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Oscar Picks, First Pass

Christopher Plummer, who is an old guy pivotal to the movie, as opposed to Von Sydow, who is an old guy, who has less dialogue than Jean Dujardin

I tend to think of movie years from Academy Awards night to Academy Awards night, not so much because I’m an Oscars fan – though I am – but because some of the movies that get nominated don’t even make it to small markets such as Albany, NY until January or even February. Yeah, I know the Oscar nominations were very conservative this year, for the most part.

*means I have actually seen it

Best Picture
The Artist
The Descendants
Extremely Loud & Incredibly Close
Hugo
Midnight in Paris
The Help
Moneyball
War Horse
The Tree of Life

Saw 6 out of 9, so far, 3 in the last couple weeks. War Horse is still playing, so maybe I’ll still see it. I’d love to watch Moneyball, which is available on DVD.
WILL WIN: The Artist, which I liked. It’s a film about film. I mean, so is Hugo, but not as directly.
WANT TO WIN: Midnight in Paris, or The Descendants
PLEASE! NOT: Extremely Loud & Incredibly Close

Best Actor
Demian Bichir, A Better Life
George Clooney, The Descendants
Jean Dujardin, The Artist
Gary Oldman, Tinker Tailor Soldier Spy
Brad Pitt, Moneyball

WANT TO WIN: George Clooney. Used to be that when an actor had a good year, a couple of strong performances, that’d help him. I heard good things about Ides of March.
WILL WIN: Clooney or Jean Dujardin; can’t decide yet.
DON’T KNOW: the movie A Better Life, or its star

Best Actress 
Glenn Close, Albert Nobbs
Viola Davis, The Help
Rooney Mara, The Girl With the Dragon Tattoo
Meryl Streep, The Iron Lady
Michelle Williams, My Week With Marilyn

WANT TO WIN: Meryl Streep, who’s been nominated about 117 times, but has won only twice and not since the early 1980s
WILL WIN: I keep predicting Streep, so why stop now? Naturally, then, it’ll be Davis.

Best Supporting Actor
Kenneth Branagh, My Week With Marilyn
Jonah Hill, Moneyball
Nick Nolte, Warrior
Christopher Plummer, Beginners
*Max Von Sydow, Extremely Loud & Incredibly Close

WANT TO WIN, WILL WIN: Christopher Plummer, who is an old guy pivotal to his movie, as opposed to Von Sydow, who is an old guy, who has less dialogue than Jean Dujardin

Best Supporting Actress 
Berenice Bejo, The Artist
Jessica Chastain, The Help
Melissa McCarthy, Bridesmaids
Janet McTeer, Albert Nobbs
Octavia Spencer, The Help

WANT TO WIN: actually any of the ones I’ve seen for different reasons. McCarthy because comedy is undervalued.
WILL WIN: Spencer.

Best Director
Woody Allen, Midnight in Paris
Michel Hazanavicius, The Artist
Terrence Malick, The Tree of Life
Alexander Payne, The Descendants
Martin Scorsese, Hugo 

WANT TO WIN: Woody
WILL WIN: Hazanavicius

Best Original Screenplay
Woody Allen, Midnight in Paris
JC Chandor, Margin Call
Asghar Farhadi, A Separation
Michel Hazanavicius, The Artist
*Kristen Wiig and Annie Mumolo, Bridesmaids

WANT TO WIN, WILL WIN: Woody Allen. The screenplay categories have traditionally consolation prizes, and I think, since Woody’s not going to get film or director, this is where he’ll get some love.

Best Adapted Screenplay
Alexander Payne, Nat Faxton, Jim Rash, The Descendants
John Logan, Hugo
George Clooney, Grant Heslov, Beau Willimon, The Ides of March
Aaron Sorkin, Steven Zaillian, Moneyball
Bridget O’Connor, Peter Straughn, Tinker, Tailor, Soldier, Spy

WANT TO WIN, WILL WIN: Payne, et al, who will lose out on picture and director, but likewise takes this prize.

What Oscar-nominated movies did you see this year, and what are YOUR picks?
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MAD’s 2012 OSCAR PREDICTIONS

MOVIE REVIEW: Extremely Loud and Incredibly Close

“Much of what is irritating, precious and tiresome about the movie recedes and drops away, while all the movie’s virtues, which are considerable, rise to consciousness. There are good things here – just be prepared to blast for them.”

