Every year I lose in Oscar-night ballot-offs with my friends. Good thing I don’t bet actual money. You see, I insist on voting with my heart. To wit: last year I voted for Demián Bichir for Best Actor, in part because it suited the We Are the 99%/ Have-Nots vs. Haves mood I was in.
Do my choices amount to mere whimsy? Not at all, particularly considering the context. On schedule, the Academy disappointed us with its lists of nominees — overlooking terrific films, shutting Kathryn Bigelow out of competition for Best Director. Moreover, we all know from those “for your consideration” ads that the studios are pushing hard for their own films to get votes…because, yes, lobbying helps win votes. Moreover, the voting at this stage always entails voting against certain films almost as much as it’s a positive process. In sum, presented with a deeply problematic selection/ voting process, my methods of choosing What Should Win at Sunday’s Oscar Awards Ceremony are better than most.
Best Actor(s) in which I opt for emotion over restraint (and the long shots over the bookies) by rooting for Emmanuelle Riva and Joaquin Phoenix.
The odds-makers tell us these two don’t have a chance. Nor do I have a beef with the likely winners; of course Daniel Day-Lewis was great, and you know how much I love Jennifer Lawrence.
But Riva and Phoenix did things in these roles that I can’t shake from my mind. They took risks they’ve never taken before; I still have memories of the naked, helpless Anne (Riva) being washed by a home health care worker and crying out (“it hurts! it hurts!”); and the emaciated, twisted Freddie (Phoenix) happily pouring various toxins and photographic chemicals into a cocktail shaker for yet one more night of blankness. These are the actors who should win.
These are dicey categories for me, as I haven’t seen some of the most relevant films (Django Unchained; The Sessions; Les Misérables). And yet I have opinions anyway!
No one with Jones’ accent has any right playing a senator from Pennsylvania, but he was so good here. And oh, Sally Field walked that fine line between despair and self-consciousness so beautifully.
I haven’t written about the film here. My overall take on it is that it was a beautifully acted and written piece that was marred by ham-handed directing at the beginning and end — I’m sorry, folks, but Spielberg needs to step back from the swelling violins moments. Anyway, speaking of directing ….
In two years we’ll look back and see the hubbub that shut Zero Dark Thirty out of serious competition and wonder what the hell people were thinking. In two years we’ll catch Argo getting recycled again on one of those cable channels and think, “Okay, it is a great story, but I can’t believe Hollywood was so utterly fucked that this film won a Best Picture Oscar.”
Hence I’m voting for Haneke for Best Director, as that was the second best film of the year.
It’s the editing that made Silver Linings Playbook such a terrifically crackling comedy — I’d go so far as to argue that it’s the editing that stands out the most to me in making this so watchable. I just don’t even see there being any serious competition here, even as I have lavished so much praise on clunkier editing jobs in Zero Dark Thirty and other films.
And on Cinematography: you know what’s likeliest to win? Life of Pi! 90% of which was filmed before a green screen so that special effects could be inserted later!
Now, I understand that such filming can also be exquisite; and indeed, this was a beautiful film to watch. But I’m so exasperated that the eloquent filmmaking of Amour wasn’t nominated (and in that apartment!) as well as Beasts of the Southern Wild that I just want to spit.
I’ll admit it: I’m rooting for Beasts simply because it’s one of the few times a woman was recognized in this year’s Oscar ballot beyond the acting categories. Lucy Alibar and Benh Zeitlin might not have written the best script in the bunch — that might have to be Tony Kushner’s Lincoln — but I’m sticking with my choice for political reasons anyway.
And Moonrise Kingdom. It was just so weird and creative and delightful; just thinking about it makes me want to see it again right now. Lovely.
And finally: Best Animated Feature and Best Foreign Film: the only categories in which my choices have a pretty good chance of succeeding with Brave and Amour.
Let’s just summarize this by saying, I can’t be wrong all the time. I’d be through the roof if Brave pulls this off.
A few closing choices:
Short Film/Animated: please let it be Head Over Heels, the one true independent in the bunch (and a really great, creative short); see it here!
Costume Design: the one way I want Snow White and the Huntsman to be remembered.
Original Score: the one way I want Argo to be remembered. (Or, rather, the king-ification of composer Alexandre Desplat.)
