famous prior to their honors. In other words there's no Tony Leungs, Gong Lis, Toshirô Mifunes, Aishwarya Rais or Maggie Cheungs in Oscar's history book.

Sunday, August 26, 2007

Supporting Oscar Hierarchy and Dianne Wiest

Today is the last Sunday in the month. Which means StinkyLulu is holding another "supporting actress smackdown" (this time it's for 1971: Ann-Margret displays her Carnal Knolwedge, Burstyn & Leachman attend The Last Picture Show, Margaret Leighton Gos Between and the 70s awesomeness sometimes referred to as "Barbara Harris" round out the pack. I just finished reading it. Yum Yum.

I'm sure that Stinky didn't like that the last post was Lead Actresses only --no edges allowed! So, for comparisons sake, here's your top 7 All Time Oscar Supporting Actress Favorites.


o1. Thelma Ritter (50, 51, 52, 53, 59, 62) six nominations and she never won :(
02. There's a six-way tie beneath her, all @ 4 nominations each. You have to start with...
Maggie Smith (65, 78, 86, 01) Could this double winner topple Ritter's supporting nomination record? She's 72 years-old but still makes a movie each year. She's keeping company with...
Ethel Barrymore (44, 46, 47, 49) Drew's Great Aunt
Lee Grant (51, 70, 75, 76)
Agnes Moorehead (42, 44, 48, 64)
Geraldine Page (53, 66, 72, 84) more on Page soon
Maureen Stapleton (58, 70, 78, 81)

Beyond that top tier, 11 women are tied including four who are still working: Glenn Close, Meryl Streep, and Frances McDormand. The latter two both still get baity roles, the former is charging towards another Emmy on Damages...

A Question/Rant of Utmost Importance
...which brings me to Dianne Wiest. I'm completely nutso for the best squinty-eyed actress ever. I just don't understand why all the high profile supporting roles have escaped her since she won her second Oscar. Think on this for a moment: Has any other double Oscar winner (male or female) won for performances as diverse as the ones she served up in Hannah and Her Sisters (1986) and Bullets Over Broadway (1994)? Aside from the fact that they're both Woody Allen projects, what connects those women? To underline her range even further let's also point out that they're very different women than Wiest's standard typecast role 'the concerned mom' which she's played dozens of times, Parenthood (1989, Oscar nominated) and Edward Scissorhands (1990) being the most famous variations and they're also very different than the women she played in other Woody Allen pictures.

Please to explain. Someone? Anyone? I don't think it's hyperbole to say that she's one of the best actors on the planet. Why is nobody giving her anything interesting to act? Where is Woody? Dump Scarlett and write something for Dianne again already. Shouldn't this woman be considered for meaty stuff like what Dench, Burstyn, Blethyn, McDormand or Bates occassionally get? Argh!

Saturday, August 25, 2007

Oscar's Best Actress Hierarchy. A Discussion

I'm psyching myself up for Fall pre-Oscar season. Join me. You know how it goes once September hits. The prestige movies arrive and virtually everything from trailers to talk shows to box office numbers work as viral "for your consideration" ads. The new banner up top, which I've broken into two for discussion purposes here, shows in descending order the women with the most "Best Actress" nominations. No supporting nominations were included in the totals. These are Oscar's favorite leading ladies ranked. And this, is (duh) my favorite category.


01. Katharine Hepburn -12 nominations (32/33, 35, 40, 42, 51, 55, 56, 59, 62, 67, 68, 81) look at that time span ~ just astounding isn't it?
02. Meryl Streep -11
nominations (81, 82, 83, 85, 87, 88, 90, 95, 98, 99, 06) the most modern woman on the list in terms of Oscar since she switches between supporting and lead nominations: that's very common now but it didn't use to be for big stars.
03. Bette Davis -10 nominations (
35, 38, 39, 40, 41, 42, 44, 50, 52, 62)
04. Greer Garson -7 nominations (39, 41,
42, 43, 44, 45, 60) She's the least well known today but see any of her performances and understand why Oscar fell hard. A charm machine.


