This Is It Madness

two brief but belated Oscar notes

For months now, people have been reciting various reasons why the 10-Wide Best Picture field is a bad idea. For all the chatter no one has yet talked about the most harmful effect of this decision: armchair and professional punditry has slipped, perhaps irrevocably, into insanity. The world has entirely forgotten what the Oscars are like or, rather, what they like. In the summer everyone seemed convinced that totally atypical films like Star Trek (X), The Hangover and District 9 were Best Picture likely. The new 'Best Pic Nominee To Be' is This Is It, the Michael Jackson documentary. [I've tried not to mention this article for well over 48ish hours but I've finally caved because it's been haunting my thoughts ever since. Share in the daymares with me!] That prediction comes despite the fact that Michael Jackson has never even been so much as a songwriting Oscar nominee and no documentary has ever performed that trick. In fact, I'm not sure you'd even be able to find a documentary that has managed more than 2 nominations -- on extremely rare occasions they'll cross over into the song field (An Inconvenient Truth) or maybe editing (Hoop Dreams). Unless Elizabeth Taylor gets 1000 ballots, I don't see this happening for Best Picture.

On a less provocative note, I told ya so on the animated nominees. I knew there'd be five. There's always more contenders than we're aware of... and it's always from the foreign cartoons as I've been saying all year. Why does no one listen to me? I need a new publicist. I'm smart about these things*.

*most of the time at least. if i'm wrong about any of those four pictures above... I will definitely say my mea culpas in February.
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Halfway House: Oh Suzanne-ah

Halfway through the day we freeze a movie halfway through. What do we see?

Doris Mann: Have you known Suzanne long?
Jack Faulkner: Ah, lets see. we've known each other about a month. It seems like longer, though.
Doris: Oh, I know what you mean. I'm her mother and it seems like longer.

Fifty minutes into Postcards From the Edge (1990), Jack (Dennis Quaid) has dropped by to pick up Suzanne Vale (Meryl Streep) for a date. Her mother (Shirley Maclaine) intercepts the man with the bedroom eyes ('and the living room nose and the kitchen forehead'). The performers are deliciously insynch with Carrie Fisher's rapid fire witticisms.

One of the reasons people get so invested in the Oscars is the joy that comes from arguing about whether or not the octogenarian institution got it right in any given year / category. When it comes to Postcards From the Edge, they got it very very wrong. It's one of the best movies about movies ever and it only received two nominations. Even Fisher's adapted screenplay, superior to some of the actual nominees, was snubbed. Dennis Quaid and Gene Hackman were both doing sly work here as Suzanne's player boyfriend and sympathetic director, respectively. But both actors didn't break a sweat in roles that wouldn't really be Oscar's thing even in the best of circumstances.

But then there's Shirley "It twirled up!" Maclaine. Hollywood usually loves it when Hollywood celebrates or satirizes itself as you can see in acting nominations like Dustin Hoffman's in Wag the Dog, Jean Hagen in Singin' in the Rain or Michael Lerner's for Barton Fink (among many others). But Shirley, who is a complete knockout as Debbie Reynolds substitute Doris Mann whether she's singing, cracking jokes, or winking for our sympathy, was bizarrely snubbed.

I'll never figure that one out.

I notice something new in the performances each time I see Postcards but the last time I popped it in the player I was totally amazed that I'd never caught this non-acting related detail (pictured below)


When Gene Hackman yells "Cut. Print." at the end of Meryl Streep's Oscar nominated "I'm Checking Out" musical number, the clapboard is not for the fictional film they're shooting but for the actual film we're watching (Postcards from the Edge) with its actual director Mike Nichols and cinematographer (the great, still unOscared Michael Ballhaus). How fun.

If you don't love Postcards don't tell me cuz I don't want to know. But if you do, tell us your favorite bit in the comments.
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Prince Gyllenhaal

One of the things I've never quite understood about videogames turned movies is how you're supposed to play them.

