love the rant. Agreed with you on almost everything....yes, you NEED to see Pollack. It was fantastic. But I'm a big Bjork fan so, where the rest of the world was shouting, "what on earth are you wearing you freak!" I smiled and laughed at how cool she was to wear something so outrageous v. worrying about making it on People's "best dressed" list.....you KNOW she'll end up on their WORST dressed list, so I guess she wins anyway, eh?
cheers-kara
DANGER! DANGER WILL ROBINSON! THIS IS AN EXTREMELY LONG E-MAIL! THERE ARE
HUNDREDS OF LONG-WINDED SENTENCES WITH ENDLESS RANTING! PROCEED WITH
CAUTION, TIME, AND A FEW BATHROOM BRAKES!
Dear Paul and Karen,
Hi, I’m actor Matthew Todd. You might remember me from such events as the
Improv Open Mic Night at SUNY Fredonia. Well, in case your memories are as
fleeting as mine, I am that movie buff who was in Donna’s class, who also
liked The Simpson’s a lot (Yeah, I was the one who spouted off my favorite
Ralph Wiggum quotes at the end of the Improv Open Mic Night). Still
pondering? Probably not, but I like messing with people. Anyway, I tried
to get to your website on your business card: “prestonandvolpe.com” and it
came up “invalid.” Did you change it to another domain name?
So, I had to wait for Mary Charbonnet to put Paul’s Oscar-rant on her
bulletin board to read it. Pretty profound stuff their Mr. Preston, I must
admit. O.K., so when the Academy Awards nominations came out a while ago,
immediately I (being the movie obsessed person I am) started my picks for
all the nominations. I picked them on the basis of 2 rationales. The first
set of picks was picking the winner in each category based on how I think
all the misinformed, stupid voters will choose (in other words, I picked
based on who I thought would win, regretfully enough not the people that
deserve it!). The next set of picks I did are the ones that I believe
deserve the statuette a thousand times more than who will probably win
(there are very FEW exceptions to this rule!).
I have done this for 5 years straight of the Oscars. Come ceremony time
every year, I am highly elated when one of my “deserving, but not likely to
get the Oscar” picks, wins in an upset. (Past happy surprises of mine,
includes James Coburn for Affliction and Robin Williams [who should of won
for Good Morning Vietnam or even for his under-rated, low key performance in
Awakenings] for Good Will Hunting) Then sometimes I am baffled, like when
the real deserving front-runner in a category loses to an also-ran. Such
has happened when the monumental WWII picture Saving Private Ryan with the
most realistic battle footage EVER in a movie (and that says a lot), lost to
the romantic comedy Shakespeare in Love for Best Picture.
Not to make fun of Shakespeare in Love, I personally loved the parody of the
great Elizabethan bard and his whole repertoire of works and influences for
Romeo and Juliet. There is, however, a BIG (and I mean BIG) difference when
comparing the two: They both have great acting, costumes, screenplays, and
art direction. But that is where it ends! Saving Private Ryan had better
cinematography, visual and aural effects, editing, and most importantly
direction (which thank god, Spielberg walked away with); tis’ hard to beat
the likes of Steven at his meaningful best (see also Schindler’s List to
prove my theory!).
YET IT STILL LOST! What is even more disturbing, is that out of all the
categories that statistically is easiest to guess who will win, is Best
Picture. I don’t think the Academy has ever (and hopefully will never do
again) shocked me as much as that did. Then there’s my theory that the
Academy has it out to make life terrible for Spielberg, because until
Schindler’s List, he didn’t win 1 (that’s right, I said ONE!) stinking Oscar
for his pictures or his direction.
Mind you, this includes some of the best and memorable films of the last 26
years (i.e. Jaws, Close Encounters of the Third Kind, Raiders of the Lost
Ark, E.T. The Extra Terrestrial, and The Color Purple.) that got overlooked
every time as if they were the lepers of the Academy. Now I’m not saying
that there wasn’t some damn good competition with some of these films when
they were nominated, but come on! Look at that list of films again! Before
Schindler’s List was released, I think that one of these could have taken
home that golden bald guy. Besides, it could be worse for Spielberg; look
at what the Academy has done to Jim Carrey a year ago, and the year before
that.
He turned in some of the best dramatic work for those years in Man on the
Moon (when he literally BECAME Andy Kaufman, a much greater challenging than
just a 2 hour impression, which were the gripes of all nay-sayers) and The
Truman Show. All of this coming from the In Living Color alumnus, who
before these movies, was typed as a reliable plastic-face, funnyman
(although he did show early signs of dramatic promise in Liar Liar in 1997).
This was a GIANT stretch of his expected acting talent; which usually the
Academy rewards, with at least a nomination (once again, see the past 4
nominations of improvisational
virtuoso-comedian-turned-provocative-dramatic-actor Robin Williams). Then
again, Robin wasn’t nominated for The World According to Garp, Awakenings,
or What Dreams May Come, so don’t look for rationale with Academy voting.