05. (Tie ~6 lead noms each... in chronological order)
Norma Shearer (
yay! 29/30, 30/31, 34, 36, 38) One could argue that she's only had 5 noms since she was nominated for two different performances in one year --before they changed the rules on that. But why quibble? Norma needs -- nay deserves your love
Ingrid Bergman (43,
44, 45, 48, 56, 78)
Deborah Kerr (49, 53, 56, 57, 58, 60) the most nominated female lead to have never won the naked shiny man... though Peter O'Toole has her beat overall in the male counterpart category
Jane Fonda (69,
71, 77, 78, 79, 86)
Sissy Spacek (76,
80, 82, 84, 86, 01)

The last time there was a significant change in the field was when Spacek joined, expanding Oscar's top eight women to a top nine once In the Bedroom (2001) hit, ending her 15 year Oscar drought. How long until someone forces a true top ten?



10. (eight-way tie with 5 lead nominations each)
The next group
(5 lead noms) is bigger and includes actresses who've passed away (Susan Hayward, Anne Bancroft, Audrey Hepburn) and one retired giant (La Liz!) so let's just talk about the ones that are still living and working in films and who, thus, still have a chance at increasing their legends:

Shirley Maclaine (58, 60, 63, 77, 83)
Ellen Burstyn (73, 74, 78, 80, 00)
Jessica Lange (82, 84, 85, 89, 94)
Susan Sarandon (81, 91, 92, 94, 95)

Almost all of them have been working strictly in ensembles in recent years. Can they find their own In the Bedroom?

18. (fourteen-way tie: 4 lead noms each)
Just below them in the Oscar horse race are many who've passed on (Barbara Stanwyck, Irene Dunne, Greta Garbo, Janet Gaynor, Rosalind Russell) five retired winners (Jennifer Jones, Jane Wyman, Olivia DeHavilland, Joanne Woodward, Glenda Jackson) and one who has moved to TV guest work (Marsha Mason)...

Three working legends are also in this tier. How many more rungs up the ladder can Judi Dench (97, 01, 05, 06), Diane Keaton (77, 81, 96, 03) or Vanessa Redgrave (66, 68, 72, 84) climb? Or is it supporting roles from here on out?

Oscar's 80th birthday is just six months away ~ What happens to the Best Actress field in Oscar's octogenarian years? Must we wait until Kate Winslet is in her 40s for a real shakeup of the rank? You want to share your theories about the future of this hierarchy in the comments. You know you do.

Thanks to ~Little Golden Guy for a great database. Related stuff ~This year's Best Actress Race (updates soon) or click any of the labels below for more on these cinema greats...

Tuesday, August 7, 2007

Top Ten: Oscar Nominationless

With the Toronto Festival rapidly approaching, early Oscar buzz will soon be in the air. Time for a list!

One of the most common delusions of fans is "one day [my favorite actor] will be nominated for an Oscar!" The reality is that statistics are against it. Even actors with massive careers (Meg Ryan, Sandra Bullock, Richard Gere, Cameron Diaz, Jim Carrey) might go without...even when they manage to get close by either

_____a) snagging Oscar bait roles or
_____b) finding regular precursor attention @ the Golden Globes.

This year we might see long time shutouts like Jennifer Jason Leigh and Tilda Swinton in the mix, but you never know. For today's top ten I'm focusing on names that are even bigger headscratchers. These ten stars --well, I can never quite wrap my head around their absence from Oscar's history book. I've excluded foreign language actors since it's always believable that they'll be snubbed -- sorry Isabelle Huppert. Everyone knows you rule but Oscar is a slow reader and you have cooties (i.e. subtitles)

Movie Stars That Oscar Refuses To Love

10 Christian Bale. He's done everything: wowing as a child star, headlining hits, Oscarbait gimmicks like weight loss and accents. Part of the golden resistance is the kind of movies he's made: too challenging (American Psycho) or small (The Machinist). Given the way his critical and audience cred grows each year, Oscar is starting to look dense.

09 Jeff Daniels. It might be a stretch to call him a "star" but he is nearly as reliable as that other Jeff (Bridges) who also makes superb acting look easy. The other Jeff has four nominations to his name despite the perceived effortlessness. Daniels is always good but he was plain ol' magnificent in The Squid and the Whale (FB Award) and The Purple Rose of Cairo (review) two very difficult and different roles. Yet, Oscar won't acknowledge him. Do they have something against Michiganders.

