25 February 2013
1. Beards. So many of them! George Clooney, Jean Dujardin, Hugh Jackman, Paul Rudd, Bradley Cooper, Tommy Lee Jones. I can’t remember an Oscars with so many. (Dear Friend: can it be…?)
2. Seth MacFarlane.
But what you get when you care more about youth, good looks, and fame is an offensive dickwad who made as many racist, homophobic, sexist, and anti-Semitic jokes as he could possible squeeze in. He gave voice to hostile white people — the exactly kinds of people who run the Academy Awards and showcased people of color and women primarily as presenters or in special categories of their own. He represents truly the ugliest, meanest aspect of American culture.
Heads out of asses, please. Next year please tell me that you’ll choose Tina Fey and Amy Poehler.
I hadn’t seen this film that won Best Documentary Short (look! it’s here, so I will watch it). But the filmmakers’ acceptance speeches about the importance of art makes me a little teary-eyed even now. Also because they brought the 15-yr-old undocumented artist, Inocente Izucar, who was the center of this film up to the stage with them and insisted that she appear with them in photographs backstage.
Did you know that Inocente was crowd-sourced through Kickstarter? I like the whole idea of this film.
So it was like that — the usual whiplash of the Oscars, as one’s head whips between disappointing choices and surprise triumphs. Why do I watch, again?
26 February 2012
Here’s why I always lose Oscar betting pools with my friends: I try to make the Oscars about something bigger.
For example: I truly don’t understand why The Descendants gets so much love. It’s the story of a rich guy who’s selling off thousands of acres of pristine land so he and his family can phenomenally richer — and all of this when unemployment was still at 9% or whatever … well, you can appreciate why I get cranky about things.
I was also nonplussed by last year’s Up in the Air. We’re in the midst of a financial crisis and I’m supposed to emote on behalf of the dude who goes around firing people? It’s gonna have to be a goddamn fantastic film to get me over that obstacle.
Don’t worry: this post has its eyes on the actual nominees, not the films that didn’t get noticed (but how did Take Shelter not get a single nomination?).
Best Actor and Actress: in which I apply the “99% rule,” aka “redistribute the wealth.”
Critics seem to be guessing that George Clooney will win this, according to some kind of logic that we all like the guy and he’s been doing good work. I say that sounds like an old boys’ club if I ever heard one; this is why that “good guy” at work gets promoted and you don’t.
Don’t get me wrong: I love Clooney. I love love him. But I don’t think he’s the best actor of the year, and certainly not for this film. The award should probably go to Jean Dujardin, who was effervescent in a lovely (and better) film. I’ll be delighted if Dujardin wins.
But because I’m feeling contrarian, I’m rooting for Demián Bichir — the stellar Mexican actor who’s so unknown in the U.S. he’s not even a dark horse in this category; the guy who appears as an undocumented worker just trying to make a better life for his kid in L.A. Bichir’s character is so much a member of the 99% that he’s practically off the map — and that’s why he should win Best Actor.
Look, A Better Life wasn’t great. Neither was The Help or The Iron Lady, for that matter. C’mon, members of the Academy — look beyond your white, male, privileged bubbles to the world around you, even just that guy who cuts your grass, and vote for something beyond yourselves.
Using the same logic, my Best Actress choice is Viola Davis, who gives a stellar performance in a pretty crappy film. It’s impossible to compare her role to Meryl Streep’s — Streep dominates virtually every scene in The Iron Lady and shows off so many virtuoso chops that Streep almost looks like a little rich kid surrounded by presents at Christmas. Davis, meanwhile, is so much a part of an ensemble production that she might well have been relegated to the Supporting Actress category.
But you know what? No matter how disappointing was The Help, we’ll remember Davis. She’s just so good — so transcendent in a sea of embarrassing writing and directing — and her kind of goodness is important to the field of acting in 2012. 99%, bitchez!
What a year for the ladies! I’m so delighted with this field that I’m not sure where to go. Should I stick with my 99% rule and root for the magnificent Octavia Spencer? Should I stick with my Foreigners Deserve to Win Oscars rule and root for Bejo? (Well, that probably wasn’t going to happen, honestly.) Should I assert my Women Of All Sizes rule and root for McCarthy, who practically stole Bridesmaids out from under all those top-billed/ skinny women?