To move on in my long spiel of Oscar pet peeves, I shall move to the
present: The 73rd Annual Academy Awards. (I’m long-winded man! Especially
with all these parenthetical inserts! WHEW! Definitely gotta’ stick to
decaf, definitely!) Let me first start off by saying something that, to the
naked eye, no one has noticed it, but on closer inspection, there is one
film that has garnered more nominations than my “Most-Snubbed” awarded film.
(this year, my “Snubby” goes to the visionary and suspenseful psychological
thriller, The Cell that only garnered one stinking nomination this year: for
Makeup) In case you haven’t figured it out yet, I will enlighten you with
obscurity. The movie I speak of (which only has 2, but still I reiterate:
The Cell only got 1) is Malena.
Malena, for those of you, like me said “Ma-what-uh?” received noms for Best
Cinematography and Best Score. I did research on this film, and found out it
was written and directed by Giuseppe Tornatore. This is the same guy who
wrote and directed the enormously powerful and widely recognized (not to
mention Best Foreign-Language Film-winning) Cinema Paradiso in 1988. So
even if only 2 people in America saw the movie, perhaps there is some
credibility to its worth. I’m glad I took the opportunity to clear that up,
because there was a serious need for some clarification there.
Moving on, (because your brain must be falling asleep by now) this year I
made the following predictions for the Oscars: (I’ll just include the
categories that I can fairly judge, because when it comes to Best Feature &
Short Subject Documentary and Best Animated & Live Action Short Film, I can
honestly say I know zilch about most all of them.) So, without further ado,
here we go:
CATEGORY I WANT TO WIN WHAT WILL MOST LIKELY WIN
BEST PICTURE: Traffic Gladiator
BEST DIRECTOR: Ang Lee for Crouching . . . Steven Soderbergh for Traffic
BEST ACTOR: Ed Harris for Pollock Russell Crowe for Gladiator
BEST ACTRESS: Ellen Burstyn for Requiem …Julia Roberts for Erin Brockovick
BEST SUP ACTOR: Willem Dafoe for Shadow … Benicio Del Toro for Traffic
“ SUP ACTRESS: Kate Hudson for Almost . . . The same (not a typo!)
ADAP. SCRNPLAY: Stephen Gaghan for Traffic The same
ORIG. SCRNPLAY: Cameron Crowe for Almost…Susannah Grant for Erin Brockovich
FOREIGN-LANG: Crouching Tiger, Hidden . . . The same
ART DIRECTION: Crouching Tiger, Hidden . . . Gladiator
CINEMATOGRAP: Crouching Tiger, Hidden . . . Gladiator
COSTUME DESIG: Gladiator The same
FILM EDITING: Crouching Tiger, Hidden . . . The same
MAKEUP: Shadow of the Vampire The same
MUSIC SCORE: Crouching Tiger, Hidden . . . Gladiator
ORIGINAL SONG: “Things…”-Bob Dylan The same
SOUND: Cast Away U-571
SOUND EDITING: U-571 The same
VISUAL EFFECTS: The Perfect Storm Gladiator
If you want to know why I chose the people or movies that I feel, deserve
the Oscar, I’ll try to explain from the beginning, a very good place to
start.
BEST PICTURE: Traffic Gladiator
Traffic is in my opinion, the more intelligent and meaningful movie of the
two. It has depth, an amazing collage of story lines, all interesting, and
all intertwining the major plot thread that binds the movie together into
one nice, neat package. All these things are missing from Gladiator. I
liked Gladiator when I saw it in the theaters. Unfortunately though, all it
can truthfully boast, are a sweeping, epic-like story, (man who goes from
General to Slave to Gladiator and reclaims his leadership status in the
process), large-scale production designs, lots of great battle scenes, and
reliable performances from “Mr. Chameleon,” (or the modern-day Lon Chaney)
Russell Crowe, Joaquin Phoenix, Oliver Reed (who died during filming), and
Derek Jacobi. Traffic however also had an enormous ensemble of great
actors, along with a great screenplay to guide them, and believable and
meaningful theme which makes a stab at humanizing America’s ongoing fight in
the War on Drugs.
BEST DIRECTOR: Ang Lee for Crouching . . . Steven Soderbergh for Traffic
Ang Lee, whose best picture predating Crouching Tiger, Hidden Dragon, was
the small-budgeted, non-action drama The Ice Storm. This movie showed Lee’s
ability to focus on two New Canaan, Connecticut families’ problems of
insubordination, infidelity, and lots of other anti-family behavior, during
Thanksgiving weekend, 1973. By showing each character in a different
perspective, Lee had an ability to use the camera as a purveyor of truth,
with every shot gleaming with realism, as if the movie was based on a true
story. No arguments here though, if Soderbergh wins this prize. He directs
Traffic with an agile deftness that only he has the ability to pull off so
naturally and unassumingly.