08 Myrna Loy She's best remembered for her classic stylish "Nora Charles" role in the Thin Man series but in the early days of Oscar they weren't so afraid of comediennes (Carole Lombard, Irene Dunne and others were nominated) so what gives? Even when she worked the ensemble dramas late in her career (Lonelyhearts, Airport 75, From the Terrace) it was always a co-star who was noticed instead. She was denied one of those 'you're really old and we forgot all about you!' sympathy nods that Oscar watchers are so familiar with. They apologized with an honorary Oscar two years before her death.

07 Kim Novak This star shone brightly in the 50s but AMPAS wore blinders. Her biggest Oscar success was undoubtedly Picnic (1955) but she was not among its many nominees. She is one of a long line of actresses who suffered from the 'too beautiful to be taken seriously' fate. Novak didn't do any de-glamming to win kudos, she tested studio patience with an affair with Sammy Davis Jr and --most importantly for the discussion here -- she had the misfortune of giving her greatest performance in Vertigo (58) a movie which was way ahead of its time. It's maddening that her double your pleasure star turn, an entirely bewitching act, was passed over. The snub is even more painful knowing that Deborah Kerr's worst performance (Separate Tables) was in the mix.

06 Dennis Quaid. That disarming grin never fails to charm. The only known defense against it is a membership within the Academy of Motion Picture Arts and Sciences. That'll make you impervious. Quaid has tried against-type critical hoopla (Far From Heaven -FB award), biopic mugging (Great Balls of Fire), comebacks (The Rookie) and working the ensemble in a Best Picture nominee (Traffic, The Right Stuff, Breaking Away) --all tactics which have put the red carpet under the feet of many lessser actors.

05 Marilyn Monroe Kim Novak's problem again: if you're viewed as a trophy you're too pretty to earn one. It took a long time for Monroe's reputation to rise from movie star to fine actor. But decades later her work in Bus Stop, The Misfits and a number of musical comedies more than holds up. Her face has been over merchandized but there's still fresh discovery to be had in watching her actual work. Monroe as an icon is overvalued but Monroe the actor? Still underappreciated if you ask me.

04 Christopher Plummer Plummer has been a revered workaholic actor since the 1950s. He was invited to join AMPAS recently and one imagines that's an apology of sorts. He's been featured in Best Picture winners (Sound of Music, A Beautiful Mind) but even in a year when he won multiple precursor awards within a Best Picture nominee (The Insider) they politely looked away.

03 Steve Martin. This enduring star is currently testing critical patience with insipid family comedies, but that doesn't negate his overall career genius. It's easy to write this one off as "Oscar doesn't like comedy" but that doesn't entirely quell the dissatisfaction. His work in the romantic comedy Roxanne or his dramatic but funny spin in Grand Canyon is on par with your typical Robin Williams acting. And speaking of... that less original funny man has multiple Oscar nods and an actual trophy to show for his work. Injustice! Has he ever been as inspired as Steve Martin was in All of Me?

02 Donald Sutherland. Some stars become legendary through the force of their own charisma (think Julia Roberts) even if the bulk of their actual filmography is not much to envy. Other actors achieve immortality by being in so many great films that their work will be seen forever. Pairing Sutherland's Oscar loved films with the knowledge that he's always passed over is a jaw dropping exercize: MASH, Klute, Don't Look Now, Fellini's Casanova, Ordinary People, JFK, Six Degrees of Separation, Pride & Prejudice ...(whew)

01 Mia Farrow On rare occassions I feel guilty for writing about the movies as in... 'stop reading right now and watch THIS!' I know there are people reading who haven't seen Farrow's haunting work in Rosemary's Baby, her unrecognizable and funny scenery-chewing in Broadway Danny Rose (1984), her perfectly judged star-gazing in The Purple Rose of Cairo (1985) or her quicksilver moodshifts in Alice (1990) ...and that's just four (four!) great performances off the top of my head. Mia Farrow has led an oft controversial, confrontational and tabloid-friendly personal life ever since her early days of stardom on Frank Sinatra's arm. But here's the thing: Oscar voters should be setting aside prickly personal lives when judging the merits of performance.