I’m going with my heart on this one, as well as with my own insight that 2011 was the Year of the Trans Ladies. Janet McTeer made Albert Nobbs — she was the real heart and soul of this film, raised the whole thing to a higher level, and was ridiculously hot as a man, to boot. This film has received less love than it should have; yeah, it felt a little bit more like something that would have been profound in 1982 but in 2011 feels like yeah, already. Like Bichir in A Better Life, you don’t get more marginalized than trans persons. But honestly, I’ll be happy with any one of these choices. Even better: they should give three Oscars — to Spencer, McCarthy, and McTeer.
Meanwhile, the men’s category seems less competitive to me. Christopher Plummer will — and should — win Best Supporting Actor for his work in Beginners as the father who comes out as an 80-year-old. ‘Nuff said.
Best Picture and Director: In which I wrestle with my own “degree of difficulty” rule.
I’m rooting for two titles: The Artist and Tree of Life. The former is the film I’ll want to see again and again. It’s a crystalline, lovely piece of romantic comedy and melodrama; I found it especially sweet for the way it earnestly wants to teach viewers how to fall in love with classic cinema. I vote for The Artist to take Best Picture.
On the other hand, The Tree of Life attempted a much higher degree of difficulty; like a great diver or ice skater, it took wild risks and didn’t succeed all the time, but what it did accomplish was remarkable: a tale of childhood and early pubescence more real than any I can remember seeing onscreen. If notions like “degree of difficulty” mattered to the Academy, that’s the film that should win.
Best Screenplay, Original and Adapted: in which I root for the foreigners and commit fully to losing the pool.
The latter is just a beautiful film production — I can’t even imagine how hard it was to come up with a screenplay for this twisting novel that has already received a 7-part miniseries by the BBC in 1979. Starring Alec Guinness, no less. How do you get that down to a bankable 2 hours or so?
Don’t ask me, but Bridget O’Connor and Peter Straughan did it. Nailed it. (Bonus: an actual woman nominated for an Oscar behind the scenes!)
So if I’m so pro-lady, why am I not rooting for Wiig and Mumolo for Bridesmaids? Because A Separation is so spectacular that the former just seems slight in comparison. Also: Leila Hatami:
From all accounts, I’m going to lose on both scores; I’ve heard people guess that Midnight in Paris and The Descendants will take these categories. That’s too bad. The best I can say is that at least I’m prepared for disappointment.
Best Original Score: how can this go to anyone else?
Listen to this medley of nominations for Best Original Score and tell me if the one for The Artist doesn’t leap out as so memorable that it actually recalls specific scenes. Also: because I found the Kim Novak reaction to be absurd.
It’s not that the other scores aren’t nice and emotional; it’s just that the one for The Artist means more to the film. (Runner-up: Tinker Tailor Soldier Spy. I loved its 1970s derivative, jazzy ambivalence, just like the film. The one for Hugo was okay too, but like the rest of that film, it felt over-cooked to me.)
Best Cinematography and Film Editing:
Is it even possible for something other than The Tree of Life to win for Best Cinematography? I will throw an absolute fit if it doesn’t.
But in Film Editing, I’m more ambivalent. I think the truly Oscar-worthy editing jobs were overlooked in the nominations process — Martha Marcy May Marlene, Take Shelter, and Tinker Tailor Soldier Spy — so I’m left to wrangle with a disappointing list. Stuck between the rock of my frustration about how these nominations work, on the one hand, and the hard place of a group of films whose editing I didn’t notice as being tight and evocative, I choose The Girl With the Dragon Tattoo.
Like Tinker Tailor, it took the tightest of editing to shape an expansive story to cram this into a watchable 2-hour film; it also demanded cuts and segues that forwarded the tale, evoked emotions with absolute efficiency. A couple of months later and I want to see David Fincher’s Girl With the Dragon Tattoo again so I can pay even closer attention to what its editors, Kirk Baxter and Angus Wall, did to propel us through that story at such a clip.
