Best Picture

Oscar Season Diary #1: Punditry and Responsibility

Steve McQueen, Michael Fassbender

Is it appropriate to use the word “responsiblity,” in this case?

After all, it’s film we’re talking about. Not international tension or foreign policy, right?

In a way, though, is Oscar punditry not unlike a sort of international operation? Filtering the chaos of Toronto, Telluride, and all the guilds and critics’ circles to come into a streamlined, easy-to-digest pill for those non-endowed with the knowledge of such a particular competition? I think of HitFix, IndieWire, Awards Daily; each reports in a personable manner, speaking to readers versus at them. It’s all stuffed with pretension here and there, but we’re used to that. This is Oscar Season, after all.

Awards Season blogging/punditry discourse is, for the most part, a way for the knowledgeable to be at-bat with the rest of their team at the same time, fighting for the same chance to strike the Academy’s pitch. No one asks them to, but that doesn’t stop the sensationalized coverage of this year’s September festivals from forcing their way into casual Oscar discourse.

I think immediately of Alonso Duralde (film critic at The Wrap) and Adam B. Vary (film reporter for Buzzfeed) and their Twitter spat this weekend after the former expressed his distaste with press oversensationalizing the quality of films for the sake of self-starting awards season buzz. Vary insisted the praise–specifically, that for 12 Years a Slave–was genuine, while Mark Harris (writer at Entertainment Weekly) chimed in, adding that those insisting the Best Picture race is already over aren’t doing the film any favors.

I see the side to each point. It seems that though as power and sway is taken away from critics during awards season (did we have the amount of guild awards, SAG awards, and online buzz 20 years ago? I think not) as anyone with access to the internet now wields the power of broadcast. The onslaught of praise for 12 Years a Slave coming out of Telluride and Toronto is almost knowingly self-fulfilling. What Duralde is getting at, I assume, is that the praise seems more like a wank to their individual ability to find the diamond in the rough and pat themselves on the back for doing so. The awards race has transcended mere quality. It’s about buzz, marketing, studio pushes, and (most importantly) making a splash at these game-changing early-season festivals. Voluminous praise spreads like a virus, and soon everyone is on the bandwagon, an individual part of the machine that turns appeal into gold (Blue is the Warmest Color swept Cannes like wildfire in a similar fashion).

Dallas_Buyers_Club_39335

Perhaps the praise is merely that: praise. It’s ridiculous to judge someone’s enthusiasm for a film, especially in an age where art takes a backseat to blockbuster. I’m all for championing films that break the mold of what studios deem marketable, and 12 Years a Slave certainly looks to live up to the hype. But hype can often kill a film’s chances at the Oscars. Jumping the gun and declaring the race over when Toronto hasn’t completed is ludicrous. There were those who latched on to Argo at this point last year, but that did little good. The film, after all, was left out of the Best Director category, and only then did it become the clear frontrunner (or, colossal sympathy vote) for Best Picture. I don’t doubt the quality of Steve McQueen’s much-anticipated followup to Shame, I just hope its chances aren’t killed thanks to foam-mouthed bloggers expending its welcome too soon.

It was almost as if the desire to love 12 Years a Slave preceded it. Like a shaken bottle waiting to be uncapped. The desire to praise something different, something from a filmmaker widely ignored for superior work two years ago. That’s why the praise for films like Gravity and Dallas Buyers Club coming out of Venice, Telluride, and Toronto seems more legitimate, at least in my eyes. Both seem unexpectedly fantastic, and the reviews truly reflected that. You can tell that critics were stunned by their impact. That’s not to say that quality wasn’t expected, it just didn’t have nearly as much chatter surrounding it as the buzzier flicks did. For one, they weren’t shown at Cannes, and Cuaron’s track record has been 0 for 0 for the past seven years. Surprise passion trumps informed expectation.

Alas, Toronto is nearly over, and we still have other contenders (arguably) to sift through (August reviews should begin pouring in shortly, American Hustle and The Wolf of Wall Street have yet to screen anywhere, Saving Mr. Banks and Captain Phillips are making leaps and bounds to the forefront of Oscar discussion), and all of that only leads to the conclusion that we still have three months until nominations are announced. Sensation and accessibility to underqualified, over-shared opinions only leads one of two ways, neither favorable: building buzz (The Artist) or dying a slow death thanks to over-sharing and over-saturation of “it’s a guarantee, so lets talk about something else” (Lincoln).