But I miss Jake Gyllenhaal so here he is all acrobatic like in The Prince of Persia: The Sands of Time

More Prince of Persia: The Sands of Time Info

I haven't yet read any internet opinions about this new trailer, so haven't a clue what the consensus is but if it's hugely negative, I'm here to say that that's just silly. This looks exactly like the other video games turned movies (Tomb Raider) or movies that seem like they're based on video games even when they're not (The Mummy... or wait, was that?). They're all marketed in this same bombastic way with loud music, "fun" bits and CGI heavy promises of spectacle. Though I can't remember offhand if most trailers for films of this genre spend this much time describing the plot (which I feel safe in assuming will turn out to be unneccesarily complicated and utterly inconsequential to whether or not the movie works)

I'm feeling weirdly defensive in advance... even though I don't think it looks very good.

Would you rather be buried in sand... or internet ridicule?

Most of what I read on the internet these days seems to have a touch of the anti-Gyllenhaal to it (be it involving Maggie or Jake) and I don't want to see another repeat of that weird collective sudden loathing that happened to Kirsten Dunst a few years back. I hate it when that happens. There's usually little in the way of real or defensible reasons why people turn against actors that vehemently. I find that it's often based on perceptions of their public persona rather than their work and/or it's about one movie which the actor in question wasn't suited for in some way. Then people get weirdly resistant to believing that the actor will be enjoyable in another context. Not liking Maggie Gyllenhaal because she was annoying in The Dark Knight, for example, is utterly self-defeating. You would end up depriving yourself of abundant fantastic performances. Anyway, it comes down to this: I am an unrepentant Gyllenhaalic. I've never cared whether actors are "in" or "out" only whether they have talent and whether they do things for me onscreen when I'm sitting in the dark watching them. Jake often does. So, for better or worse, I'll end up seeing this next summer.

Mother and Child No Longer Up For Adoption

Sony Pictures Classics announced today that they've picked up the TIFF hit Mother and Child starring Annette Bening, Naomi Watts, Samuel L Jackson and Kerry Washington. The Rodrigo García adoption drama prompted more than one pundit to declare that The Bening would most definitely be back in the Best Actress Oscar race. But the press release makes no promises about when SPC would be showing off their new bundle to the public.

<--- Her Hotness Kerry Washington and Shady Naomi Watts work it out in San Sebastian, promoting Mother and Child

Sadly we'll have to assume it's not for another year (sigh... All these movies completed and placed on shelves). After all, SPC is already octomom of the Oscars for 2009. So very fertile they are. Eldest children include: An Education, Moon and Coco Before Chanel. But there's a whole litter about to drop (and now I promise I'll quit with this pregnant metaphor): The White Ribbon, The Imaginarium of Doctor Parnassus, Broken Embraces and The Last Station.

A few readers have noticed the absence of "The Bening" from the blog this year. I have no idea why she hasn't piped in or what's going on with her. Maybe her stage work has been keeping her busy but she hasn't been on the red carpet as much as usual and she wasn't on the festival ride with Mother and Child either. Kerry, Naomi and Samuel did starpower duty in San Sebastian and Toronto but there's nothing quite like having Hollywood royalty at big premieres. Mr. Beatty and The Bening were missed. At least by obsessives like me.

In fact, one of the most recent non-set photos I could find of Annette on Zimbio was 12 whole months ago for a stage reading of All About Eve. But, old photo or no, I LOVE it.


Intentionally or not, she's totally replaying her bitchtastic Being Julia climax, blocking co-star Keri Russell's limelight with a swirl of her extra fabric. Hee. I love The Bening so muchly but every once in awhile I need these reminders. Can't wait to see her back in action... whenever that may be.
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Posters To Drool On

I can't remember where I read about these amazing posters by Brandon Schaefer -- shame, because I hate not giving credit where it's due -- but I keep clicking back to them. I would love for movie marketing to be graphically enticing like this since the bulk of what's out there is poorly photoshopped floating celebrity heads. But at least we get brilliant poster imaging from adventurous repertory houses, museums and libraries and the like. Some of these posters at Seek and Speak are breathtakingly designed and smartly capitalize on either the title or a memorable image/theme from the film.

Here's a few I loved for The Blair Witch Project, The Dark Knight and Planet of the Apes.


Beautiful, yes? You can see more including clever takes on 8 1/2, Rear Window, Alien and other classic gems or modern hits here.
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MM@M: A Place in the What?