There are other categories I’m not commenting on, obviously — a series of documentaries that are so lackluster in comparison to the ones that didn’t get nominated that I can barely breathe, categories I don’t really understand:
- Why does costume design only get applied to period pieces? As Dana Stevens of Slate put it last year, the clothes worn by Julianne Moore and Annette Bening in The Kids are All Right were so absolutely perfect; why isn’t that costume designer nominated for anything?
- What does “Art Direction” mean — does this mean, for lack of a better term, some kind of unholy combination of “Stage Design” and “Location Specialist”? Or does it mean something else?
- And while we’re on the subject: is there some kind of connection between Cinematographer and “Art Director”?
- Why are there different categories for “Sound Editing” and “Sound Mixing”? Why isn’t this all just “Sound Editing”? Do I sound like an idiot for asking this question?
- Why can’t I watch all the nominated short films on iTunes or some other service? (Here I go again with my complaints about access.)
Meanwhile, there’s the all-important issue of gowns. Please tell me that Leila Hatami will appear in something stunning, that Jessica Chastain wears something that shows off that strawberry hair, and that Janet McTeer wears a tuxedo.
Here’s hoping! and here’s hoping, too, that I don’t throw anything at the screen when Hugo wins everything in sight.
28 January 2012
The scene: an old 1920s theater with Art Deco designs and original (i.e., uncomfortable) chairs. Most of the audience is over age 65. They show us some previews and then the curtains on either side of the screen scoot in a bit, narrowing the view, because The Artist was filmed in the aspect ratio of 1.37:1, just like old movies were. That very shape of that screen — virtually unseen in my lifetime except to watch old movies on TVs that used to be shaped like this (still are, for us old-school types) — makes me feel warm and happy, as if someone has handed me a down duvet to curl up in.
I have trouble understanding the rumblings from anti-Artist critics. This is a post about why.
I giggled from the film’s very earliest silly moments. I found myself so attached to Uggie, the dog, that I considered getting a dog. And I cried: the big melodramatic moment came and I was truly moved, with big affectionate tears running down my face. What a relief: after watching the trailer approximately 30 times, I had fretted the full-length film couldn’t live up.
That’s the thing, you see: director Michel Hazanavicius has created a primer for audiences unfamiliar with classic film, and what he teaches is how to fall in love with cinéma. For the rest of us who already love those early films, it’s a love letter. A very different love letter than the one Martin Scorcese created with Hugo, and one that’s more affecting.
For me, the key to the film is that it understands the central, simple brilliance of early film: The Artist asks only that you to fall in love with the two main characters, and especially to enjoy their falling in love. Peppy Miller (Bejo) lands a role in the new big film starring George Valentin (Dujardin), and she winds up as an extra in a silly scene in which he must dance with her briefly as he makes his way across the room. But as we see in a series of takes, he keeps flirting with her, joking, each time requiring a new take — and each time it’s a little harder for him to get back into character to start the scene again for a clean take.
In short: director Michel Hazanavicius isn’t pedantically telling us about the history of cinema. (I found Hugo delightful but a bit pedantic.) Rather, he’s given us a way to connect emotionally with cinema that most of us aren’t familiar with, and which gives unexpectedly pure delight. Some filmgoing pleasures are old ones, with a few sight gags tossed in.
Hazanavicius’s interviews have been great to read in part because it’s clear he feels his love for old film so passionately. Asked by a reporter for Chicago’s The Score Card about the differences between this and his earlier OSS 117 film, he explains:
The most important change was the absence of irony. There’s no irony in this movie. Quick into writing this movie, I watched a hundred silent movies. The ones who aged the best were melodramas and romances. And even the issue with Charlie Chaplin is that people think he is a comic, but his films are melodramas. Pure melodramas, nineteenth century dramas.
There’s no winking at you. The film isn’t saying, I know that you know that I know this is all stupid, even if it’s sweet. This is a 21st-century version of a classic silent film.
The closest it comes to a wink is when the film plays with sound. There are a couple of early scenes, designed to get us to laugh, that introduce us to the experience of watching a film with no sound. The subject of sound becomes a prominent theme — whether films will use it, whether audiences prefer it, whether Valentin might be right about resisting the big transition to talking film. Sometimes it’s used initially to prompt laughter, like at the beginning of a dream sequence.
