Personally, I think it's interesting to look at the 1992 Best Actor lineup and not only see that there is one former winner, but that it is neither Clint Eastwood (this was his first acting nomination), nor is it Al Pacino (though that would soon be corrected). It's Denzel Washington.
Washington was already on his third nomination in 1992, having been nominated as a Supporting Actor for Cry Freedom and Glory; it was the latter that resulted in his first Oscar win. Malcolm X was his first nod for Lead Actor; his next five nominations would all follow suit: 1999's The Hurricane, 2001's Training Day (another win), 2012's Flight, 2016's Fences (for which he should have won a third Oscar) and 2017's Roman J. Israel, Esq. All told, that's eight nominations, exactly the tally Pacino had before he finally won his first:
Since then, there's been some debate over who should have won this year. Hell, it's a debate that goes even further back, to 1974-75: if Pacino won for either The Godfather: Part Two (as he could've) or Dog Day Afternoon (as he should've), would there have been less pressure to give him a career Oscar, thereby allowing Washington to take what Spike Lee claimed was rightfully his? Would Washington have even won? A second Oscar in three years doesn't always happen, and there were three other nominees, all on their first time; I can especially see a case for veteran Eastwood becoming the first actor-director to claim both prizes in one night. And what about Stephen Rea, star of the indie film du jour and Best Picture contender The Crying Game?
Fortunately, I'm here to settle once and for all not just the coulda-woulda - but more importantly, the shoulda:
The Silver Screener loves an ensemble film. This is obvious when one considers my favorite films: Nashville, Everyone Says I Love You, The Hours, Magnolia...then there's a few character studies and The Black Cat, but generally I adore ensembles. What's not to love? Several stories intertwine to present a common theme, something relatable about the human condition. Everybody is equal, because as Caden realizes in Synecdoche, NY, everyone is the lead in their own story. Best of all, an ensemble means an all-star cast.
When MGM first conceived of adapting Vicki Baum's 1929 Menschen im Hotel as an all-star vehicle, people thought it crazy. An all-star cast would mean more money spent on the cast, on trailers, on production itself! Then director Edmund Goulding and cinematographer William H. Daniels, working with the production designers, of course, made a 360-degree shooting area, the better to see the hustle and bustle of the hotel as its ensemble worked its way through the narrative. This, too, was unheard of at the time, and revolutionized filmmaking; no longer did they have to depend on a stagebound mise-en-scene. Directors could direct! Oh, and despite sound still being in its relative infancy, the production features pre-Altman overlapping dialogue. Again, it's a hotel. There's stuff going on.
The gamble paid off. Yes, it was one of the studio's biggest grossers.Yes, it won the Academy Award for Best Picture. More importantly, though, it was -- ahem, is -- an artistic triumph. It is as fine a comedy as it is a drama, as much a valentine to opulence as it is a defender of the working-class. When the wounded war vet Dr. Otternschlag claims that "nothing ever happens" at Grand Hotel, we feel sorry for him -- he does not see the romance and redemption, the crime and punishment, the sexy and saintly. Where else but the Grand Hotel would a dying accountant strike up a friendship with a debonair jewel thief? Where else would a stenographer and prima ballerina vie for that jewel thief's affections? Where else would a Dr. Otternschlag even be?
What's unusual about Grand Hotel is not that it won Best Picture, but that it was only nominated in that category. I suppose things would have been different were this not in the days of wacky nomination numbers: eight in Picture, three in the acting categories, four in writing, five in sound...and we were still five years away from supporting categories. Maybe the actors all canceled each other out, because I would say there are four deserving nominees: John and Lionel Barrymore, Greta Garbo, Joan Crawford. Director? Cinematography? Art Direction? SCREENPLAY? All, I'm sure, would have received nominations in a five-wide field. Alas.
Oh-ho, but if this was remade? You can bet there would be a hell of a campaign for the stars! A hell of a one! And the nominees could be (after the cut, of course):
I love Iron Man 2.That feeling I got at the end of the first one - joy, excitement, anticipation of a next chapter, the realization that the Great Movie Season was upon us - was back again, this time from the word go. You know in those old movies when something surprising and mind-blowing happens and the heroine throws her hands up to her face? I did that. I didn't even realize it until I set them down, but my instinctive physical response to the film climactic fight sequence was the ol' hands-to-face routine. Exciting!
What's interesting is that they manager to progress the character by regressing the character. The Tony Stark who realized there was a world to save in the first movie, has let that power, fame and awesomeness go to his head. And so, once again, we get Robert Downey, Jr., doing his fast-talking smart-assery while Gwyneth Paltrow and Don Cheadle try to keep a handle on him. Ah-ha, but there's a darker edge to his behavior, due to plot developments that you'll just have to see for yourself. So, yeah, he's reckless and kind of an asshole, but he's Tony fucking Stark, so he's also lovable and we know he's going to come round in the end. Hurrah!
The villains are great fun. Mickey Rourke's Ivan Vanko is mesmerizing to behold, with Rourke disappearing into the role. I know, I know: it's an Iron Man movie, where everyone's constantly winking at the camera, but sue me, the man actually becomes a Russian baddie. He's amazing to watch, and so it's a shame that he's kind of given short shrift in the film's finale. For such a great climax, it really blueballs the audience Rourke-wise. Not so much Sam Rockwell's nefarious Justin Hammer, Stark's competitor, who is deliciously sleazy. To see these two Hollmann Award Winners sharing scenes of villainy together was almost too much. I wish we had more of them, really.