We’ll see whether I can catch up on the other short films (live action, documentary short subject) by the end of the afternoon via some creative web searches. And I’ll see you all at the red carpet tonight — during which you can laugh hilariously at my near-complete shutout.
Can we also collectively hold our breaths that emcee Seth MacFarlane isn’t as misogynistic, racist, and otherwise offensive in person as he is as a filmmaker, and/or that better human beings wrote the show? yeah, maybe not.
18 February 2013
There’s nothing like the La Jefitas, is there? No, really, there’s nothing like it. This list of the best 2012 films by and about women — designed to celebrate those female bosses of modern film and subvert a male-dominated and sexist film industry — is exactly what we need during years like this one, when not a single female director was nominated at the Cannes Film Festival or at the Oscars. I mean come on.
Plus, the La Jefitas feature much better statuettes.
Just to bring you up to date from yesterday’s winners:
- Best Actress: Anna Paquin in Margaret
- Female-Oriented Scene I Never Expected to See Onscreen: the abortion scene in Prometheus
- Best Fight Scene in Which a Woman Kicks a Man’s Ass: Gina Carano taking down Michael Fassbender in Haywire
- Most Depressingly Anti-Feminist Trend of the Year: Where did all the roles for Black women go?
- Most Feminist Trend in Film in 2012: 2012 was the Year of Fierce Girls Onscreen
- Best Breakthrough Performance by an Actress Known for Very Different Roles: Jennifer Lawrence in Silver Linings Playbook
- Most Feminist Film: Nadine Labaki’s Where Do We Go Now?
Be sure to check out the full post to find out more about honorable mentions, reasons for establishing these categories, and gorgeous images from the films.
Before we finish the awards ceremony, I feel it incumbent on me to discuss the sad fate of my favorite category: Sexiest Scene in Which a Woman Eats Food. This year’s films did not have a single contender for this prize — a sad state of affairs and a sure measure of the state of our world. To be sure, I had a couple of films in which a woman ate food in an incredibly unsexy way (winner: Shirley MacLaine in Bernie) but that’s not the kind of prize I want to offer at all. Filmmakers: fix this, please.
And now on to the exciting 2012 winners!
Best Female-Directed Film:
This was absolutely the hardest category to determine — I even toyed with breaking my films-only rule and awarding it to Lena Dunham for her series Girls. But in the end there was one film I couldn’t get out of my head: Lauren Greenfield’s documentary The Queen of Versailles, which (inexplicably) I never got the chance to write about last year. (Also was inexplicably ignored by the Academy Awards. Do you see why the La Jefitas are so vital?)
Now this is brilliant filmmaking with a healthy dose of sheer karma. When Greenfield began, she simply wanted to create a documentary about a couple in the process of building the largest house in America, which they had already named Versailles. “In a way, it just seemed like this incredible microcosm of society that showed our values. Both Jackie and David [Siegel] had rags-to-riches stories,” she told Vanity Fair.
But after the financial crisis hit and month after month passed by with increasing stress for the family, the director realized she had to change the story of the documentary. If it started out as a story about self-made Americans and their desire to symbolize their success in a house, by the time “they had to put [the half-finished house] on the market, I realized that this was not a story about one family or even rich people,” Greenfield continues. “It was an allegory about the overreaching of America and really symbolic for what so many of us went through at different levels.”
If you haven’t seen The Queen of Versailles, run — don’t walk — to your television and load it up right away. It’ll make you laugh and cringe, but most of all it’s a fascinating cinema insight into our culture’s obsession with wealth and display. Also, just for those scenes of the chaos in the Siegel household after they are forced to let go of so many maids.
Best Uncelebrated Supporting-Supporting Actor:
Jeannie Berlin in Kenneth Lonergan’s Margaret. As the best friend of a woman killed in a bus accident, Berlin attracts the attention of the young Lisa (Anna Paquin) for all the wrong reasons. But you can see why she would appeal so deeply. Prickly and no-nonsense, independent but capable of deep love for her friends, and — most important for Lisa — lacking a need for male attention, she seems perhaps to be the perfect replacement for Lisa’s actual mother. Best of all, she wears her Jewishness on her sleeve rather than push it to the side. Her self-possession is most of all marked by the way Berlin chooses to enunciate her words slowly and methodically, which has a surprising power over the emotional mess of a fast-talking teenager, like a balm to her soul. No wonder Lisa feels so suddenly invested in connecting to this woman.
