The Helmsmen: Director, 1971

We've landed on Best Director! Gave a lot of thought to this one in my 1971-2014 linking. I mean, who do I compare to whom? Of the five men nominated in 1971, two already had Oscars, one was on his third nomination, one was a first-time filmmaker, and one had finally found a film that suited both himself and audiences. Of the five men (always men!) nominated in 2014, two are previous nominees, two are beloved auteurs finally embraced by the Academy, and one is Morten Tyldum.

But dammit, I found a way! I found the common threads!

THE RIFFER

He's not just honing his voice via literary adaptation; he's also riffing off the tone and style of a respected director whose voice and interests neatly align with his own. This could be Wes Anderson adapting Stefan Zweig via Ernst Lubitsch for the invented Europe of The Grand Budapest Hotel, or Peter Bogdanovich adapting Larry McMurtry via John Ford to capture a Western community for The Last Picture Show.

THE PERCEIVED HIRED GUN

Working in a genre that's catnip to Oscar voters and audiences only mission was not to fuck it up. Probably anybody could have done this. Yet he still manages to bring a personal touch, not getting in the way of the story, yet offering a strong piece of cinema with superb performances. Morten Tyldum offers us another World War II tale (with a gay twist!) in The Imitation Game; Norman Jewison offers us a musical epic in Fiddler on the Roof.

THE MEMOIRIST

He's got a personal stake in the material, having shaped aspects of it from his own life, but he doesn't let that cloud his judgment. The performances he coaxes from his actors delve deep -- you know them all too well. Richard Linklater reportedly riffed off aspects of his childhood for Boyhood; John Schlesinger was more than willing to own up to the autobiographical elements of Sunday Bloody Sunday. 

THE LANE CHANGER

Raised eyebrows when he took on the project, as it's not exactly his "box", so to speak; not so much his "thang". Yet this is the one that makes people look up, and even his former critics find themselves applauding. Alejandro G. Inarritu traded in his mopey human dramas for showbiz comedy in Birdman. William Friedkin, known for niche stage adaptations and zany comedies (weirdly), became a power player with his cop thriller The French Connection. 

THE BULLSHIT ARTIST

Carefully-composed shots and a very deliberate tone, with observations and revelations tailor-made to make people think a little more deeply about things, man. Problem is: this emperor has no clothes. An empty, dull, unfocused horror. Yet it's fooled everyone. Bennett Miller's Foxcatcher is a worse offender than Stanley Kubrick's A Clockwork Orange, though. Even more agonizing: these guys are usually great!

A further look at the filmmakers of 1971, after the jump.

Looks Like a Winner: Best Cinematography, 1971

I probably shouldn't point out that this is almost a full week late, but hey -- it's here, right?

Now we come to a difficult point of assessment: Cinematography. Many times, we grade it in terms of what looks prettiest, but this is not necessarily the best choice -- not all movies are made to be pretty. We also sometimes judge on technical wizardry or degree of difficulty -- better, perhaps, but I don't care how much of Gravity was a single take, it was a 3D film that looked flat. In the end, one must always consider what it does for the film.

And sometimes, I just go for the prettiest.

As with any category, there are certain looks, and certain genres, that tend to crop up come nomination time. If I may...

THE EARTHY ART PIECE

The film that people would describe as "painterly", yet not necessarily bold in color. It was meant quite literally for biopic Mr. Turner this year, a reflection of the titular painter's own very mustardy canvases, but also serves well for 1971's Fiddler on the Roof, which, despite its musical genre, has a quite natural, clay-like look to it. Both have phenomenal sunsets, too.

THE MONOCHROME MASTERPIECE

In the age of color film, going black-and-white seems to almost guarantee a nod (Nebraska, for God's sake). Artfully applied this year for Poland's Ida, a tale of identity, memory, morality, and the grey areas in all; also beautiful in 1971's The Last Picture Show.

THE SINGLE-TAKE WONDER

Nothing impresses like a beautifully-lit film with at least one single-take scene, one that makes our jaws drop and exclaim, "HOW?!?" This year, Birdman is getting the praise, as the entire film is comprised of several long-take scenes; in 1971, Summer of '42 the climax is filmed uninterrupted within a single room.

THE HISTORICAL EPIC FROM OL' RELIABLE

There are masters of the craft who are respected and beloved by their peers. Today, we have Roger Deakins, once again nominated (and, once again, probably unsuccessfully) for his reliably great work on the war film Unbroken. In 1971, there was Freddie Young, celebrating the last of his five nominations (three of which he won) for the Romanov bio Nicholas and Alexandra.

THE WINTRY WONDER

There is, I think, a special talent to making a frosty frame, to capturing the genuine chill of a setting. Certainly The Grand Budapest Hotel feels like winter, even indoors; so, too, does The French Connection. Neither really looks similar, and they certainly cover action differently, but at least I'm not alone in admiring icy cinematography.