Except I don't, because there's one thing the Iron Man movies have that the other superhero movies don't: a hero more interesting than his villains. And I love the villains in the Iron Man movies, even Jeff Bridges' Obadiah Stane (don't know why people didn't, I thought he was incredible). It's not that the bad guys are boring. It's that this is a superhero franchise that's actually about the title character! Crazy, novel idea, that! No Kevin Spacey chewing scenery, no Heath Ledger or Jack Nicholson getting awards, no Thomas Haden Church getting the better underscore, no William Hurt; we paid for Iron Man, and that's what we're going to get!
(This is not true, of course, for the Fantastic Four movies, which have no one of interest, anywhere.)
You have to give credit to director Jon Favreau and scribe Justin Theroux for remaining fun while still developing a story and characters. They've managed to find a perfect balance for this film, assisted by the effective score by John Debney. I don't remember any music of note in the first one, but Debney's opening piece is still ringing in my ears, a haunting track that's going to get a lot of play on my iTunes. And by the way, Mary Zophres' costume designs are just as fun, from Whiplash's outfits to Stark's smoking jacket to Hammer's suits. Not to mention the catsuit worn by Tony Award Nominee Scarlett Johansson.
She's fun, by the way. Not distracting, and actually plays a real role in the film's proceedings. I was afraid it would be a glorified cameo, but she's quite effective here. Seems unfair to the male population that she shares so many scenes with Gwyneth Paltrow in which both wear skirts and heels. If we have heart attacks now, how will we buy tickets for the Thor? And furthermore, once scene has them conferring in a room, and Christiane Amanpour appears on one of the television screens. Where was I, Heaven?
OK, typical hetero male rant over. It's a great movie and a fun ride. Been too long since I wrote a completely positive review. Really, there hasn't been a movie this good since Kick-Ass, and that was almost a month ago. I can't recommend Iron Man 2 highly enough.
I toyed for a moment or two with just letting CCM go. A lot has been on my plate this semester, what with a premiere this Thursday, thesis classes starting, and a new 3D project being sprung on us. It's been crazy.
But then I realized that I had promised All About Eve. And dammit, I am going to deliver on that promise.
All About Eve is the definition of A Classic. Popular with critics and audiences alike, it scored a record 14 Oscar nominations, a feat not to be matched until Titanic in 1997. Based on the short story "The Wisdom of Eve" by Mary Orr, the film depicts the rise of Eve Harrington in the theatre world, as told by a theatre critic, a playwright's wife, and Broadway legend Margo Channing. Writer-director Joseph L. Mankiewicz takes the story, originally told solely through the eyes of the playwright's wife, and builds a dazzling story about aging, sexism, and the Theatre that has yet to find an equal. Really, he's a lot more understanding of women than Orr, who wrote about a bunch of back-stabbing bitches. Mankiewicz humanizes all the characters -- well, maybe not the dastardly Eve -- while upping the bitchery! A true master of the craft!
And so, instead of smug British windbag Clement Howell, we get charismatic, faithful, patient Bill Sampson, a director who has been Margo's Man for years, though they've yet to marry. Rather than having Margo meeting Eve first, Karen Richards is the one who meets Eve and introduces her to Margo as a gesture of kindness. Then, of course, there are the two characters Mankiewicz created: Margo's companion and confidante, Birdie; and the renowned theatre critic Addison DeWitt. Can anyone imagine the film without these two?
Of its 14 nominations, All About Eve went home with six Oscars, including Best Picture. Surprisingly, though it had five acting nominations, it only won Best Supporting Actor for George Sanders' career-defining portrayal of Addison DeWitt. Vote-splitting is the only reasonable cause for the losses of Bette Davis and Anne Baxter in Best Actress (Judy Holliday in Born Yesterday), and Thelma Ritter and Celeste Holm in Best Supporting Actress (Josephine Hull in Harvey). Mankiewicz won, of course, for Director and Best Writing - Screenplay. And, of course, there are the two technical wins: Best Sound Recording (Thomas T. Moulton) and Best Costume Design - Black-and-White (Edith Head and Charles le Maire). Its technical losses: Cinematography - Black-and-White (The Third Man), Editing (King Solomon's Mines), Set Direction - Black-and-White (Sunset Boulevard) and Best Music - Dramatic or Comedy Score (Sunset Boulevard).
Oh, but do you think that was the end of its run of awesome? No, no, kind sirs and madames. In 1970, Broadway herself saw the premiere of Applause, a musical based on Mankiewicz's film and Orr's short story. Updated to the then-present, the story switches out Birdie for Duane, combines the roles of Addison and producer Max Fabian into producer Howard Benedict, adds a bunch of dancers, gets Margo to a gay bar, and holy shit the FRINGE ON DISPLAY MY GOD THE FRINGE!!! Though Mankiewicz and some others, notably All About "All About Eve" author Sam Staggs, took issue with both these changes and the the sidelining of Eve in favor of more Margo, the show was a hit. And why not? It was, after all, the Broadway musical debut of Hollywood legend LAUREN FUCKING BACALL:
Yes, yes, yes! Of course, she won the Tony for Best Actress in a Musical, and the show itself won Best Musical. It was later made into a TV Movie that was basically the stage show with cut songs and larger sets. And you can watch all of it here.