BEST ACTOR: Ed Harris for Pollock Russell Crowe for Gladiator
Ed Harris (like other great actors in Biopics) transforms himself into the
role of Jackson Pollock. From what little information I knew about Jackson
Pollock before seeing the movie, (he was famous for a drip-technique of
painting which gave him the name “Jack the Dripper”) I was impressed with
the details that Harris (who also directed) goes for in his performance.
It’s his attention to detail when portraying his occupation, love-life,
alcoholism, and even the minute mannerisms that Pollock probably had in real
life, that make him my sure-fire candidate for Best Actor. I have seen very
few (if any) movies based on a famous artist (the list includes Kirk
Douglas’ portrayal of Van Gogh in Lust for Life, Anthony Hopkins in
Surviving Picasso, and to a lesser extent of a “showcase” role, Jared Harris
as Andy Warhol in I Shot Andy Warhol.) But none of those aforementioned
films have gone to the extent of showing an audience the inner minutia of an
artist’s life like Harris does in Pollock. I have only 5 words to say why I
think this is not the year Russell Crowe deserves Oscar (in other words,
it’s long overdue!): L.A. Confidential and The Insider. I am still in
shock as to why the Academy chose to overlook the glorious work of the
latter! Yeah, so last year he was up against Kevin Spacey in American
Beauty. But that role was 2nd nature for Spacey, an actor who usually takes
on acting in roles which the character has all the witty remarks to dispense
when anything is thrown at him. At least with The Insider, Crowe showed a
real stretch of his physical, mental, and speech type by playing Tobacco
Company whistle-blower Jeffrey Wigand.
BEST ACTRESS: Ellen Burstyn for Requiem …Julia Roberts for Erin Brockovick
Julia Roberts is too good in Erin Brockovich. Let me explain: in Pretty
Woman (what I think is her best work to date), Roberts showed an innocence
to the wholesome hooker and allowed us to see the characters inner emotions,
and hence, the performance was as honest and as natural as could be. In
Erin Brockovich, she spends too much time (and this is partly the
screenwriters fault!) giving snappy answers to everyone, and thus, does not
allow the audience to dive into her heart and feel her pain. What happened
to the real life Erin Brockovich was a moving and uplifting story, but
Roberts uses it as a vehicle to show us that she can play a down-on-her-luck
shrewd attorney/mother with cleavage to boost (pun intended!). I felt that
if the movie (and the publicity) was more concerned with the plight of
Brockovich and her law firm, and less concerned with making Roberts’ breasts
available in every shot, then the movie, along with Roberts’ performance
wouldn’t of felt as fabricated as it did. In a movie like this, to pull it
off effectively, you cannot make it a glamour picture for one of the most
beautiful actresses in Hollywood; it simply takes away from the truth and
honesty the film needs. On the flip side of the spectrum, Ellen Burstyn,
who is not ashamed to look more atrocious then Linda Blair in The Exorcist
showed me exactly what you do need to make a drama to work: selflessness,
fearlessness, and openness. I say that because Roberts did not have any of
those qualities in Erin Brockovich. Yes, she played a character who in real
life, was fearless, selfless, and open to all criticisms she received, but
Roberts plays the role for the theme of her struggle, rather than the
inner-feelings of the struggle. That’s where Burstyn shines in Requiem for
a Dream Darren Aronofsky’s (of Pi fame) psychological drama. Burstyn plays
a woman named Sara, who is a conservative-looking stay-at-home mother at the
beginning of the film, but then develops a diet-pill addiction that leads
her on a downward spiral. By the time the film is nearly over, we see the
levels of depravity she sinks to because of her drug problem. Physically,
she is horrid. Mentally, she has lost all normal conscious thought.
Emotionally, she is deeply scarred. A fraction of Burstyn’s multi-layered
performance, to me, was more moving and intriguing then all of Roberts’
scenes as Brockovich.
BEST SUP ACTOR: Willem Dafoe for Shadow … Benicio Del Toro for Traffic
No contest here why Dafoe should win: his performance as the real life
method vampire-actor Max Schreck during the filming of F.W. Murnau’s 1922
horror classic, Nosferatu, is funny, chilling, and overall good. Another
actor might of taken the role of Schreck, and deliver the lines almost too
over the top (a la Faye Dunaway in Mommie Dearest). Here, Dafoe has lots of
fun with the role, and plays it ever so convincingly. (Not to mention that
with the help of detailed makeup, he is the mirror clone of the real-life
Schreck) Del Toro does deserve the Oscar just as much, but comparatively,
his role is rather bland. Unfortunately, Oscar voters tend to vote more on
the popularity of a film than its general worth, so Del Toro might just have
that swing in his favor.
“ SUP ACTRESS: Kate Hudson for Almost . . . The same (not a typo!)