Though no one asks for their opinion, bloggers an informed voice is often the best candlelight to follow in a sea of darkness. But, for once, it’d be nice to find the footing on my own.

news-072513a

Current Big 4 predictions after Venice, Toronto, Telluride, and pre-screening buzz:

Best Picture
12 Years a Slave
American Hustle
Gravity
The Wolf of Wall Street
The Butler
Captain Phillips
Nebraska
August: Osage County
Inside Llewyn Davis

Best Director
Martin Scorsese (The Wolf of Wall Street)
David O. Russell (American Hustle)
Steve McQueen (12 Years a Slave)
Alfonso Cuaron (Gravity)
Lee Daniels (The Butler)

Best Actor
Bruce Dern (Nebraska)
Chiwetel Ejiofor (12 Years a Slave)
Robert Redford (All is Lost)
Matthew McConaughey (Dallas Buyers Club)
Tom Hanks (Captain Phillips)

Best Actress
Cate Blanchett (Blue Jasmine)
Meryl Streep (August: Osage County) – If she remains Lead, which apparently she is
Sandra Bullock (Gravity)
Kate Winslet (Labor Day)
Brie Larson (Short Term 12)

Advertisements

Personal Film Awards/Will The Academy’s 2012 Leave a Film Industry Legacy?

reg_1024.OscarsRdCpt.mh.022213

A mere nine hours from now, the Academy of Motion Picture Arts & Sciences will have awarded Argo its top prize, making it statistically one of the weakest winners in the history of the Oscar ceremony. It heads into the Best Picture race without a foreground position in other key categories, most notably without a Best Director nomination.

Only three other films in the 85-year history of the Oscars have reigned supreme over their respective year without a Best Director nomination; Wings (1927/28), Grand Hotel (1931/32) and–most recently–Driving Miss Daisy (1989/90). Argo will become only the fourth exception to the Director nomination/Picture win rule, but lacks the cultural relevance and staying power of those it joins the ranks of. By next week, after Argo‘s rental profits are raked into their respective hawker’s pockets, the film will fall into obscurity, becoming notable only for the reasons it won Best Picture versus its legs as a quality film. Argo‘s legacy is already sealed as a film that made a late-season sweep at the biggest industry pity-party on record. The “snubbing” of the film’s helmer, Ben Affleck, has unfortunately translated into industry backlash against the Academy’s Director’s Branch, which simply didn’t think his work was strong enough to warrant a nomination. If he’d made it into the category, would Argo still win Best Picture? The 2012/2013 Awards Season would appear vastly different if so, with Lincoln likely taking top honors at precursor ceremonies and guild awards alike. This year’s Oscar race is reaffirming only in the sense that Ben Affleck’s likability within the industry, strong enough to guarantee his subpar film the industry’s top honors, will prove beneficial to continuing his transition from mega-star to definitive auteur. Affleck’s skills as a director are undeniable. The Town and Gone Baby Gone reek of quality craftsmanship which, to some degree, is partially why Argo is such a disappointment. Where the two Boston-set pictures reflect a director with a keen sense for location (Affleck is personally connected to the city), culture, and dramatics, Argo feels like a massive exercise in painting-by-numbers, with easily interchangeable direction without a personal mark. Argo will be forever known as the procedural that could, a film with merits based only on the misfortune of its director, who really didn’t deserve anything in the first place. The film’s successes tonight will be empty, remembered only for the pitiful circumstances surrounding them.

ben-affleck-argo

What we must remember, however, is that the Academy’s decision is not binding–at least in a cultural sense. Crash might have trumped Brokeback Mountain in 2005, but where the latter gave a nation perspective, the former gave us a  Showtime series cancelled after the first season. The Kings Speech might have been the perfect frame for its actors to shine, but The Social Network held a mirror to a generation. The Academy has a tendency to make in-the-moment decisions that don’t necessarily highlight the “important” films of their respective eras. Audiences and academia have embraced such films as the “better” offerings of their respective years, making them the unofficial “Best Picture” in their own right. We remember Brokeback Mountain and The Social Network–hell, even Black SwanJuno, There Will Be Blood, Mulholland Drive, etc. have all taken on more prestige and cultural prevalence than their respective year’s Academy-designated Best Picture.