And why all this attention on the musical? Because after that TV special, it was mostly forgotten. The idea of recasting All About Eve has been bandied about before by many others, including Sasha Stone at Awards Daily (she chose Streep and Amy Adams as Margo and Eve, respectively). Me, I feel it can not be touched...unless one were to adapt the musical. Because wouldn't you kill to see something like this in a movie:
And so, let the great experiment begin!
BONNIE Who is She: Written for the musical, Bonnie is a dancer who meets Eve through Howard. She spends her time with other Broadway hopefuls at a restaurant where they all mingle, dreaming of making it on the Great White Way.
Songs: Applause, She's No Longer a Gypsy That happy sound goes over you And just like that Everything's bright, this is your night Love hits you right where you're at 'Cause You've had a taste of The sound that says love Applause, applause, applause
My Choice:
Julianne Hough ("Dancing with the Stars", Burlesque) Can she act? Who cares? She's a dancer, she's a singer, there's not really much else required for the role, other than the ability to sell it. And I'm sure she can.
BIRDIE COONAN/DUANE FOX Who is This Person: Margo's assistant and confidant/e. S/he is the only person who suspects Eve of ulterior motives from the very beginning. Birdie/Duane is also sharp-tongued and quick-witted, but who isn't in this story?
Songs: Fasten Your Seat Belts, She's No Longer a Gypsy Fasten your seat belts It's gonna be a bumpy night Eh, eh, eh, eh Margo in action Critics have called an awesome sight
Originally played by: Academy Award Nominee for Best Supporting Actress (All About Eve, The Mating Season, With a Song in My Heart, Pickup on South Street, Pillow Talk, Birdman of Alcatraz), Golden Globe Nominee for Best Supporting Actress (All About Eve, The Mating Season, Boeing (707) Boeing (707)) Thelma Ritter (Miracle on 34th Street, Rear Window)
My Choice: SAG Award Nominee for Best Ensemble (Dreamgirls)
Keith Robinson (This Christmas, Dear John) Hell of a presence, this guy. He sings magnificently, he can dance, and imagine him palling with...but no, I won't tell you who Margo is yet.
HOWARD BENEDICT/ADDISON DEWITT/MAX FABIAN Who is He: Benedict combines Addison and Fabian. He is a successful Broadway producer who is tired of working with Margo. He does take an interest in Eve, however, and even checks up on her story. What he learns about her is rather interesting...but he's willing ot keep quiet for a price.
Songs: Fasten Your Seat Belts Thanks for the party Wow what a blast Get your coat Where's the door Man it's been Eh, eh, eh, eh, eh A bumpy night
Originally played by: Academy Award Winner/Golden Globe Nominee for Best Supporting Actor (All About Eve) George Sanders (Village of the Damned, The Jungle Book) Gregory Ratoff (What Price Hollywood?, I'm No Angel)
My Choice:
Martin Short (Mars Attacks!, Prince of Egypt) Short has played the skeezy suit many, many times before this. He is also a theatre vet himself, what with that Tony Award for Little Me, touring in Martin Short: Fame Becomes Me, playing Leo Bloom in The Producers in LA, doing Godspell in Canada in 1972, with Andrea Martin, Eugene Levy and Gilda Radner. Above, he's the skinny guy; Steve Martin is the fat one.
BUZZ RICHARDS/LLOYD RICHARDS Who is He: Buzz in the musical, Lloyd in the movie and story, Mr. Richards is a playwright. He is Karen's husband, Bill's friend, and Margo's sparring partner. Eve selects him as one of her many conquests as she climbs the ladder of success. He is a bright and kind man, but feels unappreciated.
Songs: Fasten Your Seat Belts, Inner Thoughts, Good Friends Good friend, who could care less If you're a failure or a success They're there, whatever you do They like you for you Not your money or your gorgeousness
Originally played by: Hugh Marlowe (Twelve O'Clock High, Come to the Stable)
My Choice: Golden Globe Nominee for Best Actor in a Musical/Comedy (Kinky Boots), Indie Spirit Winner for Best Supporting Actor (Talk to Me), SAG Award Nominee for Best Ensemble (American Gangster)
Chiwetel Ejiofor (Serenity, 2012) Ejiofor is such a classy guy. I can see him as the frustrated smart guy who thinks he isn't being taken seriously (2012), or as the guy who is more naive than he should be (American Gangtser). Plus, I just like watching him act.
KAREN RICHARDS Who is She: Buzz's wife and Margo's best friend. She is the only one without a career in theatre. Karen sees Eve waiting outside the theatre, and it is she who introduces the girl to Margo. She tries to help the girl in her career and against Margo, not for any malicious reason, but because Karen is just so damn nice.
Songs: Fasten Your Seat Belts, Inner Thoughts, Good Friends
Originally played by: Academy Award/Golden Globe Winner for Best Supporting Actress (Gentleman's Agreement) Celeste Holm (Champagne for Caesar, High Society)
My Choice: SAG Award Nominee for Best Ensemble and Hollmann Award Nominee for Best Supporting Actress (Dreamgirls)
Anika Noni Rose (From Justin to Kelly, The Princess and the Frog) A great singer who deserved more credit than she got for Dreamgirls. This Tony Award-winning actress is usually stuck playing second banana in most of her films, and while that would also be the case here...she's just so damn good at what she does with her characters. Plus, I believe she could have chemistry with anyone, so seeing her with our Margo would be dee-lightful!