The daughter of Goldie Hawn as she was referred to before Almost Famous was
released. After seeing this movie in September, (and by judging Goldie
Hawn’s film career in the last 10 years) I would feel it more appropriate to
refer to Goldie Hawn as the mother of Kate Hudson. Hudson, whose character
“Penny Lane” was integral to the story and on screen long enough for a Best
Actress nom, (but you know what the Academy does to young actors in
lead/co-lead roles: Just look at Justin Henry in Kramer vs. Kramer or
recently Haley Joel Osment in The Sixth Sense) was as marvelous as the part
could be played. Hudson milked every ounce of sincerity and personal growth
into her character, that it would be a shame not to reward her growth as an
actress. The one scene where she goes through a collection of emotions in
the matter of a minute, is a tricky thing to do for any actress at any age,
and here Hudson (whose only 21, and has been in 5 films previous to Almost
Famous) shows lots of talent. She is one of today's up and coming young
actresses of the new millennium.
ADAP. SCRNPLAY: Stephen Gaghan for Traffic The same
See my reason for wanting Traffic for best picture and you will know why it
should win the Best Adapted Screenplay award. It serves as a major tool to
the actor’s and facilitates them to create richly, drawn-out, 3-dimensional
characters, with great performances abroad.
ORIG. SCRNPLAY: Cameron Crowe for Almost…Susannah Grant for Erin Brockovich
From the director/screenwriter of Say Anything and Jerry Maguire, Crowe
shows us that a movie can really open you up to feel every emotion a
character can go through. Here he tends to do it through Hudson’s character
“Penny Lane.” No other contemporary screenwriter has the natural
free-flowing ability that Crowe does to be able to write dialogue in the
vernacular of the time. Almost Famous was in the 70’s (where as Say
Anything is in the 80’s. and Jerry Maguire is in the 90s.), and the clothes,
music, and set pieces had the look of the 70s. I am inclined to say that
the picture would not of worked on a serious level so effectively as it did,
if someone else had written the dialogue to the same plot. Crowe can
capture our minds, hearts, and sense of humor in one fall swoop of the
keyboard that was used to write the dialogue. He jumbles laughs, tears, and
joy in a picture so seamlessly, it’s no wonder why he hasn’t written a bad
script to date.
FOREIGN-LANG: Crouching Tiger, Hidden . . . The same
‘Nuff said!
ART DIRECTION: Crouching Tiger, Hidden . . . Gladiator
Gladiator had the gigantic-looking set pieces from the streets of Rome, to
the Coliseum, to Maximus’ home with acres of beautiful land, to the
battlefields in the beginning of the film. This is all nice and good, but
the background should support and compliment the movies acting, not flaunt
it to serve as a façade of a realistic gladiator epic. In Crouching Tiger,
Hidden Dragon, the landscapes and the trees assists (almost literally at
times) the actors ability to tell the story in a gorgeous and believable
background.
CINEMATOGRAP: Crouching Tiger, Hidden . . . Gladiator
Gladiator, although it takes place during the Roman Empire, has a look to it
that screams all too modern. It’s as if the actors are all recreating the
battles on the screen, rather than living in the atmosphere. Once again,
Crouching Tiger, Hidden Dragon puts the actors in a real “period” atmosphere
in 19th century Beijing, China. Because I feel like I am actually there,
the cinematography ultimately brings much needed realism to its artsy-love
story-action drama plot.
COSTUME DESIG: Gladiator The same
For once Gladiator with its lavish costumes of the Roman Empire, from the
high nobility, to the slave gladiators has everyone else in the competition
beat.
FILM EDITING: Crouching Tiger, Hidden . . . The same
To be able to have “Matrix-like” fight sequences, with lots of great
close-ups and zoom-outs, this picture has got to have some of the best
editing in the business, which supplies it with a plausible coherency to the
ebb and flow that the action takes.
MAKEUP: Shadow of the Vampire The same
Willem Dafoe = Max Schreck. Once again, ‘Nuff said!
MUSIC SCORE: Crouching Tiger, Hidden . . . Gladiator
Crouching Tiger, Hidden Dragon’s score was sweeping and agile, like the
action and acting of the lead actors. Gladiator’s score was not bad for
music’s sake, but Hans Zimmer has written better stuff (such as The Lion
King for which he won an Oscar in 1994). Here, it seems out of place and
time with the rest of the movie.
ORIGINAL SONG: “Things…”-Bob Dylan The same
Do I need to say more? The man is Folk legend Bob Dylan. He’s not gonna’
be with us for that much longer (mentally, I mean), and this was a great
song in Wonder Boys. The man deserves this more than any other Best Song
Oscar since Bruce Springsteen won for “Streets of Philadelphia” for
Philadelphia in 1993.
SOUND: Cast Away U-571
When I heard that upon the completion of the filming of Cast Away, all the
original sound that was made by Tom Hanks on the island (which was basically
the most important part of the film, considering there is no real dialogue
for about an hour) were not usable because the waves that broke on the shore
drowned out most of the fine detailed sounds that go on, I was speechless.