But she also sees Lisa’s selfishness clearly, and refuses to play a role in Lisa’s mini-drama of denial. It’s a beautiful performance that seems all the more meaningful because the film was so utterly shut out of Oscar competition this year, in part due to its complicated production. Here’s hoping a La Jefita ensures that Berlin gets a lot more work and recognition from here on out (is there a La Jefita bump? let’s find out!).
Best Role for a Veteran Actor Who Is Not Meryl Streep or Helen Mirren:
Emmanuelle Riva as Anne in Michael Haneke’s Amour. I only wish I’d seen this film with friends so I could debrief about it and Riva’s performance at length. It’s hard to believe that this magnificent, beautiful performer has only made 14 films since her début in 1959’s Hiroshima, Mon Amour. I tried many times to write about it here but found myself inadequate to the task; suffice it to say that even with a grim story like this one, the amour triumphs in a way that the inevitability of mortality does not.
Amour is such a perfect portrayal of a good marriage in its final stage that it’s difficult for me to speak of Riva’s performance separate from that of Jean-Louis Trintignant as Anne’s husband Georges. Indeed, I don’t know how the Academy overlooked Trintignant for a Best Actor nomination; the scenes between them are so tender and honest that we’re left with powerfully mixed feelings. On the one hand, it made me desire with all my heart that I will have such a companion when I’m in my 80s (and oh, I’m almost terrified to hope it is my perfect, wonderful partner of today); on the other hand, I hope we will get mercifully hit by a train together on the same day. When it came to playing the role of a woman wrestling with rapidly-advancing debilities of age, Riva gave the role such realistic tenderness and brutality that I swear it must have taken part of her soul. As I watched so many of those scenes, I marveled — how did the 85-yr-old Riva make it through the filming, considering that she must have these same fears of aging on her mind?
Riva’s achievement is all the more impressive because of the stiff competition by veteran actresses this year. Just think of Sally Field in Lincoln and you’ll know whereof I speak; I also include Shirley MacLaine’s comic turn in Bernie and Nadezhda Markina in Elena. Truly: it was a great year for veteran actors.
Best Breakthrough Performance By an Unknown Actor:
No questions here: Quvenzhané Wallis in Beasts of the Southern Wild. I know this film didn’t work for everyone; indeed, the naysayers include big names in cultural criticism. But I believe this film constitutes a visionary outsider’s statement from a child’s point of view — a lovely statement about belonging and existence that ties together deep poverty and wild imagination.
Wallis is so good that it makes me fret about her future — is she really a major acting talent, or a disarmingly wonderful child whose acting will vacillate as she grows older? Nor am I the only one to ask those questions. It makes me nervous about her Best Actress nomination from the Academy.
But in the end all this second-guessing is unfair to the performance as it appeared in this film, a performance that was just perfect. No child, much less any other 6-yr-old, could have gotten it so right this one time. And with that, I’m looking forward to the next role as eagerly as any of her other fans.
Performance So Good It Saves a Terrible Film … well, no, but almost:
Eva Green in Tim Burton’s Dark Shadows. I don’t have anything good to say about this film except that every time the evil witch Green showed up, I started having a good time again.
That blonde wig! The facial twitches! The sex scene in Green’s office! Her gift for physical comedy!
What can we say about the film overall, except that it was confused and that it had a very few funny lines (all of which are helpfully compiled in the film’s trailer)? Yet Green was fantastic. Give this woman more work.
Most Delightful Way to Eschew Narrative in Favor of Pleasure in Female-Centered Films:
They stop what they’re doing and start dancing. I can’t even remember how many times various films this year just stopped what they were doing and featured a great dance number — and I’m not even speaking here about explicit dance films like Pina, Magic Mike, or Step Up 4: Revolution. Remember the weird finale to Damsels in Distress, in which Greta Gerwig and Adam Brody sing the deliciously goofy “Things are Looking Up” and dance awkwardly through a pastoral scene? Or the final act of Silver Linings Playbook, all of it hinging on the goofy routine worked up by two (ahem) non-professionals? In Take This Waltz?
Or the scene at the homecoming dance when the three leads let their freak flags fly in The Perks of Being a Wallflower?