BILL SAMPSON Who is He: A great director, Bill and Margo have been an item for a while...though she still refuses his marriage proposals. Bill leaves to direct a motion picture in Rome, but he returns to find Eve living as Margo's assistant, and Margo growing increasingly suspicious of her. Suspicious and drunk. Bill is younger than Margo, but that doesn't lessen his passion for her. He is often the most sensible person in the room.
Songs: Think How It's Gonna Be, Fasten Your Seat Belts, One of a Kind, Something Greater Dry your pretty eyes, come on And let me have a smile Think how it's gonna be When we're together again I don't wanna go But planes come back, you know Think how it's gonna be When we're together again
Originally played by: Gary Merrill (Twelve O'Clock High, Mysterious Island)
My Choice: Academy Award Nominee for Best Actor (Chaplin) and Best Supporting Actor (Tropic Thunder), BAFTA Award Winner for Best Actor (Chaplin), Golden Globe Winner for Best Actor in a Musical/Comedy (Sherlock Holmes), SAG Award Nominee for Best Supporting Actor (Tropic Thunder) and Best Ensemble (Good Night, and Good Luck.)
Robert Downey, Jr. (Heart and Souls, Lucky You) Downey is young enough, I think. Oh, he may not be 35, but he is still younger than our Margo and quite sexy, if I say so myself. He has a rascally charm, and though he rarely gets the opportunity to play just a nice guy, I would love to see him in this role. Really, it's either him or George Clooney, and Clooney doesn't sing. Downey does.
EVE HARRINGTON Who is She: Why, it's all about her! Eve shows up outside the theatre with a tale of woe: a dead husband, small-town dreams, "everything but the bloodhounds snapping at her rear end." Eve soon manages her way into Margo's life, and it is only too late that everyone realizes what a clever schemer she is. The modesty and fragility masks a ruthless woman out to become a Big Star. And hey, she gets that Tony, doesn't she?
Songs: The Best Night of My Life, One Hallowe'en Drop dead, Daddy Look at your little girl now! She feels twitchy, and bitchy, and manic Calm and collected, no sign of panic She's alive, she's alive, so alive!
Originally played by: Academy Award/Golden Globe Winner for Best Supporting Actress (The Razor's Edge) Anne Baxter (I Confess, The Ten Commandments)
My Choice: Academy Award/BAFTA Award/Golden Globe/SAG Award Nominee for Best Supporting Actress (Brokeback Mountain), Indie Spirit Winner for Best Ensemble (Synecdoche, NY), SAG Award Nominee for Best Ensemble (The Station Agent, Brokeback Mountain)
Michelle Williams (The Baxter, Blue Valentine) She's beautiful, but in a way that would allow her to appear mousy. Apparently, she can sing, too. Michelle is probably the best actress under thirty working today. It's hard to believe she's as young as she is, what with her mastery of comedy, drama, and dramedy.
MARGO CHANNING Who is She: The Grande Dame of Broadway. Margo is always putting on a show, whether on stage or off it. She is conscious of her aging, which causes her to erupt at Eve more flamboyantly than she should. But she also initially trusts Eve, leading her into the trap. Margo may have mood swings, but people love her anyway. And truly, what's not to love? Who the hell else would say, "You have permission to breathe!" What an awesome lady.
Songs: But Alive, Who's That Girl, Hurry Back, Fasten Your Seat Belts, Welcome to the Theatre, Inner Thoughts, Good Friends, One of a Kind, Something Greater, Finale A theatre full of strangers adoring you blindly There's something greater There's something greater The friends who know you're lonely and treat you too kindly There's something greater There's something greater
Originally played by: Academy Award Winner for Best Actress (Jezebel, Dangerous), BAFTA Award Nominee for Best Foreign Actress (Whatever Happened to Baby Jane?), Golden Globe Winner for Best Actress in a Drama (All About Eve, Whatever Happened to Baby Jane?) and in a Musical/Comedy (Pocketful of Miracles) Bette Davis (Of Human Bondage, The Whales of August)
My Choice: Academy Award Nominee for Best Actress (American Beauty, Being Julia) and Best Supporting Actress (The Grifters), BAFTA Award/SAG Award Winner for Best Actress (American Beauty), Golden Globe Winner for Best Actress in a Musical/Comedy (Being Julia), SAG Award Winner for Best Ensemble (American Beauty) Annette Bening (Mars Attacks!, The Women) Yes, Andrew, cheer away! Annette is truly the only actress of our time who could do Margo justice. She's got the spunk, the attitude, and the age. Although I've never seen the evidence myself, I hear she can sing, too - I've yet to see Love Affair, apparently she sings in The Kids Are All Right, and she was once considered for Sweeney Todd when it was a Sam Mendes project. The best thing is, there really is no such thing as Too Big with this role.
Love it? Hate it? Either way, make sure you take a look at the TV special on YouTube. It's an interesting piece...
Glad I caught this for a second time (this time seeing the first fifteen minutes). A beautiful, moving film with Colin Firth's career-defining performance at the center of it. As George, the British college prof mourning the death of his life partner (Matthew Goode) in 1960s LA, Firth is sad, funny, hopeful, pathetic. His silence says more than his words, though these, too, are spoken beautifully. Goode is great in an affecting role seen only through flashbacks; for if we cannot like Jim, why should we care about, well, anything in the movie? Luckily, we love Jim, and Goode's portrayal, alongside the screenplay by director Tom Ford and David Scearce, are the source of such affection. Equally brilliant is Julianne Moore as George's nearest, dearest, and saddest friend, Charley. From her first scene, we see that she's never given up on the idea of a future with George -- maybe tonight's the night he comes to his senses! -- while her second scene allows us to see her precise and sad beauty regiment.