It's been a month since I did one of these Mad Men posts and I'm still on the first season. I mean that only in the sense of these posts. I'm right up to date on the actual Mad Men show, which wraps Season 3 up next weekend. I hate to see it go but at least I'll catch up on the blog with the movie references. (Find the silver lining!)

1.11 "Indian Summer"
Rachel Menken (Maggie Siff) has confessed to her sister Barbara (Rebecca Creskoff) that she's seeing Don Draper, a married man. Her sister is understandably concerned...

Barbara: All I know is what I see in the movies. It's magical and then they start talking about him leaving his wife... and then he doesn't. I saw this one where the husband gets the woman pregnant so he kills her.

You don't want to be that woman.

Hmmm. Help me out here, readers.

It sounds like Barbara is thinking of A Place in the Sun... (?) only that's not exactly how it goes, Monty not being married to Liz when Shelley gets a bun in the oven. But then again people do get plots mixed up. Are there other 50s or early 6os movies where the two-timer kills his pregnant significant other? Your vast movie expertise is required in the comments.

other references in this episode
Literature: Ayn Rand Politics: Richard Nixon Celebrities: Jayne Mansfield Television: The Danny Thomas Show Magazines: The Family Circle
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F&L: He's Got Character

first image after the opening credits:


last line in the movie

man with mock frustration: It's locked. It's locked! Uh...
woman who is about to get some: [giggles]
man: Thank god I have the key.

Can you name the movie? Highlight for a clue if you need it: The comic actor who stars in and wrote this movie has never been nominated for an Oscar for his acting... even when he won important critics awards for a movie three years before this romantic comedy.


Still stumped? Highlight for the answer: ROXANNE (1987) with Steve Martin and Daryl Hannah
for all first and last puzzles, click the label below

Can You Feel The Link Tonight? (It is where we are)

Disney Madness
Antagony & Ecstasy a great piece on Disney's ever charming Dumbo (1942)
<--- Sociological Images considers the social messaging of the princes and princess of Disney. Deflating but a smart/funny overview.
Disney Blog interviews the supervising animator on The Princess and the Frog (audio)

News
Toronto Star a second sequel to The Blair Witch Project? Er...
Coming Soon I missed this news in the crush of Halloween stuffage but Anthony Hopkins will play Odin in Thor. The way Hollywood casts you know it was either going to be him or Liam Neeson (they're the only two who do mythic father figures now, right?).
Slash Films Gattaca to spawn TV series? Hmmm, that could actually be good... as long as its psychologically / politically focused a la Battlestar Galactica

Oscar & Miscellania
StinkyLulu and gang discuss Oscar's Supporting Actress Nominees of 1956. Dorothy Malone won the Oscar. Will she win the "Smackdown"?
In Contention more best original song drama. That music branch is as looney as the makeup branch, if you ask me
David Bordwell "Between you, me, and the bedpost" on phallic symbols in the movies
USA Today people are still upset about the 10-wide best picture field. Interesting comments from Academy member's themselves.
Butt Magazine fun photo shoot with Rossy de Palma (of Almodovarian fame). Yes! [thx]

Christopher "Gaga" Walken

LOL. I almost love Christopher Walken's extracurrical work (this, the classic "Weapon of Choice" video, Madonna's "Bad Girl" etcetera) more than his actual filmography. [thx]

And a little earlier, Jude Law [thanks Michael & Arlo!]



Now who's up for a dramatic reading of "Paparazzi"?
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The Oscar Race Begins on November 6th

That's just 5 days away. That's the (un)official start date. I'm declaring it. It used to be the NBR's announcement of their top ten list but with more and more awards groups clamoring to yell "first!", "first!" has lost virtually all its meaning. Or rather, it's meaning has changed. It now means "We're desperate for attention!" ...though maybe it always did. So, Nov. 6th is the day...


...since that's when a lot of folks will get their first look at Precious ["for you consideration..." in virtually every category save Best Actor and Supporting Actor. No, Lenny Kravitz's male nurse doesn't count]. That's when that particularly buzzy contenduh goes from being a movie with deafening hype and buzz (huzz? bype? hypzz?) to being a real thing, a movie audiences can react to in a less abstract, more honest and less controllable-by-campaign-and-hype way. As it should be.