Mia's glory days are gone but she was brilliant more than once and has the classic films to show for it. But no honors from the Academy. Making this sting even more: Woody Allen films, which make up about a third of Farrow's filmography, have won many acting nominations and trophies, but Mia was never along for that ride. AMPAS has absurdly mistreated her. She's more than earned an honorary Oscar, don't you think?

Who would you add or subtract from this list? Which omission makes you the most bonkers? [for related posts, chase the labels @ the bottom of zee post]

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Friday, February 9, 2007

Song & Dance: Oscar's Men

A couple of weeks ago on Friday's song & dance, I shared the best actress nominated ladies singing their hearts out. Now it's time for the men from the Supporting and Lead Actor categories. It's a special edition of Song & Dance w/ six clips.

We begin with Ryan Gosling on the Mickey Mouse Club. He's the fourth guy to sing in this pre-N'Sync quartet (Justin Timberlake and JC Chavez warble away before him). It's Ryan freaking Gosling !!! all baby like. I just. I have no words. I can't imagine him in N'Sync. Thank god he found out he was a brilliant actor and didn't go that route. But there you go... To his right is Peter O'Toole singing the classic "Impossible Dream" from Man of La Mancha. Below them are Eddie Murphy doing his best Elvis & James Brown in his hit concert film Delirious. Mark Wahlberg then gets down with the Funky Bunch and shamelessly sells those pecs in MTV staple "Good Vibrations".





The last two bonus clips are kinda stretchin the point but whatevs, enjoy. First up is Djimon Hounsou doing that big smiley body waving dance he did in Janet Jackon's "Love Will Never Do Without You" (which was already featured here) only this time he's grinning wide for a Gap ad. And, finally, there's Alan Arkin playing musical chairs with the Little Miss Sunshine cast on Ellen Degeneres. Steve Carell cracks me up.

Song & Dance: Oscar's Men

A couple of weeks ago on Friday's song & dance, I shared the best actress nominated ladies singing their hearts out. Now it's time for the men from the Supporting and Lead Actor categories. It's a special edition of Song & Dance w/ six clips.

We begin with Ryan Gosling on the Mickey Mouse Club. He's the fourth guy to sing in this pre-N'Sync quartet (Justin Timberlake and JC Chavez warble away before him). It's Ryan freaking Gosling !!! all baby like. I just. I have no words. I can't imagine him in N'Sync. Thank god he found out he was a brilliant actor and didn't go that route. But there you go... To his right is Peter O'Toole singing the classic "Impossible Dream" from Man of La Mancha. Below them are Eddie Murphy doing his best Elvis & James Brown in his hit concert film Delirious. Mark Wahlberg then gets down with the Funky Bunch and shamelessly sells those pecs in MTV staple "Good Vibrations".





The last two bonus clips are kinda stretchin the point but whatevs, enjoy. First up is Djimon Hounsou doing that big smiley body waving dance he did in Janet Jackon's "Love Will Never Do Without You" (which was already featured here) only this time he's grinning wide for a Gap ad. And, finally, there's Alan Arkin playing musical chairs with the Little Miss Sunshine cast on Ellen Degeneres. Steve Carell cracks me up.

Wednesday, February 7, 2007

Gosling is a Baby. Murphy is a Loser?

I've updated the BEST ACTOR page with various tidbits. You know how we're always hearing that Leonardo DiCaprio is a tall actor? Well, this is a competition among giants because he's actually the shortest nominee @ 5'11" Everyone else is over six foot --Peter O'Toole is even taller than Forest Whitaker if you can imagine it. So Leo is the shortest but he's not the youngest. That honor goes to Ryan Gosling who nabs his first nomination at 26.

You may recall that Heath Ledger was a wee babe as far as Oscar statistics go when he was nominated last year, also at 26. So now Gosling joins Ledger (plus Orson Welles & Marlon Brando, esteemed company, huh?) as the collective 5th youngest Best Actor nominee. ever. Only Jackie Cooper (9), Mickey Rooney (19,23), John Travolta (23) and James Dean (24) were under the quarter-century mark when they received their leading actor nominations. Adrien Brody is the youngest actual winner. He was 29 when he won for The Pianist.