But that sequence quickly turns to eerie nightmare, showing us what Valentin really fears: irrelevance. And somehow that scene is resonant beyond the gag at the center of it — making us viewers feel the threat of sound, and the safety of silence, at least in Valentin’s eyes.
The best melodramas always have dark elements, characteristics that ring true. One of these is Valentin’s hubris. I don’t want to oversell the film’s story — it’s determined to remain light melodrama — but nevertheless I found it surprisingly touching to see how Valentin wrestles with his pride and growing public insignificance.
What made that story so appealing, I think, was the paired tale of Peppy Miller’s rise to stardom and how she experiences her own expanding success as being related to Valentin’s fall — that is, the fall of a man she loves without disguise. Her need for him is something that you almost feel corporeally from those scenes of her very long arms. Again, I don’t want to oversell this story; maybe my appreciation for it is predicated on hearing so many critics accuse Hazanavicius of creating a mere pastiche. Suffice it to say that I believe some critics have underestimated the story’s resonance.
Of course I can see that director Hazanavicius creates a number of scenes by quoting from all manner of earlier movies — Astaire and Rogers, James Whale’s Frankenstein, The Thin Man, even Citizen Kane. Yet again to fly to his defense, I see those quotes as being done out of an abiding love of film and a consciousness of the way film is always quoting from itself. (Remember The Ides of March and Moneyball? Constant references to other films!) If you watch movies purely out of a desire to see something new, you’re depriving yourself of some of the joys of cinema.
So, what’s the difference between “quoting from” other films and “creating a pastiche”? Again, I’d say it has to do with whether the film ultimately seems self-conscious, ironic, winking at us. Maybe some viewers see The Artist as an amalgam of other things, but that wasn’t my experience, and nor was it Hazanavicius’s intention, according to his interviews.
Most of all, I believe Hazanavicius chose silent film, specifically, for a good reason: to teach us something we’ve collectively forgotten. He wants to show what film could do when we had to use our eyes so searchingly. Within a few days of seeing the film — and reading a few more reviewers who called this a gimmick or a form of pandering — I became more convinced that the director may not be a pedagogue, but he certainly wants us to learn something in the course of watching this film.
To wit: in my theater, you could hear the viewers gradually starting to laugh more, to intuit the internal logic of a silent film. Even though most of them were 65+years old, it’s hard to imagine any of them had ever seen a silent film on the screen while they were growing up. They started vocalizing non-words more — with silent film, you don’t need an audience to be silent — so you could hear people uttering things like, “ahh,” “oh!” and “wow” (especially when Jean Dujardin tap-danced). That low-level, unobjectionable audience murmuring enhanced the experience of watching, contributed to the communal pleasure. But it’s something we had to learn in the course of watching it.
I have the teensiest of complaints about ‘s The Artist — that some scenes felt like a mishmash of 1920s, 30s, and 40s influences, and that however charming she is, Bérénice Bejo seemed too tall and twiggy for the era — but my full range of emotions during the course of the film shows the limitations of my small criticisms. In fact, I can’t remember the last time I just burbled with the unmitigated pleasure of watching film, like when I saw the pitch-perfect grizzled face of Malcolm McDowell in a bit part (below). Oh, hang on, I experienced the same when I re-watched Fred Astaire and Ginger Rogers in the frothy Top Hat (1935) on New Year’s Eve.
And oh, Jean Dujardin! He can look beefy during his Douglas Fairbanks scenes, “who, me?” disarming during his William Powell scenes, and fantastically light on his feet during his Gene Kelly scenes; egotistic early on, depressive later. And when he gets himself into a love scene with Bejo … well, he has a gravity, and a genuine sense of surprise and feeling, that makes us feel as if we’re falling in love, too. (In a way, we are.)
It’s strange that I loved the film this much and yet it took so long to express it here — I saw it nearly a month ago. It seems so horribly stereotypical that I, as an academic, would formulate a pile of tedious words to analyze something that’s like a visual soufflé. But there you have it — academics are bound to try to deflate the beautifully, improbably fluffy in order to understand how it works.