While my wife was at a Tupperware party last weekend, I walked to the Madison Theatre in Albany to see Extremely Loud and Incredibly Close. While ostensibly starring Tom Hanks and Sandra Bullock, the real lead is young Thomas Horn, as a quirky nine-year-old who starts a quixotic quest all over “New York City for the lock that matches a mysterious key left behind by his father, who died in the World Trade Center on September 11, 2001.”

I was a couple of minutes late, and the film (actually the previews) didn’t actually begin until the moment I walked into the room. Eventually, three others also saw that show.

The good news is that the flashback relationship between the boy and his father is compelling. The bad news is that the quest is too damn long and detailed. The story requires the boy, largely in monologue, to go from place to place, initially on foot. When he gets an unlikely assistant in his grandmother’s renter, it’s not much help, since the old man is unable to speak. The boy had been tested for Asperger’s syndrome, “but the results were inconclusive.” This is not to say that the actor was lacking, only that the story was.

During the trek, one of the people in the theatre started texting. While I found this incredibly rude, I could almost understand it. I swear the movie, which runs 2:09, could have trimmed 12 minutes of the search with little lost. Yet, in the end, there was a compelling and moving payoff. I just wish the movie had gotten to it sooner.

After I visualized this piece, I read Mick LaSalle’s review, and I realized that he said better than I the virtues and especially the flaws of the movie. “Slog” is a good term. Yet, as he notes, “much of what is irritating, precious and tiresome about the movie recedes and drops away, while all the movie’s virtues, which are considerable, rise to consciousness. There are good things here – just be prepared to blast for them.”

This was nominated for Best Picture this week? Really?

Incidentally, Entertainment Weekly has made note of some vague similarities between this film and Hugo – a young man loses his father, and tries to find a key/lock to solve the mystery of the father’s.
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Thomas Horn was a Kids week winner on the game show JEOPARDY!, which aired 8 July 2010.

MOVIE REVIEW: The Artist

It occurred to me that the last three films I’ve seen were all about the cinema.

Shortly after I saw the black-and-white, mostly silent film The Artist at the Spectrum in Albany the weekend before last, someone asked me what I thought of it. “It’s very clever,” I said. “But is it good?” “It’s the best silent film I’ve seen this century.”

None of this is to say I didn’t thoroughly enjoy the film; more to the point, I would see it again. It’s fun, it’s well-acted, and particularly so, precisely because it IS a silent film, though with music, and the actors have to convey so much sans dialogue. It’s just that there are not that many contemporary films to which I can compare them. Which, in and of itself, makes the fact that it even got made a brave and remarkable feat.

The Artist is the story of silent movie star George Valentin (French actor Jean Dujardin) in Hollywood circa 1927. Will the advent of the talkies mean the end of his career, in favor of younger talent, such as the pretty extra Peppy Miller (Argentinian-French actress Bérénice Bejo)? As their fortunes change, their fates, and the fate of Valentin’s dog (Uggie), remain intertwined.

Dujardin, in particular, has to convey a whole range of emotions. Bejo was also wonderful; some suggested that she was too “modern” for the specific period, which may be true, but I think the French writer-director, Michel Hazanavicius (Bejo’s husband) was trying to convey the difference between the old and the new. He even picked the song ‘Pennies from Heaven’, which appears in the film in 1929 but, as the credits clearly show, dates from 1936; this matters not a bit. The Golden Globes nominations for Bejo and two for Hazanavicius and the win for Dujardin were totally warranted. Kudos also to actors John Goodman, who played the movie mogul Al Zimmer; and James Cromwell, who was Valentin’s loyal assistant, Clifton.

It occurred to me that the last three films I’ve seen were all about the cinema: Hugo, My Week with Marilyn and now The Artist. And the book I read was about film critic Roger Ebert. Next time, a NON-movie movie.

B is for Baghdad

In the next millennium, Baghdad was captured by various groups, including the Fatimids, the Mongols, the Ottoman Turks and finally the British.

When I was growing up, Baghdad sounded wonderfully exotic and ancient. After all, it was in Mesopotamia, that area between the Tigris and Euphrates, which is “widely considered to be the cradle of civilization.”

The meaning of the city’s name may be a “Middle Persian compound of Bag ‘god’ + dād ‘given’, translating to ‘God-given’ or ‘God’s gift’…A less probable guess has been Persian compound Bağ ‘garden’ + dād ‘fair’, translating to ‘The fair Garden.’ Regardless of the derivation, I had believed for some time in my youth that there was a literal Garden of Eden at one point, and it was located somewhere around there.