Then what they told me next was even more astounding. The man in charge of
sound for the movie recreated all of the sound manually on Skywalker Ranch
(they have a beech-like area) and in his studio to match every sound Hanks’
character made on the island. These ranged from making a fire with two
pieces of wood, to cracking open coconuts, etc. . . . Kudos to that man,
whatever his name was! U-571 fares better with the next category
SOUND EDITING: U-571 The same
Here is where U-571 shines the brightest. The sound of leaking pipes, guns,
depth charges blowing up outside of the submarine, getting closer and louder
each time, are all essential reasons why this movie deserves the statuette
hands down. To be able to put those sound effects in at the exact moment,
so it has almost a rhythm that matches the pace of the acting is no easy
chore, but U-571 pulls it off..
VISUAL EFFECTS: The Perfect Storm Gladiator
Finally, w arrive at the MTV-generation’s category that serves as a
barometer of what movie made the most money over the summer. And The
Perfect Storm is no exception grossing well over $100 million. (Gladiator
did gross more, but that’s not the point) The point is, however, where
Gladiator’s use of digital trickery lacked (see previous comments), The
Perfect Storm capitalized on the technology (along with real wave machines
on manufactured set) for all it’s worth. In the end, it was The Perfect
Storm’s visual effects of a ship stranded into the middle of 3
hurricane-like storms that captured my attention much, much, more than
Gladiator’s somewhat cheap looking gladiator battles to the death amongst
the over-populated crowds in the Coliseum.
I say that not all of the “expected” winners are necessarily undeserving of
the Oscar, but sometimes, they just fall a close second to the ones I want
to win. Such notable 2nd placer’s include Steven Soderbergh and Benicio Del
Toro; Traffic was a spectacular movie all around! Then there are my real
UPSET picks. Now these may be upsets because the person has had their
moment in the Oscar limelight, or they might just be dark horse candidates
that at the last moment, convinced enough voters to swing their way. They
are:
BEST PICTURE: Erin Brockovich
For all it’s hype since it’s debut a long, long, time ago in a far off
galaxy, (God I love Star Wars) this could have been festering on the minds
of the Academy voters long enough to choose it.
BEST DIRECTOR: Ridley Scott for Gladiator
Even though this was a flawed period epic, with its overtly noticeable
computerized effects, (from the man-eating Tigers right down to the faux
crowd in the Coliseum) this movie may get enough support on its 12
nominations to get Scott the Oscar.
BEST ACTOR: Tom Hanks for Castaway
He is definitely a real close 2nd when compared to Ed Harris’ performance as
Jackson Pollock. Hanks always deserves the Oscar when he appears on that
ballot, but because he’s won consecutively in 1993 and 1994, don’t expect
the Academy to feel a whole lot of sympathy for his career.
BEST ACTRESS: Joan Allen for The Contender
Like Mr. Hanks, a close 2nd, Allen brings nothing but raw, unrelenting human
emotion to the Senator who is bombarded with McCarthy-like accusations when
she is the prospective candidate to replace the vice-president.
BEST SUPPORTING ACTOR: Jeff Bridges for The Contender
Bridges always plays his roles with the greatest of ease, and this
performance is one of his best. As the seeming aloof, but always
calculating President, Bridges is sly, poignant, compassionate, and
intelligent; in other words, all the things one would want in a President,
but somehow never get nowadays. Sorry W, but it it’s the truth!
BEST SUPPORTING ACTRESS: Judi Dench for Chocolat
Dench is probably the most unlikely candidate for an upset, because Kate
Hudson is really the odds-on-favorite to win in my opinion. (well, maybe not
as odds-on a favorite as Julia Roberts, perhaps, but Joan Allen’s
performance is more substantial to the movie then Judi Dench’s role is here)
Nevertheless, Dame Judi has been on a hot-streak with the Academy voters
since her wonderful turn as Queen Victoria in Mrs. Brown almost 4 years ago,
which gave her a best actress nomination. Let’s also not forget her
8-minute Supporting Actress Award for gracing the screen as Queen Elizabeth
in Shakespeare In Love 2 years ago. (I say this because in the 122 minute
Shakespeare in Love, Dench is only on the screen for 8, count them, 8
minutes!) In other words, it’s good to be the queen!
BEST ADAPTED SCREENPLAY: Steve Kloves for Wonder Boys
Considering there are only 2 other nominations in this film (one for Best
Editing, and for Best Song which should win; cause nobody wants to see the
father of folk, Bob Dylan go home empty-handed!), this one could be a
spoiler to the multi-layered Traffic. (both which stars Michael Douglas) Be
that as it may, the Academy might want to reward the makers of Wonder Boys
for making the mistake of nominating Gladiator for best picture instead of
them.
BEST ORIGINAL SCREENPLAY: Kenneth Lonergan for You Can Count on Me.
This under-appreciated film may just grab the attention of the Academy with
his sensitive depiction of two adult siblings, who reunite after being
separated since they were children because their parents died in a car crash
and left the brother and sister orphans. Plus, Laura Linney’s bravua
delivery of this warm, heartfelt script could act as a pedestal for the
golden statuette.