Should it win Best Picture and Best Actor at the Oscars? I think its only serious competition is Hugo and, as I’ve indicated, there’s no question for me that The Artist is better. I’ll also have to see Demián Bichir in A Better Life before I weigh in on Question #2. It’s my opinion that the Oscars put up a weak list this year (where is Poetry? where is Higher Ground? why are Moneyball and The Help up there?), and that given those lists, I’m rooting for The Artist. What can I say? Michel Hazanavicius shows us how to fall in love with cinema, and in love with a love story — and I went there with him. I hope you do, too.
29 November 2011
I’ve fallen so deeply in love with this trailer that I’m afraid I can’t possibly love the real film as much — whenever I manage to see it. The Artist: it’s a silent film about the silent film era! Could there be anything more delightful?
(Don’t you just love his Thin Man-style wire-haired fox terrier?)
It stars Jean Dujardin and Bérénice Bejo, the excellent actors from OSS 117: Cairo, Nest of Spies (the French James Bond spoof, also directed by Michel Hazanavicius), in which Dujardin was so fabulous that he was nominated in the Best Actor category for the César Awards — a rare commendation for a goofy comedy. Both stars and the director have already earned a pile of prizes and nominations for The Artist, including a Best Actor win for Dujardin at Cannes last summer.
I was delighted with OSS 117 back when I watched it one Saturday afternoon with popcorn, and was especially impressed by Dujardin’s innovative, expansive talents. I can’t tell you how many times I’ve now watched this trailer, marveling over his tap dancing chops and light physical comic gifts that never seem too corny. Excuse me for gushing — and believe me when I insist that my effusive love is strongly mitigated by anxiety that the full-length feature can’t possibly live up. Note to self: this is why many professional reviewers don’t watch trailers first.
24 October 2010
Let’s just say that one of my long, humorless foreign films from Netflix got nixed last night, so we opted instead for this French spoof of James Bond. Actually, it’s more like a combination of Bond, Austin Powers, those Cary Grant/Hitchcock films from the 50s, and Inspector Clouseau. Every single line is delivered with the perfect combination of suave confidence, mock seriousness, and utter cluelessness. In short: it’s great.
How does Jean Dujardin, as Hubert Bonisseur de la Bath, alias OSS 117, do it? He’s gorgeous — a cross between Sean Connery and “Mad Men”‘s Jon Hamm — but he’s got the goofiest knack for physical comedy and delivery; he comes off as both fatuous and oblivious just as in your favorite moments of Peter Sellers as Clouseau. You find yourself admiring him as a specimen of 1950s manliness (oh, how he carries one of those suits with the slim trousers!), but his mouth is way too wide, so when he gives us a big grin or laughs, he looks absurd. I can’t imagine another comedian doing this so perfectly — it’s no wonder that no American or English actor has been able to pull off a proper spoof of the 007 franchise. And when I say that, I most certainly assert that 1967’s “Casino Royale” with David Niven and the “In Like Flint” films (1966, 1967) with James Coburn as super-spy Derek Flint don’t measure up to this.
Dujardin can carry off a scene in which he spontaneously learns to dance the mambo or play the oud — each time, the crowd around him cheers wildly — and he turns every woman’s head when he walks by in his swimming trunks. But he’s got virtually nothing going on upstairs; he blandly asks about the pharoahs as if they’re still leading Egypt’s government, and is so annoyed by Cairo’s meuzzin calling via microphone for prayers at dawn that he clubs him unconscious so he can go back to sleep. In fact, some of film’s best moments involve OSS 117’s utter obliviousness to world affairs beyond Paris city limits — all of which gave me particular delight in the context of our xenophobic 2010. Even if you don’t understand a word of French, you’ll get virtually all of the comedy of Dujardin’s delivery, because he’s just that good a comedian. Best of all, at a tidy 99 minutes, this film is just long enough to get your mind off everything before you go to bed. Plus, there’s an equally well-reviewed sequel, “OSS 117: Lost in Rio” (2009) that pushes our hero ahead in time to 1967 and promises another night’s worth of mindless popcorn enjoyment — as OSS 117 tells us at the end of the trailer, “If you like dancing and Chinese, you’ll love it.” Why, I DO love dancing and Chinese!
At your service, as OSS 117 would say.