Tom Ford, the designer-turned-director, does a truly remarkable job with his first feature. Everybody and everything is beautiful, from the clothes to the art direction to the effective cinematography by Eduard Grau (the way little things brighten George's day: beauty worthy of tears). Some choices, though, are a little hard to follow and risk pulling the viewer out of the movie. Quick cuts to eyes and lips, for example. While I understand that we're getting everything from George's point of view, at times the cuts came so quick that I was startled out of the picture. I was quickly brought back, of course, by Firth and Grau and the score by Abel Korzeniowksi, but there were a few times when the style threatened to overcome the substance. Hopefully, Ford's next feature will dedicate itself completely to the latter. Hopefully, Ford will have a next feature.
SHERLOCK HOLMES
Well, I liked it. Like Monty Python and the Holy Grail, it takes a romp to fully realize the age it's portraying. Surely this muddy, steamy, dank Victorian London is closer to the truth than the polished period films of Merchant-Ivory (much as I love them). Hans Zimmer's score is one of his most engaging, taking an unexpected zither route that works much better than you'd think. Unless you'd think it was the perfect choice, in which case you're right, so go you. I like the end -- as with the stories, the question is always "how", and there is little opportunity for the audience to solve it themselves. Holmes has always been blessed with knowledge that no lay person could possibly understand, and always withheld clues until the end. That's how the books were, and that's how the movie is.
Sorry if I sound defensive. I just really liked the movie. Robert Downey Jr. was a great Holmes. He's not your mama's Holmes, nor was he the definitive one (Jeremy Brett, ladies and gents), but he had all the smug smarts of the character. Mark Strong's villain is deliciously foul, and the hints at a sequel featuring Moriarty thrill me. Rachel McAdams, however, is dreadfully miscast as master thief/love interest Irene Adler. I couldn't help but think how I would have preferred a Maria Bello or, even better, Kathleen Turner in 1980.
Making up for it: Jude Law as Watson. When I was a boy, I always wanted to be Watson. Imagine my disappointment when he was generally portrayed as a buffoon. Here, fortunately, he's the Watson I grew up with: smart, tough, and sharp (though not as sharp as Holmes). Law and Downey have great chemistry together. Watson is dashing and fun, and although a bit of a stuffed shirt, you totally get the affection between these two men. I loved it.
THE LOVELY BONES
What a disappointing movie. It starts out promisingly enough, but by the time it gets to the strangest Susan Sarandon montage I've ever seen, it's all too clear that someone -- Peter Jackson? His co-writers? The Studio? -- dropped the fucking ball. It's still an all right film, but over-indulgent and lacking in any real emotion. Some scenes are so inappropriately juxtaposed that it is neither poignant nor ironically hilarious, just confusing. Saoirse Ronan and Stanley Tucci are very good, great even, but they are adrift in a sea of monotony. Heaven is beautifully rendered, at least -- but to what avail? Maybe Jackson should have spent more time on Earth with the themes and FUCKING TITLE and less in Heaven, the land of who gives a fuck.
THE IMAGINARIUM OF DOCTOR PARNASSUS
I'll just remember The Dark Knight as Heath Ledger's final film. Terry Gilliam went on about how Heath improvised most of his scenes, and everyone was thrilled at the results. Well, those "funny" improvs are some of the worst parts of the movie, along with an unevenly written protagonist (Christopher Plummer's trying, though) and an ending that drops the ball. Visually marvelous and with a fine performance by Andrew Garfield, Gilliam once again proves that he has a great imagination undone by an inability to know what to do with it. I liked Parnassus, but I also worked to do so. Mehhh....
What a fun, strange night. I could have been at my sister's wedding back home (it's also her birthday), but school kept me here. And with no reception to attend, why not watch the Globes?
Da Winnahs:
BEST PICTURE - DRAMA: Avatar. Got that wrong, but at least my shoulda, coulda and woulda. BEST PICTURE - MUSICAL/COMEDY: The Hangover. I was dead wrong, but who saw this coming? One of the best surprises of the night, albeit one that came at the expense of three movies I loved way more. BEST DIRECTOR: James Cameron, Avatar. Wrong again. I suck at this. But he said it himself: "I thought Kathryn was going to get it." BEST SCREENPLAY: Up in the Air. Incorrect, but happily so. So that's what Sheldon Turner looks like. BEST ACTOR IN A DRAMA: Jeff Bridges, Crazy Heart. Ah-ha! Got that one! BEST ACTOR IN A MUSICAL/COMEDY: Robert Downey, Jr., Sherlock Holmes. Great speech. Wrong choice. For me and the HFPA both. BEST ACTRESS IN A DRAMA: Sandra Bullock, The Blind Side. Wrong once more. This just became a strange two-horse race. BEST ACTRESS IN A MUSICAL/COMEDY: Meryl Streep, Julie & Julia. YES! I was right! BEST SUPPORTING ACTOR: Christoph Waltz, Inglourious Basterds. Right again. I like that he themes his speeches with the award. Can't wait for that Oscar speech. "We are all naked men in gold..." BEST SUPPORTING ACTRESS: Mo'Nique. Damn, what a speech. Love that woman. I got it right, by the way. BEST ANIMATED FEATURE: Up. 100% correct, but that's the usual-usual. BEST FOREIGN FILM: The White Ribbon. Correct again. BEST ORIGINAL SONG: "The Weary Kind" from Crazy Heart. Got that one wrong. I guess it's the front-runner now. BEST ORIGINAL SCORE: Michael Giacchino for Up! Yay!