[tangent] I always find it strange when people call me an elitist (I assume because I generally prefer unravelling female protagonists to superpowered men in costumes?) because I'm actually populist at heart. I demand that cinema of all types readily available to the masses! The Oscars are frustrating in this way because the type of films that matter to the Academy -- and to drama nuts like you (I assume if you're reading TFE) -- are ever more skittish about being seen, hiding in tiny little theaters in only the biggest cities, as if too many curious eyeballs would ruin their strenuous beauty.

If it were up to me you'd have to open by Christmas at the absolute latest in the top six to eight markets (something like that -- thus making you an actual release in the year in which you're asking for statues and top ten lists) instead of just Los Angeles by the 31st for a one week run on one screen. (I fail to see how such tiny in-name-only "releases" within a calendar year are any different in practice than festival showings which do not make you eligible). [/tangent]

On a smaller scale November 6th is when Best Actor contender Hal Holbrook emerges with the senior-wants-his-farm-back drama That Evening Sun. This promising debut feature from writer/director Scott Teems has other fine performances (particularly Ray McKinnon as Holbrook's nemesis) but none of the other actors have anything in the way of an Oscar-ready profile. But after the year Carrie Preston has had -- dropping some humanity into the arch Duplicity, reliably entertaining us as Arlene on True Blood and this affecting portrait of a wife who loves her husband but isn't blind to his flaws -- we should all be new fans.

Yes, from November 6th onward each and every weekend brings us new Oscar contenders of one type or another.

• Nov 6th: Precious, That Evening Sun, A Christmas Carol
• Nov 13th: Fantastic Mr. Fox, The Messenger
• Nov 20th: Broken Embraces, The Blind Side (?), The Twilight Sa (oh, I'm kidding)
• Nov 27th: The Road (wide. Holiday appropriate! er....) and a bunch of limited releases: Me and Orson Welles, The Private Lives of Pippa Lee, The Princess and the Frog. I have to say I think it was a H-U-G-E mistake for Nine to leave November... even more enormous than I had originally thought. You see, not one major Oscar contender is going to be wide for the entire Thanksgiving period. Unless you count The Road. Not even Precious (which will be expanding in November but not wide until sometime in December). It's like the Weinstein Company is just setting fire to money. They'd have had zero competition. Plus, November is actually from the latin word "novem" which means NINE. Hello... can't the Weinsteins respect the Gregorian calendar!?

• Dec 4th: Brothers, Up in the Air, Everybody's Fine (?)
• Dec 11th: A Single Man, Invictus and The Lovely Bones which is only in limited release till January. Like Nine, it's another Oscar hopeful with mainstream appeal. Plus it's from a hugely successful director (Peter Jackson). It seems like they're just putting money in the trash compactor. Why don't they want those holiday dollars? Are they worried about the movie's bankability?
  
• Dec 18th: Avatar (wide), Nine, The Young Victoria
• Christmas: Sherlock Holmes, It's Complicated (wide releases... Globe contenders?), Police Adjective (Romania's foreign film contender). Nine and Up in the Air, two presumed Oscar giants, also quit hiding and open wide.
  
• Dec 30th: The White Ribbon (More than most filmmakers, Michael Haneke pieces require time to shift and settle and unsettle again in the mind of the viewer. So why they keep sticking him with these maddeningly busy release dates -- Christmas or New Years -- is beyond me. Seems like such a missed opportunity for what his films always need: discussions with room to breathe. Caché in particular was gaining steam -- his films build the further you get away from them -- so had it been released even just a few weeks earlier (sigh) maybe it would have won a Screenplay or Director nod? Or at least more precursor honors. Instead it t'was crushed in the glut. We'll see the same thing happen again this time.
  

So longwinded today.

My point is simply this: Here we go! (Are you excited yet?)
This was all a lengthy awkward way of saying that Oscar Predictions in All Categories are all up to date and I'm more than ready for these movies. Discuss.
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Screen Queens: Another Country

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?


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