WEIRDNESS: We've also got a situation this year where 60% of our Best Actor lineup started in family television. Growing Pains, The Mickey Mouse Club, and the Fresh Prince of Bel Air are all in the house.

More on the Best Actor race here. As far as the other men go, I'm beginning to doubt my feeling that Alan Arkin would pick up steam for the Supporting Oscar. Slant Magazine makes a strong case for Djimon Hounsou. People are obviously starting to feel like Eddie Murphy will lose ... but unless buzz coalesces around a single challenger, maybe he won't.

ALSO: Please vote on the Best Actor Poll @ the main site

Gosling is a Baby. Murphy is a Loser?

I've updated the BEST ACTOR page with various tidbits. You know how we're always hearing that Leonardo DiCaprio is a tall actor? Well, this is a competition among giants because he's actually the shortest nominee @ 5'11" Everyone else is over six foot --Peter O'Toole is even taller than Forest Whitaker if you can imagine it. So Leo is the shortest but he's not the youngest. That honor goes to Ryan Gosling who nabs his first nomination at 26.

You may recall that Heath Ledger was a wee babe as far as Oscar statistics go when he was nominated last year, also at 26. So now Gosling joins Ledger (plus Orson Welles & Marlon Brando, esteemed company, huh?) as the collective 5th youngest Best Actor nominee. ever. Only Jackie Cooper (9), Mickey Rooney (19,23), John Travolta (23) and James Dean (24) were under the quarter-century mark when they received their leading actor nominations. Adrien Brody is the youngest actual winner. He was 29 when he won for The Pianist.

WEIRDNESS: We've also got a situation this year where 60% of our Best Actor lineup started in family television. Growing Pains, The Mickey Mouse Club, and the Fresh Prince of Bel Air are all in the house.

More on the Best Actor race here. As far as the other men go, I'm beginning to doubt my feeling that Alan Arkin would pick up steam for the Supporting Oscar. Slant Magazine makes a strong case for Djimon Hounsou. People are obviously starting to feel like Eddie Murphy will lose ... but unless buzz coalesces around a single challenger, maybe he won't.

ALSO: Please vote on the Best Actor Poll @ the main site

Thursday, February 1, 2007

Coming Back to Volver

I had the opportunity a couple of nights ago to revisit Volver . Susan P of Oscar Watch reportage fame hadn't seen it yet and I thought: but, of course I'll take a second dip. And just...wow. Again.

Everything I thought Pedro Almodóvar was doing right the first time deepened on a second viewing: the intriguing camera work, the surprisingly gentle twists and revelations of its novelistic plot, the sneaky trademark Pedro perversity --I don't want to spoil the plot but if you really stop to consider what's going on and the people you're rooting for...well, it gives you pause. The full earthy performances are outstanding. Cannes gave the women a shared Best Actress award and that was quite the discerning jury decision for there's not a weak link in the big feminine ensemble and they feel so lived-in, these relationships. The cast is even more convincing and entertaining in their evocation of a troubled but loving family full of individual rifts, favoritism and history than the cast of Little Miss Sunshine, and that pretend family got an Oscar nomination for their efforts.

What were the Academy members thinking when they snubbed Volver in so many areas? This is a moving, textured and funny drama. Detractors will tell you that Volver is not on the same level as Pedro's two Oscar winning efforts All About My Mother or Talk To Her and I would agree but in all seriousness, how many films are? This is the same problem Scorsese's Best Picture bid with The Departed is facing. If you're one of the world's greatest filmmakers, people are prone to undervalue whatever your new piece is. It's the ole' "I like your old stuff better than your new stuff" chestnut. Never mind that the old stuff everyone was so fond of was also once new stuff that wasn't as good as the old stuff or was stuff that people didn't "get" at the time. Great filmmakers make films that keep on revealing themselves. They make films that challenge the audience to keep up. They make films that age well.