Only got 6/14. Less than half. I think I'm getting better at this.
Wow, have I been neglecting this thing or what? CCT didn't happen, I haven't posted reviews, the last update was a trailer - a week ago.
But you know what? It's my first week at the Film School, so I've been acclimating myself to everything. I'm getting used to everything: classes, parties, filming, the people. It's pretty intense. A lot to handle.
So, let me at least say a few short things about three films I saw weeks and weeks ago.
HELL RIDE
Hell Ride is an homage to that lost subgenre, the Biker B-movie. Larry Bishop writes, directs, and stars - as Pistolero - in this tale of revenge between rival gangs thirty years after the murder of Pistolero's girlfriend (Julia Jones). Now, I saw this at a drive-in, so I was pretty spoiled (the good way) as far as experiences go. You have to experience a grindhouse flick at a drive-in: it's the way it was meant to be seen. And Hell Ride fucking delivers. True, all the actresses appear to be bit players from cheap pornos, but they serve their purpose well...their sexy, sexy purpose. Everyone's having a good time, hitting the right notes, just being generally awesome. The only distraction, really, is Vinnie Jones' fluctuating accent. But whatever. It's an awesome ride (see what I did there). And, gosh darn it, Larry Bishop is actually a pretty fuckin' good director. ***
PINEAPPLE EXPRESS
Stoner-comedy/buddy-action flick pits a stoner (Seth Rogen) and his dealer (James Franco) against a drug baron (Gary Cole) when one of them witnesses a murder. I'll go so far as to say this was the best comedy of the summer. It's one that you appreciate more and more with each reminiscence. The friendship is sincerely portrayed, and the comedy is HIGH-larious (people, I am giving you pearls here). As for the action. Holy shit. I did NOT expect it to be that violent. Damn. People get shot, stabbed, blown up; blood flows, skulls are crushed, and brains splatter against windows. It's pretty intense, but it never takes you out of the moment. Danny McBride and Craig Robinson are the real scene-stealers here, as a drug dealer and a fey hit man, respectively. Great stuff. ***1/2
TROPIC THUNDER
Another great comedy that works on a number of levels. It's mega-violent and hilarious, so that works for fans of the action-comedy genre. But you'll get so much more out of this if you're in the know about studio politics in Hollywood. Robert Downey, Jr., is phenomenal as the Australian method actor playing black: sincere and hilarious, with a mastery of accents that calls to mind - for me, at least - Peter Sellers. Ben Stiller is doing his thing, which is great and all that. Danny McBride also appears in this one, and I can't wait for his career to really take off. The man is DYNAMITE. It takes a while for the story to get comfortable; I'd say it's not until the leads are actually "in the shit" that it begins to be worth the $8.00. And Jack Black and Steve Coogan just annoyed me here, a real shame since I'm a fan of both. You know who didn't annoy me, though? Tom Cruise, who absolutely OWNS as a sadistic Hollywood mogul. Sir, you were born to do comedy. And drama. And action. Fuck, is there anything Cruise can't do? Gah. So, yeah, well worth the watch. ***
My love affair with Mame came by chance. In fifth grade, I had the honor of being Ms. Turner's student for a second year. She approached me one morning, and it was the first time she told me about her sister. She, too, was a teacher, at a high school down the street from Joe's Crab Shack. This teacher, a fiery red-head, was participating in the school's musical, and they needed a ten-year-old boy to play a very crucial role. Ms. Turner sent me off to audition: I was the first to arrive, and after that they canceled auditions. I was IT. I've never had an easier audition, and it was one of the proudest moments of my life.
Due to an unmotivated ensemble, however, the show was canceled before I was scheduled to start rehearsals with them. Fortunately, Virginia--not just my sister, but my soul sister--had the soundtrack. It was as though rehearsals never stopped. I continued listening to the CD, memorizing the songs and falling for this Angela Lansbury character. The more I got to know about the musical, the more I learned of the original stage play, Auntie Mame.
When Patrick Dennis is orphaned, he is taken by his nanny Agnes Gooch to the home of Auntie Mame, his eccentric aunt who lives in a plush penthouse in Beekman Place. In ten years, Mame takes Patrick through the Depression, his college years, marriage to a Southern Gentleman, his engagement to a college girl, an unplanned pregnancy, and on into the future.
I read the book of the musical and the script to the play. I saw the film with Rosalind Russell, and the musical with Lucille Ball. I've yet to read Patrick Dennis's original novel, but I'm in the middle of Chapter Two right now.
What concerns me about Mame is that the Lucille Ball version is the only musical adaptation we got on film. It's not atrocious. Bea Arthur and Jane Connell reprise their Broadway roles as Vera and Gooch, respectively. Robert Preston is a great Beauregarde Jackson Pickett Burnside. But Lucy...I don't love Lucy. Not in this one. She can't sing. She's just not a singer. She does a rhythmic talking through each song, and when she does sing, it's AWFUL. Why should one of the greatest musicals be subjected to a sub-par rendering? Why remake a perfect musical adaptation (My Fair Lady) instead of revisiting an oldie but goodie?
Well, I'll remake that movie. Right now. With this damn cast. Click Read More! to get the D.L.