Which films from 2012 will we have to look for to fortify the year’s presence for future generations? Films like Beasts of the Southern Wild and Amour are too small-scale with little commercial appeal, as they’re difficult to grasp in many ways (Beasts for its artistic oddities, Amour for its insistence on eliciting negative reactions combined with a complex structure). Django Unchained will be remembered as an interesting blip on Tarantino’s map, but withstanding little beyond that. Lincoln is a film drawing more on an audience’s affections for its real-life subjects than its strengths as a film, and Les Miserables is eye and ear candy with built-in nostalgia, forgotten beyond the late-night rooms of aspiring drama majors until the next incarnation of the it-needs-to-die-already musical comes along in 15 years. This leaves us with Silver Linings Playbook, Zero Dark Thirty, and Life of Pi. Silver Linings Playbook and Life of Pi are both based on previous works of fiction, already with built-in audiences. Both films offer fresh takes on their source material (crafting “cinematic” casings for them) and yielding high box-office returns (both grossing over $100 million domestically). They’re quality productions and will prove popular at retailers after their DVD releases, but Zero Dark Thirty will emerge as 2012’s crowning achievement as future generations look back. The film is notorious for its depiction of our government using torture as a means to gain information, but it doesn’t lead to much. The only thing the death of Osama bin Laden proves–at least in the world of Zero Dark Thirty–is that steady enduring unrest doesn’t have a solution solvable by putting a bullet into human flesh. So, then, where you “want” to go (as a nation, as a society, as a world power) becomes an issue, as there is no foreseeable place to go. The next target gives us no time for celebration, and the uncertainty of the United States’ position in the world is a questionable state of reality future generations will be living as they reflect back on Kathryn Bigelow’s film.

It’s difficult to accept the Academy as a cultural preservator for this reason, or maybe films that withstand years and decades have simply disappeared from production slates. When was the last time we saw a Bonnie & Clyde, a Sunset Boulevard, a Casablanca, a Psycho? Only time will tell if our spectacle-laden society has actually produced anything worthy of standing the test of time next to such classics, but Argo and its industry pity-win will be lost in the shuffle come April.

I’d also like to present my personal film awards for the prior cinematic year. Every film I’ve seen (released in the United States from January 1st through December 31, 2012) had its fair shot at breaking into one of the categories I’ve designated below. I’ve limited the number of nominees in some categories and expanded them in others (*makes jack-off motion at Academy*), but for the most part I’ve kept the numbers pretty standard. The bolded people and films are the winners. Enjoy.

Motion Picture

1 – Zero Dark Thirty

2 – Beasts of the Southern Wild

3 – The Master

4 – Silver Linings Playbook

5 – Celeste and Jesse Forever

6 – Holy Motors

7 – Seven Psychopaths

8 – Life of Pi

9 – Django Unchained

10 – The Impossible

Close Calls: Flight, Rust and Bone, Amour, Your Sister’s Sister, The Sessions, The Dark Knight Rises, Looper, Prometheus, Magic Mike, Damsels in Distress, The Grey, Pitch Perfect, The Deep Blue Sea, The Hunger Games, Les Miserables

Actress

Jennifer Lawrence – Silver Linings Playbook

Jessica Chastain – Zero Dark Thirty

Quvenzhane Wallis – Beasts of the Southern Wild

Rashida Jones – Celeste and Jesse Forever

Naomi Watts – The Impossible

Close calls: Marion Cotillard (Rust and Bone), Rachel Weisz (The Deep Blue Sea), Emmanuelle Riva (Amour)

Actor

Hugh Jackman – Les Miserables

Denzel Washington – Flight

Denis Lavant – Holy Motors

Joaquin Phoenix – The Master

Matthias Schoenaerts – Rust and Bone

Close Calls: Daniel Day-Lewis (Lincoln), Jack Black (Bernie), Colin Farrell (Seven Psychopaths), John Hawkes (The Sessions), Bradley Cooper (Silver Linings Playbook)

TheMaster_JoaquinPhoenix.png.CROP.rectangle3-large

Supporting Actor

Phillip Seymour Hoffman – The Master

Dwight Henry – Beasts of the Southern Wild

Christoph Waltz – Django Unchained

Matthew McConoughey – Magic Mike

Tom Hiddleston – The Deep Blue Sea

Close Call: Guy Pearce (Lawless)

Supporting Actress

Sally Field – Lincoln

Kelly Reilly – Flight

Anne Hathaway – Les Miserables

Emily Blunt – Looper

Rosemarie DeWitt – Your Sister’s Sister

Close Call: Ari Graynor (For a Good Time, Call…)