In the foreign film category, there's no question that Volver deserved a spot in the shortlist. Canada's Water has a lovely humanity to it but Volver has that too and its far more inventive in structure and impressive in its filmmaking. Pan's Labyrinth is hard to beat visually but it's no match for Volver in the emotional complexity department or even in the eventual fusion of parallel stories: both films run on two tracks, though Volver does this in a far less obvious way, finally merging at film's end. The Spanish Oscars (The Goyas) agreed awarding Pan's Labyrinth more statues in total but giving their top prizes to Almodóvar's latest) I'm anxious to see the other three foreign film nominees which are all set to open soon. But if they're all on Volver's level, 2007 will begin stronger than 2006 ended at the movie theater.

Volver's absence from the foreign film list is the most egregious snub the Academy has made in the foreign category in many a year --it should certainly be as disappointing to movielovers as the snubbings of City of God and Wong Kar Wai's masterpiece In the Mood for Love in recent years. Despite Almodóvar's two Oscar wins (foreign film in 1999 for All About My Mother and screenplay in 2002 for Talk To Her) this new snub calls into question previously held notions that the Academy is super fond of him in general. To my knowledge Spain's film industry powers-that-be (who reportedly have a difficult relationship with their most celebrated filmmaker since Luis Buñuel) have only submitted five of his films for Oscar consideration. The chosen ones: Women on the Verge..., High Heels, The Flower of My Secret, All About My Mother and Volver. Only two have made the Oscar shortlist. For comparisons sake, Buñuel himself had three eventual Oscar shortlisters in his lifetime (Tristana, That Obscure Object of Desire, and his winner The Discreet Charm of the Bourgeoisie) . Like Pedro he received two Oscar nominations on his own.

As for Penélope Cruz and the Best Actress race, I'll say this: I recently got an email from a reader asking me if he was correct in assuming (based on my own awards) that I preferred Cruz to Helen Mirren's award devouring work in The Queen this year. I assume this question was asked out of sheer disbelief, given the near universal and lavish praise that Mirren has been wearing so well. But my answer was yes. It surprised me too. The Spanish actress knows completely what she's doing in the embodiment of "Raimunda." She accurately and beautifully illuminates the character's particulars: her irritability, her forceful resolve, her quick draw temperament as she rapidly assesses every situation (sometimes too rapidly) and barrels through. In the final act Penélope really proves her mettle. Years of controlled and locked up emotions come flooding back in, completely bewildering her. And then there's that new little girl softness towards films end, that's both touching and a telling actorly touch. People will be loving this performance for years to come.

Back in September, when I was flush with the excitement of seeing Volver for the first time I thought the sky was the limit for its Oscar and box office prospects and I wasn't the only one. Pedro Almodóvar had been building steam with the public and with Oscar voters. I was curious back then at how well Volver would fare financially. Just for updates sake I'll let you know that Volver, closing in on 10 million @ the box office? (and just beginning its expanded post Penélope nomination run) will surpass Talk to Her's total and may even disrupt All About My Mother's top dog status with Pedro inclined ticket-buyers. The public is responding even though the Academy dropped the ball. Good for them.

If you haven't seen Volver yet, run. It's a beauty.

*

Post-Release Updates: Top Ten List 2006 -It's way up there * The Oscar Best Actress Race factoids, conjecture, and more. And the race for Best Foreign Film

Tags: Pedro Almodovar, movies, Spain, Volver, film, box office, Penelope Cruz, Oscars, Academy Awards

Coming Back to Volver

I had the opportunity a couple of nights ago to revisit Volver . Susan P of Oscar Watch reportage fame hadn't seen it yet and I thought: but, of course I'll take a second dip. And just...wow. Again.

Everything I thought Pedro Almodóvar was doing right the first time deepened on a second viewing: the intriguing camera work, the surprisingly gentle twists and revelations of its novelistic plot, the sneaky trademark Pedro perversity --I don't want to spoil the plot but if you really stop to consider what's going on and the people you're rooting for...well, it gives you pause. The full earthy performances are outstanding. Cannes gave the women a shared Best Actress award and that was quite the discerning jury decision for there's not a weak link in the big feminine ensemble and they feel so lived-in, these relationships. The cast is even more convincing and entertaining in their evocation of a troubled but loving family full of individual rifts, favoritism and history than the cast of Little Miss Sunshine, and that pretend family got an Oscar nomination for their efforts.