Once you start to put them together, you find a lot of mini-moments onscreen when films adhered to the old theater maxim, you sing when you can no longer speak, you dance when you can no longer walk. Dancing has the capacity to take us out of the fictional magic of the narrative one step further and launch us into true fantasy. Is it a narrative shortcut? oh, who cares. I love it.
Film of the Year:
Kathryn Bigelow’s Zero Dark Thirty. Really: there’s just no question. This would receive my Film of the Year prize even if it had been directed by a man and/or featured a male protagonist.
Nor was it easy for me to let go of Kenneth Lonergan’s Margaret; I even toyed with the possibility of declaring a tie. But I believe Zero Dark Thirty achieves something even beyond the former in working its viewers through the emotional aftershocks of that methodical search for our proclaimed enemy — it wants us as a culture to move away from retribution and toward some kind of catharsis.
My appreciation for the film certainly doesn’t rest on Jessica Chastain’s performance, which didn’t work for me all the time. Rather, it’s the architecture of the overall film and the accelerating action-film aspects that lead toward an exhilarating (but ultimately distracting). Whereas poor Margaret shows in its fabric the scars of so many cooks in the kitchen, Zero Dark Thirty is just a masterful piece of work that amounts to more than the sum of its parts, and Kathryn Bigelow was robbed when the Academy failed to nominate her for a Best Director Oscar.
So there you have it, friends — the year’s La Jefitas! Please don’t hesitate to argue, debate, send compliments (oh, how I love compliments), and offer up new ideas for categories. (You gotta admit, my Most Delightful Way to Eschew Narrative in Favor of Pleasure in Female-Centered Films category should receive a Pulitzer on its own!)
10 January 2013
The Academy released its Oscar nominations this morning, and they did not include a nomination for Kathryn Bigelow’s directing of the film Zero Dark Thirty, which stars Jessica Chastain.
Bigelow and the film have already won big in other competitions. The film has won 6 Best Film prizes, and Bigelow has won 4 Best Director awards. This outpaces Steven Spielberg’s achievements thus far for Lincoln, which has received two Best Film prizes and zero Best Director prizes. All three times these two directors went head to head in a competition — the Broadcast Film Critics Association Awards, the Satellite Awards, and the Washington, DC Film Critics Association Awards — Bigelow won.
Let me ask the obvious: why does the Academy select up to ten films for its Best Picture category (including Zero Dark Thirty) but only five for Best Director? In the last several years the dividend between those two categories has inevitably seen female directors ignored. I liked The Life of Pi and Silver Linings Playbook a lot. But these films do not rise to the mastery of Bigelow’s work, nor to its cultural importance more broadly.
Perhaps it goes without saying that Academy Awards are the biggest, most visible prizes to be earned in film in the US. Too bad they reflect an old boys’ network looking out for their own.
22 November 2012
When the recently-released-from-the-looney-bin Pat (Bradley Cooper) first meets the merely “unstable” Tiffany (Jennifer Lawrence), they assess one other the way a couple of big-game animals might. Inappropriate things spew uncontrollably from their mouths. They look one another up and down as crazy mixed emotions wash transparently over their faces. One suspects that their killing one another or having terrifically athletic sex are equally likely outcomes — and as we start to root for the latter, it’s primarily because the former makes it all the more interesting.
When we saw Silver Linings Playbook last night with pre-Thanksgiving crowds, the audience roared throughout, and so did we. It’s most similar to the writer-director David O. Russell’s Flirting With Disaster (1996), which showed how much he knows how to make a screwball comedy in which things escalate and take unexpected turns.
Between his tight scripts, colorful characters, dream casting, and some drop-dead brilliant editing, Russell knows how to take you down a weird and very funny road. And I reluctantly admit that he gets a stellar, manic performance out of Bradley Cooper, whose charms I generally fail to miss. Cooper’s big blue eyes here convey not sexiness but clueless self-delusion and a singular lack of control that constitute, surely, the best acting he’s ever done. (I also suspect that being in such good acting company raised the bar. But let’s not be small.)