Finally (and I do mean FINALLY!) in my trials and tribulations with the
Academy Awards, I would like to deliver a much-needed show of appreciation
for the certain movies and/or actors that got snubbed in some of the 23
categories:
BEST PICTURE: Almost Famous & The Contender
WHO THEY COULD HAVE REPLACED: Erin Brockovich & Gladiator
Almost Famous’ portrait of one mans life as a groupie to a fledgling rock
band in the 70s, and The Contender, a smart and savvy modern-day political
thriller. The latter, well I think I have done enough bashing on the two of
them for you to know how I feel about that.
BEST DIRECTOR: Rod Lurie (The Contender), Tarsem Singh (The Cell), and
Darren Aronofsky (Requiem for a Dream)
WHO THEY COULD HAVE REPLACED: Stephen Daldry (Billy Elliot), Steven
Soderbergh (Erin Brockovich), and Ridley Scott (Gladiator)
I remember just last year, the Academy rewarded Spike Jonze (the one time
music video director) with a nomination for the enormously creative Being
John Malkovich, and M. Night Shyamalan was given the same nod for his
“Hitchcock-like” camera work in The Sixth Sense. What’s happened in the
last year? Has the Academy voters taken a step down in the past year on the
ladder of brilliance? This year alone, two amazingly visionary directors
(Singh and Aronofsky) gave us 2 very different, but provocatively profound
visually as well as emotionally. Why couldn’t they at least remember those
2 names when the nomination suggestions came round? Soderbergh is a great
director, but Erin Brockovich is not nearly a spotlight of his deft talent
he has for telling a story, as say Traffic is. Stephen Daldry’s attempt
wasn’t bad, it was just too plain for this category. And as far as Ridley
Scott goes, well I’ve already explained “Ad Nausea” how I feel about
Gladiator. Even Rod Lurie deserves his name on the ballot for bringing a
mystery-like ambiguity and suspense to The Contender by showing us only what
he feels we should know at every moment. But just when you think you got it
all figured out, BAM! In comes a new perspective through his camera lens.
BEST ACTOR: Michael Douglas (Wonder Boys)
WHO HE COULD HAVE REPLACED: Russell Crowe (Gladiator)
As mentioned before, this is not Crowe’s shining role in his career,
especially with his brief history in the Academy. Meanwhile, for Michael
Douglas (an actor who typically takes on roles of men in power, men in 3
piece suits who are always in control and on top of the situation) to play
Pittsburgh college professor Grady Tripp (whose last name pretty much
describes the mental status of the pot-smoking novelist throughout some of
the film), he stretches his talent yet again and succeeds wonderfully by
doing so. He’s complex, he’s honest, and he got robbed during the
nomination process!
BEST ACTRESS: Michelle Yeoh (Crouching Tiger, Hidden Dragon)
WHO SHE COULD HAVE REPLACED: Juliette Binoche (Chocolat)
Once again for Juliette, I use the same theory as I did for Russell Crowe.
(She’s acted in much more worthy roles, like The English Patient for which
she received the Best Supporting Actress Oscar.) Michelle Yeoh who was
virtually unknown before being a “Bond-girl” in Tomorrow Never Dies. Here,
in her first dramatic vehicle was vibrant, sensual, and carried a subtle
sensitivity to her very physical character. She’s got all the right moves,
and then some to spare in this film.
BEST SUPPORTING ACTOR: Gary Oldman (The Contender) & Bruce Greenwood
(Thirteen Days)
WHO THEY COULD HAVE REPLACED: Albert Finney (Erin Brockovich) & Joaquin
Phoenix (Gladiator)
The reason why this is such a good replacement, is because how much these
two pairs of actors are on opposite sides of the acting spectrum. Finney
and Phoenix’s performances alike were a little too over the top, and played
out to the screen contrived. Whereas, Oldman (who can lose himself in a
character so well!) who plays the slimy, calculating power broker Shelly
Runyon who is determined to see that Joan Allen’s Senator Hanson does not
get the appointment for vice-president. Also, Bruce Greenwood as J.F.K. in
the Cuban Missile Crisis picture Thirteen Days plays the former Prez with
style, grace, and wisdom that before his performance here, one could only
see on old film reels of the real life president. Both Oldman and
Greenwood, who here played men of extraordinary power, play it with a
reserved intelligence. Most actors who could have had the chance to play
those parts (and other actors who recreate J..F.K.) would probably play the
roles over-the-top and consequently ruin the reality and believability
factor ten-fold. There is thought behind those men of power. With the
former pair of actors, I did not see the thought behind their characters.
BEST ORIGINAL SCREENPLAY: Rod Lurie (The Contender)
WHO HE COULD HAVE REPLACED: David Franzoni, John Logan and William Nicholson
(Gladiator)
What does that say when it takes three guys to write a film about a man’s
struggle to overcome social adversity as a fallen general turned
slave/gladiator? I would hope it would say a lot, but unfortunately the
screenplay was nothing more than a so-so epic of mediocre proportions. The
dialogue of the script was historically inaccurate according to history
books, and the conflicts were treated in a contrived manner. If the “blame
for an average screenplay, with less-than-average dialogue” was put into
pudding form, it would be spooned out in three equal portions of the script
was nonetheless, which is worse than one big cup of “blame-pudding.” With
all the positive aspects previously mentioned about the acting, directing,
and well-drawn out characters, does it surprise anyone that the screenplay
is the definitive backbone to the entire production? It doesn’t surprise
me! I know Lurie is just that good!