MRS. BURNSIDE
Who is She: Mother Burnside is the matriarch of the Burnsides. A large, intimidating Southern woman surrounded by vultures waiting for her to die so that they can collect on her will. Mother Burnside is Mame's future mother-in-law, and that's fucking terrifying.
Awesome Quote: "Mother of jefferson Davis! She's passing the fox!"
My Choice: An Academy Award Winner for Best Actress (Misery), she has played a Southern woman a number of times (Fried Green Tomatoes, for example). She also has musical experience (TV movie of Annie), and while Mother Burnside doesn't actually have a song, she could do background vocals.
Kathy Bates (Rat Race, Titanic)
PEGEEN RYAN
Who is She: Near the end, Patrick brings his fiancee to meet Mame and her friends. He meets this gal, who Mame hires as either a maid or an interior decorator. I forget how close the musical is to the original. Anyway, she's smarter, cooler, and much less of an uptight bitch. She's the right girl, but does he know it?
Awesome Quote:
Patrick: "Marriage is a great institution."
Pegeen: "Yeah, but who wants to be in an institution?"
My Choice: Pegeen is Irish, so its only natural that a redhead be chosen. This is a non-singing role, so it can be anyone, no matter what their vocal talents are. And it should be a babe.
Jenna Fischer (Walk Hard: The Dewey Cox Story, Blades of Glory)
CLAUDE & DORIS UPSON
Who Are They: Gloria's parents, upper-class WASPs who own a nice piece of land called "Upson Downs." Get it? The Upsons are scandalized by unmarried preggos, poor people, and Jews.
My Choices: They must look comfortable in period WASP garb, and look wholesome. By which I mean, bred. One of them is an Academy Award Nominee for Best Supporting Actress (Pieces of April)
Bill Irwin (Across the Universe, Lady in the Water) as Claude Upson
Patricia Clarkson (Married Life, Jumanji) as Doris Upson
SALLY CATO
Who is She: A Southern belle who's after Beau, and Beau's money to go with it. She jump-starts the fox hunt in an attempt to kill Mame, Sally's greatest threat to Southern blue-bloodedry.
Awesome Quote:
Sally Cato: "Oh, Mame, I'm so excited! I'm just gonan hold my breath 'til dawn!"
Mame: "Do that, honey."
My Choice: I chose a Southern belle who oozes sensuality and gentility, someone who can play both wholesome and bitchy.
Kristin Chenoweth (TV's Pushing Daisies, Bewitched)
GLORIA UPSON
Who is She: A rich girl who Patrick meets at university. Gloria is spoiled, prejudiced, vain and stupid.
Awesome Quote: "Bunny Bixler and I were in the semi-finals - the very semi-finals, mind you - of the ping-pong tournament at the club and this ghastly thing happened. We were both playing way over our heads and the score was 29-28. And we had this really terrific volley and I stepped back to get this really terrific shot. And I stepped on the ping-pong ball! I just squashed it to bits. And then Bunny and I ran to the closet of the game room to get another ping-pong ball and the closet was locked! Imagine? We had to call the whole thing off. Well, it was ghastly. Well, it was just ghastly."
My Choice: She's played spoiled, prejudiced, vain and stupid people before. She's also young and looks well-bred.
Kirsten Dunst (Spider-Man, Drop Dead Gorgeous)
DWIGHT BABCOCK
Who is He: The trustee left in charge of Patrick's inheritance, it means he also has a hand in Patrick's future. Babcock is a friend of the Upsons, meaning he shares their same views on the un-rich and the non-Protestant. He is a true snob, and tries to break Patrick free from Mame's grasp throughout his life.
Awesome Quote: "For nine years, Mame Dennis Burnside, I have done everything in my power to protect this boy from your idiotic, cockeyed nincompoopery."
My Choice: I wanted someone who looks professional, and can pull off that snob effect. He did this especially well in an episode of "The Nanny" in which he played CC's brother, DD. Their family name on the show: Babcock.
Michael McKean (Clue, The Producers: The Movie Musical)
LINDSAY WOOLSEY
Who is He: A progressive schoolteacher and friend of mame's, he finds the Montessori school to be old-fashioned and fuddy-duddy. His school holds classes completely nude, in order to strip repression off of his charges. Patrick's lessons there last a day, but Woolsey forever remains by Mame's side.
My Choice: I went with an Academy Award Nominee for Best Actor (Chaplin) who looks like a sexy Bohemian.
Robert Downey, Jr. (Kiss Kiss Bang Bang, Iron Man)
AGNES GOOCH
Who is She: Patrick's nanny, an introverted Catholic woman. Mame opens her up to new horizons with a new makeover. Gooch opens up her blouse and winds up getting pregnant.
Songs: St. Bridget, We Need a Little Christmas, Gooch's Song
Awesome Quote:
Gooch: "I'm a bachelor girl. My baby is going to be a little bas-"
Mame: "Agnes!"
My Choice: What I like about her features is that she can pass for both beautiful (as she needs to be for one scene) and frumpy (for most of the film). She can do it. Her voice has the proper range for Gooch.
Idina Menzel (Enchanted, Rent)
PATRICK DENNIS
Who is He: Mame's nephew, a writer. A good-looking young man, Patrick learns all there is about life from his Auntie Mame. As he gets older and meets more of Babcock's crowd, however, he becomes more snobbish and disapproving. It's up to Mame, Pegeen, and a few stiff drinks to save the day!