Director

Benh Zeitlin – Beasts of the Southern Wild

Paul Thomas Anderson – The Master

Kathryn Bigelow – Zero Dark Thirty

Leos Carax – Holy Motors

Quentin Tarantino – Django Unchained

Close Call: Gary Ross – The Hunger Games

zero-dark-thirty-kathryn-bigelow

Screenplay

Silver Linings Playbook

Celeste and Jesse Forever

Zero Dark Thirty

Amour

Your Sister’s Sister

Seven Psychopaths

Close Calls: Flight, Django Unchained, Beasts of the Southern Wild

seven-psychopaths-img03

Cinematography

The Master

The Impossible

Rust and Bone

Life of Pi

Beasts of the Southern Wild

Close Calls: Django Unchained, The Hunger Games, Les Miserables

Production Design

Anna Karenina

Beasts of the Southern Wild

The Impossible

Les Miserables

Prometheus

Close Calls: The Hobbit: An Unexpected Journey, Lincoln

Visual Effects

Life of Pi

Prometheus

Looper

Rust and Bone

The Impossible

121121_MOV_LifeofPi.jpg.CROP.rectangle3-large

Costume Design

Anna Karenina

The Hobbit: An Unexpected Journey

Django Unchained

Lincoln

Les Miserables

Close Calls: The Girl, Life of Pi

 

Hair, Makeup, Prosthetics

Holy Motors

Hitchcock

Lincoln

Les Miserables

The Hobbit: An Unexpected Journey

Close Call: Prometheus

Editing

Silver Linings Playbook

Holy Motors

Zero Dark Thirty

The Master

Django Unchained

Foreign Film

Rust and Bone

Holy Motors

The Deep Blue Sea

Amour

Holy Motors

The Road to Oscar; the Relevance of Originality in the Race

6a00d834515c9769e2017615a3a7ad970c-500wi

There’s no denying the social and cultural force that the film industry has grown into for the American people. Ushering in new ideas, fantasies, and stories for a willing audience to indulge in, letting us live out the dreams that play over in our heads night after night, the film industry is a longstanding conduit between our reality and the “reality” we so desperately seek to inhabit in times of need. Movies are our escape, and the Academy of Motion Picture Arts & Sciences champions the very best of such devices year after year.

If we look back at past winners of the Oscar ceremony’s top honor, the significance of each year’s respective Best Picture to American culture is glaring. 2008’s Slumdog Millionaire, a ravishing, colorful emotional epic of renewed perspective and undying hope for a better future paralleled the historic Presidential Election which saw Barack Obama give “power” in America a new face. A year later, The Hurt Locker not only attempted to delve deeper into Middle Eastern conflicts that took up a huge portion of topical discussion during the 2008 Presidential Election, but also catapulted a female director to the forefront of Oscar recognition. At a time when issues of women’s/gay/”minority”/civil rights in general were gaining momentum in the political arena, the Academy again asserted film’s social “relevance” as a sign of the times as Kathryn Bigelow (whether fully deserving or not) became the first woman to notch a win in the Best Director category.

The social climate of the nation has changed drastically throughout much of recent memory. The first four years of Obama’s Presidency haven’t gone over well with the American public. His election to a second Presidential term over Mitt Romney this past November proved the nation is divided almost evenly. The economic downturn (whether attributed directly to George W. Bush or diffused onto the shoulders of Oabama) has seen record numbers of unemployment, working families living in homeless shelters, and the disappearance of the middle class becoming a very tangible reality for average American households that form the bulk of the film industry’s consumer base. Thus, 2011’s Best Picture, The Artist, took us back to times of grandeur and prosperity; the silent era of Hollywood’s roaring heyday, when film stars were poster children for the prosperity of a nation versus a distant metaphor for the unattainable life so many Americans have given up dreaming about.

la-et-mg-anne-hathaway-les-miserables-haircut-001

Anne Hathaway, likely Best Supporting Actress winner in Best Picture contender “Les Miserables”

The road leading to the 2012 Presidential Election drove a wedge between Americans not unlike the Union/Confederacy split depicted in this year’s Lincoln, which chronicles a time in U.S. history bearing resemblance to the social climate we endure today. Slavery, violent opposition to the man we call President, and an increasing hostility between opposing views of social, civil, and economic ideologies make Lincoln a timely piece of perspective for contemporary unrest. It’s no surprise, then, that the filmis an early frontrunner to take the Best Picture prize in February. Les Miserables, another heavyweight contender, bears parabolic similarities to the Occupy movement, Zero Dark Thirty and Argo bringing up the rear with musings on the ever-sizzling conflict in the Middle East and the boiling pot of uncertainty that no politician, country, or war could put a lid on over the past decade.