BEST CINEMATOGRAPHY: Shadow of the Vampire
WHO IT COULD HAVE REPLACED: O Brother, Where Art Thou?
Simply put, O Brother, Where Art Thou? had just a little too general and
ordinary kind of southern country atmosphere in the early 20th century to be
incredibly interesting. Shadow of the Vampire’s atmosphere, however,
captivates the audience as it not only recreates the 1920’s Hollywood-style
film making, but it also recreates the film with in a film’s “look” that is
Nosferatu.
VISUAL EFFECTS: The Cell, Dinosaur, & X-Men.
WHO THEY COULD HAVE REPLACED: Hollow Man and/or Gladiator
What happened this year for the Visual Effects nominations? Usually, Oscar
voters pick the 5 best visually adept movies around. (usually all stemming
from the summer blockbusters, with this year being no different) This year,
not only did they forgo 2 slots on the ballot, leaving only three movies,
but they left out the astonishingly awesome, technically superior movies.
Hollow Man’s effects were just a little too sporadic and did nothing to
salvage a really bad movie. At least The Cell’s visionary dream-like style,
and Dinosaur’s 9 figure digital animation budget, which recreated dinosaurs
to the T in Tyrannosaurus-Rex, and X-Men’s comic-book characters special
powers to life in a realistic way. (for those nay-sayers of this, I bring
you to the fact that mutation is a real occurrence in nature, and with a
little suspension of disbelief, whose to say that the essence of social
reactions to mutants isn’t realistically drawn out in the movie)
BEST ART DIRECTION: The Cell
WHO IT COULD HAVE REPLACED: Dr. Suess’ How the Grinch Stole Christmas
Ron Howard’s take on Dr. Suess’ How the Grinch Stole Christmas seemed to
have a very “Tim Burton-wannabe” style of production values. Everything
looked like a nightmare, it was loud and all too lavish and it didn’t
support the real emotions of warmth, care, (latent for the Grinch) and
innocence in a proper manner. The Cell, on the other hand, has many dark,
disturbing, and harrowing moments that can only be compared to the best
“looking” psychological dramas, such as Seven and Silence of the Lambs.
BEST COSTUME DESIGN: The Cell
WHO IT COULD HAVE REPLACED: 102 Dalmatians
I have said many, many positive attributes The Cell has to offer, so the
fancy, deep textured, costumes, which radiated an aura of fantasy in the
minds of Jennifer Lopez’s patients. And in the mind of the killer, the
costumes take a darker imagery to the picture. The light colors represent
one idea, while complimenting and contrasting at the same time as the
darkest hues. While the light colors are passively wandering about, the
dark colors scream out for attention and take control in the action. And
then it can switch in the blink of the eye. If complexity in the story’s
plot can be brought out visually, through the costumes, then I would say
their designer has truly accomplished his/her goals. Besides, if 101
Dalmatians’ costumes weren’t nominated when that movie came out, what are
the odds that 102 Dalmatians’ costumes are all that spectacular, that they
merit an Academy Award nomination? Exactly.
Hey Paul! Love the website. And kudos for the homage
to "Memento" e-mail you sent me! Unfortunately, I
don't think Hollywood has the brains to nominate this
movies for the Oscars it would surely deserve -
Hollywood didn't even want to DISTRIBUTE this movie
cuz they thought it wouldn't make money. Oh, how I
hate show biz. (Love the people and the art, hate the
biz).
Re: Oscar rant - I strongly agree with all you said
about "Billy Elliot"'s ommissions, especially for
Jamie Bell and the actor who played his dad.
And...uh...I liked Bjork. Are we still friends?
By the way, "Hollow Man" and "The Cell" were
horrendous. The former will make you roll your eyes 10
times a minute at the sheer stupidity and the latter
will bore you to death. Don't bother!
Love ya,
Paula
Paulino, I really enjoyed your 2001: Oscar Rant. I
have a printed copy of it right by my side as I type
(I couldn’t help but write my own comments) :
I haven’t seen Pollack, Before Night Falls, Malena,
Dancer in the Dark nor Requiem or You Can Count on Me.
I know, I’m ashamed of myself just as much as you
probably are. There should be no excuses I know... oh
and that goes for Quills as well.