What were the Academy members thinking when they snubbed Volver in so many areas? This is a moving, textured and funny drama. Detractors will tell you that Volver is not on the same level as Pedro's two Oscar winning efforts All About My Mother or Talk To Her and I would agree but in all seriousness, how many films are? This is the same problem Scorsese's Best Picture bid with The Departed is facing. If you're one of the world's greatest filmmakers, people are prone to undervalue whatever your new piece is. It's the ole' "I like your old stuff better than your new stuff" chestnut. Never mind that the old stuff everyone was so fond of was also once new stuff that wasn't as good as the old stuff or was stuff that people didn't "get" at the time. Great filmmakers make films that keep on revealing themselves. They make films that challenge the audience to keep up. They make films that age well.


In the foreign film category, there's no question that Volver deserved a spot in the shortlist. Canada's Water has a lovely humanity to it but Volver has that too and its far more inventive in structure and impressive in its filmmaking. Pan's Labyrinth is hard to beat visually but it's no match for Volver in the emotional complexity department or even in the eventual fusion of parallel stories: both films run on two tracks, though Volver does this in a far less obvious way, finally merging at film's end. The Spanish Oscars (The Goyas) agreed awarding Pan's Labyrinth more statues in total but giving their top prizes to Almodóvar's latest) I'm anxious to see the other three foreign film nominees which are all set to open soon. But if they're all on Volver's level, 2007 will begin stronger than 2006 ended at the movie theater.

Volver's absence from the foreign film list is the most egregious snub the Academy has made in the foreign category in many a year --it should certainly be as disappointing to movielovers as the snubbings of City of God and Wong Kar Wai's masterpiece In the Mood for Love in recent years. Despite Almodóvar's two Oscar wins (foreign film in 1999 for All About My Mother and screenplay in 2002 for Talk To Her) this new snub calls into question previously held notions that the Academy is super fond of him in general. To my knowledge Spain's film industry powers-that-be (who reportedly have a difficult relationship with their most celebrated filmmaker since Luis Buñuel) have only submitted five of his films for Oscar consideration. The chosen ones: Women on the Verge..., High Heels, The Flower of My Secret, All About My Mother and Volver. Only two have made the Oscar shortlist. For comparisons sake, Buñuel himself had three eventual Oscar shortlisters in his lifetime (Tristana, That Obscure Object of Desire, and his winner The Discreet Charm of the Bourgeoisie) . Like Pedro he received two Oscar nominations on his own.

As for Penélope Cruz and the Best Actress race, I'll say this: I recently got an email from a reader asking me if he was correct in assuming (based on my own awards) that I preferred Cruz to Helen Mirren's award devouring work in The Queen this year. I assume this question was asked out of sheer disbelief, given the near universal and lavish praise that Mirren has been wearing so well. But my answer was yes. It surprised me too. The Spanish actress knows completely what she's doing in the embodiment of "Raimunda." She accurately and beautifully illuminates the character's particulars: her irritability, her forceful resolve, her quick draw temperament as she rapidly assesses every situation (sometimes too rapidly) and barrels through. In the final act Penélope really proves her mettle. Years of controlled and locked up emotions come flooding back in, completely bewildering her. And then there's that new little girl softness towards films end, that's both touching and a telling actorly touch. People will be loving this performance for years to come.

Back in September, when I was flush with the excitement of seeing Volver for the first time I thought the sky was the limit for its Oscar and box office prospects and I wasn't the only one. Pedro Almodóvar had been building steam with the public and with Oscar voters. I was curious back then at how well Volver would fare financially. Just for updates sake I'll let you know that Volver, closing in on 10 million @ the box office? (and just beginning its expanded post Penélope nomination run) will surpass Talk to Her's total and may even disrupt All About My Mother's top dog status with Pedro inclined ticket-buyers. The public is responding even though the Academy dropped the ball. Good for them.

If you haven't seen Volver yet, run. It's a beauty.

*

Post-Release Updates: Top Ten List 2006 -It's way up there * The Oscar Best Actress Race factoids, conjecture, and more. And the race for Best Foreign Film

Tags: Pedro Almodovar, movies, Spain, Volver, film, box office, Penelope Cruz, Oscars, Academy Awards