Pat has been institutionalized for something they refer to euphemistically as “the incident” — brutally beating the man sleeping with his wife — and during his months inside, he has absorbed only selectively the physicians’ advice. Namely, he has hitched his star to a vague pile of wishful thinking about silver linings and can-do optimism, while ignoring everything else. He is so myopically determined to win back his estranged wife, who has placed a restraining order on him, that he’s obsessed with slimming down and making himself into exactly the man she wants him to be. Moreover, he’s dead set on doing it all without taking the meds that dumb him down. When the shrink advises him to have a strategy for the possibility that his wife doesn’t want him back, he converts this back into his single-minded strategy for making himself marriage-ready.
A pause is in order. Yes, this is a film about a dangerously self-deluded, mentally ill individual who believes he can get along fine without his meds so long as he exercises and keeps looking for silver linings. Make up your own mind about whether you’re willing to take that as a given and let that guy be your protagonist. The New Yorker‘s Richard Brody was not willing.
To be honest, I was willing — especially as it’s in aid of a really good screwball comedy. The key to this film is that Pat’s refusal of medication in favor of fantasy is a perfect metaphor for how this film will function in your life, perched as it is to arrive in theaters just in time for Thanksgiving. Persist in your delusions and have a little faith, it whispers, for perhaps things will come out okay in the end. As willing as I am to enjoy comedies about the insane, I also noticed those times in this film when I had to swallow my disbelief. Let’s just say that Russell will surely be hearing howls from the ranks of those who actually treat and/or have to live with bipolar and mood swing disorders — and yet I kind of loved it anyway.
Pat isn’t the only one given to magical thinking. His mother (the magnificent Australian actor Jacki Weaver, who’s not given nearly enough here, and who chilled me to the bone in Animal Kingdom) believes that one can smooth everything over with the right foods — “crabby snacks and homemades,” terms only familiar to those with intimate experience with the Philadelphia suburbs. Even worse is his father (Robert De Niro), an Eagles fan so obsessed that 1) he has been banned from the stadium for life for fighting and 2) he believes that Eagles wins can be ensured so long as he faithfully enacts a bevy of superstitious gestures, from arranging the TV remotes in a particular way to holding an Eagles handkerchief, expectantly, in one hand while unblinkingly gazing at the screen.
I mean, in retrospect, is it any wonder Pat has his issues?
In someone else’s hands, this scenario would make me cringe — but with actors as stellar as these, what can I say? It works. But things get ratcheted way up when Pat shows up for dinner with his friends Ronnie (John Ortiz in a really great small role) and Veronica/”Ronnie” (Julia Stiles, I love you) to find that they’ve invited her sister Tiffany, a young widow with a bit of a reputation from her pre-marriage days.
Until now, Pat has appeared as determined as he is deluded. But compared with Tiffany, he’s a lightweight re: determination. Her mere presence throws a goodly portion of his myopia out the window. Nor is she afraid to put herself in his way and keep herself within his line of sight, and keep confounding Pat’s attempts to label her. She may be unstable, but she’s far smarter and less deluded than he is, and in him she has recognized a common soul.
In Tiffany, Jennifer Lawrence has the hardest role in this film. Whereas Cooper gets to go batshit without going quite so far as Brad Pitt in Twelve Monkeys (1995), Lawrence has to persuade us that she’s crazy enough to find Cooper’s character appealing without letting us rack it up to mere nymphomania or view her as comparable to the utterly incomprehensible Emily Watson character in Punch Drunk Love (2002), who inexplicably set her hat for Adam Sandler (argh; that one still kills me). This is hard, especially because Tiffany’s pursuit of Pat requires that she smack him around a bit — and I don’t just mean figuratively — to knock him out of that crazy singlemindedness.
Now, I‘ve been raving about Jennifer Lawrence for years now, but let me say how happy I am that she opted for this comedy. She has a string of very serious roles as ass-kickers — and can we say the same about any other woman in the history of film? — so her career will only improve by showing that her highly physical, coiled presence onscreen has huge comic potential as well. Her character isn’t used for levity or knee-slapping jokes; rather, she appears to rivet your attention, grab you by the ears, and focus your attention on a viable road back to reality.
I liked every minute of this film, even when I wasn’t yet convinced by Cooper and when, toward the end, things move crazily toward improbable resolutions. And I can imagine Silver Linings Playbook becoming a part of my own family’s routine of re-watching goofy comedies during the holiday season. Because in the end, screwball is its own medicine. In offering a modern take on a classic Hollywood genre, this film makes self-medication both a theme and a prescription.