ACTOR --Leading
I am a very big Ed Harris fan and I cannot wait to
see the film. Aside from the trailer and the Oscar
presentations I hadn’t seen much of the film. I must
agree with you Paul; the Actor/ Actress categories
were stacked with unbelievable performances. I have
the same feelings for your Russell Crowe theory and
when I think about what you wrote in regards to
Gladiator and Braveheart, it got me thinking: “...well
maybe he’s right.” Crowe was the expected win. And you
know what, even though Hanks has won twice and the
Academy has to spread the wealth if it weren’t for
Harris and Rush, I would have voted Tom in. The man is
such a class act not to mention his skill, that I
would have no problem with that decision at all. I’m
all for the Threepeat. I believe in the best
performance not politics. In terms of the omission of
Jamie Bell, I’ll have to take your word for it.
There’s another great film I’ll have to wait for on
DVD. I am so ashamed. Heck if I were still on that
damn ship I probably would have caught all the
nominees. I’ll tell you something Paul, I am going to
far few screenings now that I am working in a movie
theatre than when I wasn’t. Go figure. I guess it has
to do with my crazy schedule.
ACTOR-- Supporting
I wasn’t too keen on your choice of Albert Finney,
although I am fan (ever see him as Hercule Poirot in
Murder on the Orient Express?) I was banking or should
I say hoping for Joaquin Phoenix or possibly Dafoe as
a sub winner after the obvious favorite.
Maybe if I watched the film for a second time I might
agree with your choice of Finney.
Again, in reference to the omission of Gary Lewis ...
I will have to take your word for it.
As for Gary Oldman-- I couldn’t agree more. I don’t
know if Miller was trying to be funny, but I mean come
on do your homework Dennis.
ACTRESS-- Leading
Roberts win, while deserving, had some politics behind
it too. I mean God forbid should Julia lose when she’s
literally the #1 female box office grossing star. The
studios wouldn’t dare have her lose this opportunity
for the big prize. I totally agree with your Joan
Allen comment. YES, SHE WILL. I have heard great
things about Linney’s performance and the same with
Burstyn. God, I must see these films. Saw Binoche in
Chocolat, I’m with you on that one.
ACTRESS-- Supporting
question numbero uno: who is Mark Tucci?
And yes, yes, yes, yes, yes, yes, yes, oh No...don’t
wanna go to jail for Paquin, and sorry but I’m not
into the really older types, no matter how classy
they are.
As for Hudson, it would have been a nice win for the
family but I think its too early for her.
With regards to Harden I feel the same.
And who wouldn’t agree with you on the Zhang Ziyi
omission. I screened that film maybe forty to maybe
fifty times while it was running in our IMAX booth and
I can’t recall not one occassion where I wasn’t
checking the screen for my favorite moments. God I
love this job. I’m actually typing in the booth at
this very ... word? I can understand why she didn’t
show up for the Big night, unless she’s in production?
That’s probably it. God is she a HOTTIE!!
CINEMATOGRAPHY
Hands down Crouching. Although, despite the CGI’S,
Gladiator gave a good run. You’d have to see the
Special Features section on the Gladiator DVD to
understand.
DIRECTING
I’m with you on this one. Darn, I have really missed
out on Requiem. I guess I’ll just have to wait. What
else has Aronofsky done?
Oh, you couldn’t have said it better in regards to
Soderbergh.
EDITING
I went with Traffic as well.
I really need to see Memento.
MUSIC
The category I was waiting for. Let me explain: as a
projectionist who had to work with an antique 35mm
projector, I mean the thing is older than me for
crying out loud, when screening Crouching it was one
of my duties to manually close the dowser after the
end credits. The song A Love Before Time began maybe a
quarter into the end credits and unless you’re
inclined to reading the credits (I like to) then
chances are you pretty much missed out. I would have
liked to have seen this song win, but I have to
confess to jumping on the Dylan band wagon so to
speak. Yes he sounds whiny when he sings but there’s a
good history attached to him.
Finally someone said it. Paul you are a genius.
What was that stupid dress she was wearing? I’m
guessing she wanted to co-ordinate her lousy fashion
sense with her idea of what music should sound like. I
WOULD RATHER LISTEN TO HYAENAS SCREW than listen to
her inane ramblings.
Good call buddy. I must confess, you had me on the
floor with this one.
Oh, by the way did I mention how much I miss you guys?
Well, I do. Finally, someone I can communicate my
favorite topic with.
BEST PICTURE
I would have liked Crouching to have taken the big
one, but I guess the scales had to weigh out evenly.
Everyone has to go home happy.
SOUND
good call Paul. Again, to watch Gladiator on DVD one
must invest in a proper Home Theater Surround Sound
system. Heck my brother picked one up for just over
six hundred bucks, its not top notch but it does the
job. The soundtrack on this film was recorded in the
digital format so that also adds to the quality of the
product.
As for Steve Martin’s work; I could not stop laughing
after each punch. The man is a comic genius. I never
realized how darn funny he is, until now.
The De Vito moment just killed me as soon as I saw it.
Hey, if Nicholson is the Oscar Godfather then Hanks
has got to be the Right Hand or Heir to the throne.
These guys are just so cool, slick.
Anyhoo, that’s it for me.
Oh, Paul what are your opinions on Snatch, and Blow?
Your friend of the Great White North,
Alfie.