Less muddle after the jump

Odd Pairings: Best Original Screenplay, 1971

Double feature time again -- only this time, instead of just throwing on a DVD or Blu-Ray or whatever the kids use (holograms? what were those little discs in Minority Report?), why not pick up a manuscript? Specifically, any published copies of the nominees for Best Original Screenplay, be they from 2014 or 1971. And allow me to suggest some travel companions to suit the mood...

You down for broad dramedy zeroing in on a male protagonist undergoing a personal crisis while performing his duties within a particular industry? Double the pleasure with 1971's medical satire The Hospital and 2014's showbiz satire Birdman! (Yes, I know I already made that comparison yesterday, but if the shoe fits...)

In the mood for a bizarre crime flick with a sick sense of humor and an unstoppable protagonist that you kind of wish would, just once, get punched in the face? Double-tap that sucker with 1971's cop-focused Investigation of a Citizen Above Suspicion and 2014's late-night news-focused Nightcrawler.

Perhaps you like crime just fine, but would rather trade in the humor for something that takes a closer look at gender and America. Learn about the ladies from 1971's Klute, and learn about the lads from 2014's Foxcatcher.

Or maybe you're highly specific and could really go for a coming-of-age story focusing on the influence certain adults have over children's lives, and the melancholic nostalgia that comes from looking back? Get out the tissues, because I'm talking about 1971 drama Summer of '42 and 2014 comedy The Grand Budapest Hotel.

Nah, you're the type of person that wants to see the reverse -- the effect a younger person has on the older people in his life -- and you want it spiced up with realizations of how everyone always hopes that they're almost on the brink of Getting It Right, but rarely do. They just thought there'd be more! Yes, yes -- double the fun with 1971's bisexual menage a trois at the center of Sunday Bloody Sunday and 2014's saga of parents and children Boyhood.

For a further look at the films of 1971, please do jump after the jump...

The More Things Change...: Best Actor, 1971

It is interesting, I think, when one looks at this year's crop of Best Actor compared to 1971's, to notice the surprising similarities among the nominees. After more than 40 years, there will always be a certain type of role, or performance, or actor, that attracts Oscar's attention.

Birdman and The Hospital

Michael Keaton (also a Hollmann Award Nominee) brings terrific subtlety to the role of Riggan Thomson, a washed-up actor literally staging his comeback, constantly questioning and doubting himself, surrounded by an ensemble of crazies with their own insecurities and hang-ups, in a beautifully-realized dark comedy about the theatre. George C. Scott is more bellowy and blowsy as Dr. Herbert Bock, a doctor at the end of his rope, constantly questioning and doubting himself, surrounded by an ensemble of crazies with their own insecurities and incompetencies, in a so-so dark comedy about the medical establishment. Oscar, it seems, loves sweaty, drunken monologuing.

The Imitation Game and The French Connection 

Benedict Cumberbatch is superb as the real-life mathematician Alan Turing, portrayed in this film as a super genius who must prove to an increasingly hostile Establishment that his ideas and instincts are not only correct, but the only thing standing in the way of a great evil -- Herr Hitler. Gene Hackman is superb as Popeye Doyle, based on real-life cop Eddie Egan, portrayed in this film as a cocky-but-honest cop who must prove to an increasingly hostile Establishment that his instincts are not only correct, but the only thing standing in the way of a great evil -- heroin trafficked in from France. Oscar, it seems, loves the smartest guy in the room, especially when he has to defy his superiors, man!

American Sniper and Fiddler on the Roof

Bradley Cooper bulked up to play Navy SEAL Chris Kyle, unwavering in his conviction that the Iraq War, and his part in it, are necessary to preserve the United States -- at times, he's absolutely frightening in his black-and-white certainty. Topol greyed up to play middle-aged milkman Tevye, but while Chris Kyle holds firm to what he believes to be true, Tevye is starting to look with curiosity, and maybe a little excitement, at the changing world around him -- he holds on to his traditions, yes, but he's beginning to adapt. Oscar, it seems, loves a man with strong beliefs.

The Theory of Everything and Sunday Bloody Sunday 

Eddie Redmayne is the great quantum physicist Stephen Hawking, conveying warmth, strained patience, uncertainty, and eventual acceptance in an unconventional love story -- forget the ALS, it's the odd triangle between Stephen, wife Jane, and friend/church choir leader Jonathan Hellyer Jones, that's the real draw. Peter Finch is Dr. Daniel Hirsh, conveying warmth, strained patience, insecurity, and willful self-delusion in an unconventional love story -- Daniel, his young lover Bob, and Bob's female lover Alex. Oscar, it seems, loves to check "It's Complicated."

Foxcatcher and Kotch 

What on earth could Steve Carell's performance as John du Pont possibly have in common with Walter Matthau's performance as Kotch? Honey, I don't even know why these people got nominated. Oscar, it seems, loves grey toupees.

For a further look at the performances of 1971, please continue after the jump.

Here We Go: Best Original Song Score and Adaptation, 1971

Over the next three weeks, we'll be taking a look at the films of 1971 -- as usual, seen through the prism of the Academy Award Nominees from that year. Not as usual, we will also take a look at the corresponding nominees of this year's Oscars. How does J.K. Simmons stack up alongside Ben Johnson? What is the parallel between Alexandre Desplat and Jerry Fielding? Can we trace an evolution, or possible plateau, in the 43 years that have passed between The French Connection and Selma? These are the types of questions we will try to ponder.