Songs:
YOUNGER PATRICK: St. Bridget, My Best Girl, We Need a Little Christmas, The Letter
OLDER PATRICK: The Letter
Awesome Quote:
"And if, some day, when everything turns out wrong
You're through with the human race
Come running to me
For you'll always be
My best girl."
My Choice: I've decided to keep Younger Patrick up to the unknown brigade. But older Patrick can be played by someone known, someone who can sing.
That's a video of a young Academy Award Nominee for eBest Actor (Half Nelson), but he also sang recently:
He's also a Hollmann Award Nominee for Best Actor (Lars and the Real Girl)
Ryan Gosling (The Notebook, Remember the Titans)
VERA CHARLES
Who is She: Mame's best friend, an actress from Pittsburgh who affects a British accent to sound more posh. Vera is a lush and a brat, but is always ready with a quip here and a smoke there. She's so delightfully bitchy sometimes.
Songs: It's Today, The Man in the Moon, Bosom Buddies
Awesome Quote:
Vera: (to Pegeen) "Congratulations."
Patrick: "No, Vera, this is Gloria."
Vera: "Pity."
My Choice: True, she already played Mame on Broadway. But she's much more perfect for the role of Vera. A great singer, she's demonstrated her vocals in such films as Chicago and Mamma Mia!. It's a part she could play in her sleep, sure, but she always delivers. It's just too much fun.
Christine Baranski (The Birdcage, The Ref)
BEAUREGARDE JACKSON PICKETT BURNSIDE
Who is He: Beau is a Southern gentleman who meets Mame while Christmas shopping in New York. Mame is fired due to her inability to properly look after his needs, but Beau is charmed and takes her home to Georgia. They marry and travel the world.
Songs: Mame
My Choice: A handsome actor who can sing, dance, and do a Southern accent. He's an Academy Award Winner for Best Supporting Actor (The Usual Suspects) and Best Actor (American Beauty)
Kevin Spacey (TV's Recount, Superman Returns)
MAME DENNIS
Who is She: Everyone's favorite aunt, a force of nature with skin. Mame is a free spirit, always changing outfits, interior decorators, hair color, etc.
Songs: It's Today, Open a New Window, My Best Girl, We Need a Little Christmas, Bosom Buddies, That's How Young I Feel, If He Walked Into My Life Today, Finale
Awesome Quote: "Life is a banquet, and most poor sons-of-bitches are starving to death."
My Choice: She doesn't do musicals often, but when she does, she's a natural. And she LOOKS like Auntie Mame. She SOUNDS like Auntie Mame. She's the perfect person to carry on the Rosalind Russell tradition of class and cool. She is an Academy Award Winner for Best Actress (Dead Man Walking) and a Hollmann Award Nominee for Best Supporting Actress (In the Valley of Elah).
Susan Sarandon (Speed Racer, The Rocky Horror Picture Show)
Attention Mame fans: Any problems that you see? Or did something strike your fancy to the point of praise? Tell me about it!
As promised, I saw Iron Man Thursday night. And that was also the last time I saw the Internet. So, I'm going to try this out, and hope that nobody came by Friday or Saturday, only to be met with disappointment.
Speaking of disappointment, that is one condition that is virtually impossible when watching Iron Man!
Now, keep in mind I have never read the comics. I never watched the show. Indeed, like many people, my familiarity with Iron Man goes about as far as the Black Sabbath song, which I first heard in fourth grade while being driven to school. And I thought to myself, "Wow. What a cool song. I hope one day they make a movie out of this song starring Robert Downey, Jr., and directed by the guy who will direct Elf one day!"
Because I was a gifted seer back then, my hopes came true. Thank goodness, too, because I think Mr. Downey has given us one of the greatest superhero performances. Period. Tony Stark is prickish, egotistical, a man who likes to have a drink before and after sex--I suspect he sneaks a sip during, as well. His transformation from selfish schmuck to enlightened crusader is smooth. He doesn't give up all of his vices, but, as he says, he now knows what he has to do. He can no longer run a business that deals in death, opting instead to defend the defenseless.
Thankfully, we're spared the brooding of the X-Men, the dead-seriousness of Batman, and the life lessons of Spider-Man. At the very least, they're not shoved into our faces. Everyone just seems to be having a good time, from score composer Ramin Djawaldi (who sneaks some notes from the aforementioned song into his own original work) to the thesps: Downey, Gwyneth Paltrow, Terrence Howard, Jeff Bridges....
This may be my favorite Jeff Bridges performance. Yeah, all respect to The Dude, but Obadiah Stane is just so cool. You know he's the villain. You can tell. But until you actually see him behaving nefariously, you can't help but love him. Maybe it's the ties, maybe it's that class ring, maybe it's that bald head. There's just something in the way he moves.
Now, some have spoken against Favreau's action sequences. Okay, maybe they are a little short, and the finale's not the most spectacular of fights. Still, it does its job. There's suspense, and thrills, and little moments that make you go ah-ha! and haha! And thank God, it's the first superhero movie in which the love interest is not the principal endangerment.
It's also nice to see a romance dealt with as maturely as the one here. Paltrow and Downey have great chemistry. Paltrow especially is splendid as the secretary finding herself in love with her boss, yet without any angst or anxiety. There's just that little bit of confusion, that hint of affection, that makes it so believable and true.
I highly recommend Iron Man. I'm sure I'll be seeing it again in theaters, then buying it on DVD, then hoping against hope that someone--Globes, maybe?--has to good sense to recognize the achievements within. Stay after the credits, too. It's so worth it.