The bleakness doesn’t wear off until we examine the latter half of 2012’s Best Picture contenders; i.e., the Silver Linings Playbooks and Beasts of the Southern Wild—multiple pictures that are still “in the race” but don’t stand a chance at taking home the Oscar come February 24th. Silver Linings Playbook and Beasts of the Southern Wild tap into an almost fantastical notion of optimism amidst tragedy, the former chronicling post-personal-meltdown recovery and the latter compartmentalizing pure, individual struggle of residents trapped within with a weather-ravaged, poverty-stricken, fantastical Katrina-esque village fighting oppression from a class of bourgeois oppressors. While Silver Linings and Beasts are adapted from other works, they capture the spirit of perseverance post-trauma. Bradley Cooper and Jennifer Lawrence overcome adversity and create a unique emotional environment as “minorities,”  whereas little Quvenzhane Wallis, portraying a six-year old girl in Beasts, captures the “rebirth” of youth, her character forced to grow up (yet retain the undying spirit of optimism) in a world with no time for innocence or purity.

17celeste1.r

Andy Samberg and Rashida Jones in the Oscar-worthy “Celeste and Jesse Forever,” that will most likely go unnoticed by the Academy of Motion Picture Arts & Sciences.

The thematic nature of Beasts makes me question why the Academy (and its precursor award brethren) hasn’t embraced a more fantastical branch of filmmaking 2012 was rife with. Films like Beasts, Prometheus, The Dark Knight Rises, and Holy Motors use their whimsical nature to make powerful statements on the persevering spirit of humanity in times of dire opposition. Grounded more in “reality” but still spiritually ambitious, films like Celeste and Jesse Forever, Seeking a Friend for the End of the World, The Master, The Hunger Games, and The Grey delve deep into territory which sees humans overcoming obstacles far beyond their control. Celeste and Jesse Forever, being the most “human” of the bunch, sees a woman’s journey to spiritual homeostasis come after learning to cope with the absence of a lover while keeping him close as a “friend” in her life. It’s a task that seemingly pales in comparison to overcoming the psychological control of a cult (The Master), fighting back against an oppressive government (The Hunger Games) or finding true love amidst the end of the world (Seeking a Friend for the End of the World), but one that shows the evolution of the human spirit endures even in the simplest of vignettes involving a boy, a girl, and the universal thread of love.

Another interesting contender (only for technical categories at this point, it seems, although Emily Blunt still has slight buzz for her supporting performance) is the sci-fi actioner Looper, about do-overs, internal strife, self-hatred, and the often intangible idea of fresh beginnings. The sentiment could be applied to anyone at any given time, but Looper’s insistence on ridding our reality of darkness and preserving it for fresh perspectives of change are, perhaps, the most “relevant” to the culture of 2012 America as we head into a second term with President Obama.

ZERO-DARK-THIRTY_510x317

Jessica Chastain, only slightly behind Best Actress frontrunner Jennifer Lawrence, struggles between her duty as an American and her impulses as a human in Best Picture contender “Zero Dark Thirty.”

The lack of “originality” in what’s vying for the Oscar for Best Picture this year frightens me a little. Out of the ten films Awards Daily (one of the most accurate prediction sites on the web) acknowledges are in the running for Best Picture (Zero Dark Thirty, Les Miserables, Silver Linings Playbook, Lincoln, Argo, Beasts of the Southern Wild, Life of Pi, Flight, The Master, Moonrise Kingdom), only two are not “based” on some other form of media/socio-cultural figure or event (Moonrise Kingdom and The Master). With the National Board of Review and the New York Film Critics Circle naming Zero Dark Thirty their Best Film of 2012, and other precursors pointing to either Argo, Lincoln, or Les Miserables, The Master and Moonrise Kingdom find themselves somewhere near the bottom of the pack (if they pick up a nomination at all). Small buzz for Michael Haneke’s Amour, about aging, death, and the degenerative mental capacity that comes with them, has been building since its screening at the 2012 Cannes Film Festival. While likely to win Best Foreign Language film but almost assuredly out of the Best Picture race, perhaps it taps into the most terrifying element of humanity, which is not oppressive governments or masked supervillains blowing up football stadiums; it’s the potential for human fracture, the potential for degeneration, the potential to “forget” the very things that make us who we are and, in turn, losing the ability to preserve the “feelings” of our times within original fiction that seems to be slipping by the Academy’s scope of interest in a time where “escape” is needed the most.