Later, though. For now, let us concentrate on one of my favorite categories to have gone the way of the dodo -- the Adapted Song Score (aka...well, see post title).

I'm still not entirely sure why they discontinued the category (is it because no one could top Prince?), especially since the minimum required was only three. Easy enough, I should think. This year alone could have seen nominations for Annie, Begin Again and Into the Woods, all of which use both songs and music derived from those songs to create a complete score. Previous years would have been able to honor Frozen, True Grit, Black Swan, Ray, Walk the Line -- plenty of options!

In 1971, there were a full five to choose from:

Guild Developments!

Just got back into town from opening weekend at the Sundance Film Festival -- and indeed, just got back from the red carpet of the Screen Actors Guild Awards, where I field-produced a red carpet piece that included the cast of Orange is the New Black (who won Ensemble in a Comedy Series) and William H. Macy of Shameless (who won Actor in a Comedy Series). Life...is going well.

But it does mean I missed the Guild news. Which is rather shocking!

After Boyhood took LAFCA, NYFCC, the Golden Globes, and Critics' Choice, the Producers Guild Award for Best Theatrical Motion Picture went to...Birdman! Whoa! Surelt The Imitation Game or The Grand Budapest Hotel would take SAG though, right?

Wrong. Once again, 'twas Birdman that won the prize -- in this case, Ensemble in a Motion Picture. Patricia Arquette, J.K. Simmons and Julianne Moore once again won plaudits in their respective categories, but in the battle between Birdman's Michael Keaton and The Theory of Everything's Eddie Redmayne, it was the young'un in the biopic who won Actor in a Motion Picture. Which is bull. Redmayne is a great actor, it's a fine performance, and he's rather sexy in person (oh, trust me), but I believed Riggan Thomson more than I believed Stephen Hawking.

But who knows? Birdman's triumph in the Ensemble category could benefit Michael Keaton -- I hope it does -- just as it could influence its Best Picture chances...not a whit.

By the way. The frontrunners of this category are Birdman, a single-take (ish) film about a washed-up actor putting on a vanity project; Boyhood, a 12-years-in-the-making reflection of growing up and parenting; and The Grand Budapest Hotel, a zany-yet-melancholy period piece from Wes Anderson. No matter what, this year's Oscars are gonna be weird.

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The OSCAR NOMINATIONS!

Only the Oscars could get me up at this time! It is 5:29am, pitch dark outside, everything silent but for the clip-clop of some passerby outside...and the hum of the press on the live feed. This year, all 24 categories will be announced live, but just so no one gets confused, Academy president Cheryl Boone Isaacs and Chris Pine are still doing the sexy half. Here's Alfonso Cuaron and JJ Abrams with the first batch. Neat!

BEST ORIGINAL SONG
Begin Again - "Lost Stars"
Beyond the Lights - "Grateful"
Glen Campbell: I'll Be Me - "I'm Not Gonna Miss You"
The LEGO Movie - "Everything is Awesome"
Selma - "Glory"
4/5
Aw, the Glen Campbell song made it. Can't be mad about that -- especially since "Lost Stars", "Grateful", and "Glory" all made it in, too.

VFX
Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
Interstellar
X-Men: Days of Future Past
3/5
Whoa, no Godzilla! Whoa! OK, genuinely surprised by that. Wow. Good for X-Men though!

DOC SHORT
Crisis Hotline
Joanna
Our Curse
The Reaper
White Earth

DOCUMENTARY
Citizenfour
Finding Vivian Maier
Last Days in Vietnam
The Salt of the Earth
Virunga
4/5
Roger Ebert doc Life Itself left off final ballot; The Salt of the Earth is in.

FILM EDITING
American Sniper
Boyhood
The Grand Budapest Hotel
The Imitation Game
Whiplash
4/5
No Birdman here does surprise me, since this is usually where Best Picture frontrunners secure their bids. But Whiplash was astonishingly-edited, so no complaints here.

SOUND EDITING
American Sniper
Birdman
The Hobbit: The Battle of the Five Armies
Interstellar
Unbroken
2/5
OK, but like, where's Fury? Seriously. Where is it?

SOUND MIXING
American Sniper
Birdman
Interstellar
Unbroken
Whiplash
3/5
I just didn't expect all the Birdman love in the sound categories!

PRODUCTION DESIGN
The Grand Budapest Hotel
The Imitation Game
Interstellar
Into the Woods
Mr. Turner
4/5
Interstellar makes it in over The Theory of Everything! Good choice, Academy -- I happen to agree!

LIVE ACTION SHORT
Aya
Boogaloo and Graham
Butter Lamp
Parvaneh
The Phone Call

ANIMATED SHORT
The Bigger Picture
The Dam Keeper
Feast
Me and my Molton
Single Life

ANIMATED FEATURE
Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
Song of the Sea
The Tale of Princess Kaguya
4/5
Holy shit, no The LEGO Movie!