While the city’s roots date back to ancient Babylon, as a settlement as far back as 1800 B.C., in 762 A.D., “the caliph Al Mansur commissioned the construction of the [modern] city… Mansur believed that Baghdad was the perfect city to be the capital of the Islamic empire…In its early years, the city was known as a deliberate reminder of an expression in the Qur’an, when it refers to Paradise.” So it may have been the perfect place in the three major monotheistic religions at different points.

But in the next millennium, Baghdad was captured by various groups, including the Fatimids, the Mongols, the Ottoman Turks, and finally the British in 1917, during World War I. In the spring of 1941, a coup was launched against the pro-British Kingdom, replaced by “a pro-German and pro-Italian government”, but two months later, “the Mayor of Baghdad surrendered to British and Commonwealth forces.

“On 14 July 1958, members of the Iraqi Army under Abdul Karim Kassem staged a coup to topple the Kingdom of Iraq. King Faisal II…and others were brutally killed during the coup. Many of the victim’s bodies were then dragged through the streets of Baghdad.”

Baghdad prospered for a time, but war, first a nearly nine-year struggle with Iran and then a brief conflict in 1991 and a considerably longer war starting in 2003 with the United States and its allies “caused significant damage to Baghdad’s transportation, power, and sanitary infrastructure.” (And no parade for the US troops coming home is imminent.)

There was this 1987 German movie called Bagdad Café, which I saw at the time. “The film is a comedy set in a remote truck-stop café and motel in the Mojave Desert. The plot is centered around two women (Marianne Sägebrecht and C. C. H. Pounder) who have recently separated from their husbands, and the blossoming friendship which ensues…With an ability to quietly empathize with everyone she meets at the café, helped by a passion for cleaning and performing magic tricks, Jasmin gradually transforms the café and all the people in it.” It was a charming film; here’s the principal song from the movie, Calling You by Jevetta Steele, the soundtrack of a Roger Ebert dream about Illinois cornfields after one of his surgeries. The film was made into a short-lived 1990 US TV sitcom starring Jean Stapleton and Whoopi Goldberg.

Somehow, the notion of Baghdad as a place of greater understanding and cooperation appeals to me. I don’t know if the performer here is from Baghdad, but he is from Iraq and has a wonderful, hopeful story. And there’s seldom too much hope.

ABC Wednesday, Round 10

BOOK REVIEW: Life Itself by Roger Ebert

“Most people choose to write a blog. I need to.”

Fairly early on in my reading of film critic Roger Ebert’s memoir, Life Itself, I decided that, if I were ever to write my own autobiography – not that I necessarily would – it should be modeled on this book. Organized thematically, with an overarching, but not strict, chronology, using short chapters (55 in 420 pages).

But I’m probably not going to write mine because I doubt I could be so descriptive. Ebert remembers things from his childhood that would have eluded me writing about mine. More importantly, though, he writes with incredible honesty. The very first line encapsulates the sensation: “I was born inside the movie of my life.” Yet, though known as probably the premiere movie critic of his time, he got the job “out of a clear blue sky,” and without much thought that it would be his life’s work.

Since I’ve started following him on various movie review TV programs, initially co-starring the late Gene Siskel back in the late 1970s, Roger Ebert has had a distinctive and intelligent voice when speaking about the cinema. But since just before the illness that has silenced his speaking voice, and turned him into what he described as looking like the 1925 version of Phantom of the Opera, his commentary on other aspects of life has proven to be extraordinary. And it all started with his blog:

“My blog became my voice, my outlet, my ‘social media’ in a way I couldn’t have imagined. Into it, I poured my regrets, desires, and memories…The comments were a form of feedback I’d never had before, and I gained a better and deeper understanding of my readers. I made ‘online friends’, a concept I scoffed at. Most people choose to write a blog. I need to.”

Ebert writes about family, growing up Catholic, race, and, naturally, a lot about writing. He explains how he collected places, in London, Venice, and elsewhere, that he would come back to again and again; now that he can’t visit physically, he can still experience them in his mind. Alcoholism – his mother’s and his own – is discussed thoroughly; 1979 marked the beginning of his sobriety.

He discusses several Hollywood legends, but my favorite chapters of those are about directors Martin Scorsese, whose first film is a touchstone for Ebert; and Werner Herzog, with whom he has a spiritual bond, though not in a theological sense. Perhaps not coincidentally, they are all about the same age.

Then there’s the chapter about Siskel, his TV partner, with whom he had a complicated but ultimately fraternal relationship of love and respect. It was Siskel’s agent who packaged them together, suggesting that they be seen together, which made their presence more distinctive.

Most HIGHLY recommended! (Great Christmas present.)
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Reviews by Alan David Doane and Jaquandor.