It's my birthday!
I can finally have a legal drink! I can't wait to finally take my girl out for some Italian food...and a bottle of wine! WHEE!
Wednesday, March 3, 2010
Sunday, February 28, 2010
Crazy Hearts in the Air for Precious Performances! Nine!
It is with great honor that I direct you to this Sunday's edition of StinkyLulu's Supporting Actress Smackdown. Looking at this year's batch of Oscar nominees, the result is kind of...inevitable. You'll see it on there, of course, but for me, it was no contest. Thanks, of course, to StinkyLulu for once again graciously inviting me to take part in this most exciting of Smackdowns.
I wanted to see how my ratings for now compared to my initial reactions.
My lowest score, one heart, went to Maggie Gyllenhaal. As I wrote:
Maggie Gyllenhaal is fine, playing a vulnerable young woman who always seems to be attracted to the wrong guy. She does not want to love Bridges, but she falls for him, and takes the risk. Sometimes, though, she looks like she wishes she could do more. It doesn't help that the editing, or maybe the screenplay itself, seems to cut most developments, including what attracts her to Bad Blake.
Two hearts to Anna Kendrick, whose nomination still flummoxes me. When I first saw her movie:
Kendrick has certain moments where she shines, reminding me why I like her in Rocket Science and tolerate her in the Twilight movies. But her Natalie Keener is shrill, whiny, and cliched. Some of her dialogue, God help me, sounds like lines written for the middle daughter in Dan in Real Life. As for that breakdown scene midway through the film? Yikes. Talk about overplaying the comedy. She is the least consistent out of all the actors, and there seems to be no throughline for her character. It's all moments. While I didn't hate her, and while I definitely (DEFINITELY) still love the movie, Kendrick's Natalie gets a shake of the head from me.
Penelope Cruz, upon reflection, got three hearts. As I said in my review of her film:
Penelope Cruz is, naturally, sexy and funny, and also surprisingly vulnerable as the mistress. "Call from the Vatican" is a hot number as it is, but Cruz just sizzles. Bring the vapors.
I gave four hearts to Vera Farmiga. My initial reaction:
Vera Farmiga is smart, sexy and confident as Alex, who describes herself to Ryan Bingham as "you, but with a vagina." You love her. You must. I certainly fell for her, and so of course I'm rooting for the coupling all throughout. There are sweet moments between her and Clooney that are charmingly understated. Farmiga gives one of the most relatable, believable performances of the year.
Of course, in lock-step with the Globes, Critics and SAG, my five hearts were awarded to Mo'Nique:
Mo'Nique is her mother Mary. Ho. Ly. Crap.... Mo'Nique...is the mom from Hell. I had chills. Her first monologue, raw and abusive, dropped my jaw. Her final monologue gave me goosebumps. Mark these two on your ballots, people; they're in.
I think my opinion of Gyllenhaal lowers the more I reflect on the movie, whereas after a second viewing, Mo'Nique just gets better and better. Please also note: this is the first time I've ran th whole gamut of hearts. An interesting year, this.
But why read all that when you can just see what the Smackdowners have to say?
I wanted to see how my ratings for now compared to my initial reactions.
My lowest score, one heart, went to Maggie Gyllenhaal. As I wrote:
Maggie Gyllenhaal is fine, playing a vulnerable young woman who always seems to be attracted to the wrong guy. She does not want to love Bridges, but she falls for him, and takes the risk. Sometimes, though, she looks like she wishes she could do more. It doesn't help that the editing, or maybe the screenplay itself, seems to cut most developments, including what attracts her to Bad Blake.
Two hearts to Anna Kendrick, whose nomination still flummoxes me. When I first saw her movie:
Kendrick has certain moments where she shines, reminding me why I like her in Rocket Science and tolerate her in the Twilight movies. But her Natalie Keener is shrill, whiny, and cliched. Some of her dialogue, God help me, sounds like lines written for the middle daughter in Dan in Real Life. As for that breakdown scene midway through the film? Yikes. Talk about overplaying the comedy. She is the least consistent out of all the actors, and there seems to be no throughline for her character. It's all moments. While I didn't hate her, and while I definitely (DEFINITELY) still love the movie, Kendrick's Natalie gets a shake of the head from me.
Penelope Cruz, upon reflection, got three hearts. As I said in my review of her film:
Penelope Cruz is, naturally, sexy and funny, and also surprisingly vulnerable as the mistress. "Call from the Vatican" is a hot number as it is, but Cruz just sizzles. Bring the vapors.
I gave four hearts to Vera Farmiga. My initial reaction:
Vera Farmiga is smart, sexy and confident as Alex, who describes herself to Ryan Bingham as "you, but with a vagina." You love her. You must. I certainly fell for her, and so of course I'm rooting for the coupling all throughout. There are sweet moments between her and Clooney that are charmingly understated. Farmiga gives one of the most relatable, believable performances of the year.
Of course, in lock-step with the Globes, Critics and SAG, my five hearts were awarded to Mo'Nique:
Mo'Nique is her mother Mary. Ho. Ly. Crap.... Mo'Nique...is the mom from Hell. I had chills. Her first monologue, raw and abusive, dropped my jaw. Her final monologue gave me goosebumps. Mark these two on your ballots, people; they're in.
I think my opinion of Gyllenhaal lowers the more I reflect on the movie, whereas after a second viewing, Mo'Nique just gets better and better. Please also note: this is the first time I've ran th whole gamut of hearts. An interesting year, this.
But why read all that when you can just see what the Smackdowners have to say?
Tuesday, February 23, 2010
Casting Coup: What Ever Happened to Baby Jane?
It's incredible to think that Hag Horror actually had a place of respectability within the film community. It isn't always that an Oscar Winner can also claim Cult Status, but it happens. So before Who Slew Auntie Roo?, Strait Jacket, Night Watch and Berserk!, Hag Horror began with a bang, as well as a question: What Ever Happened to Baby Jane?
I recently wrote about my own relationship with this film. Suffice to say, it's one of my favorites, right up there with Who's Afraid of Virginia Woolf? in the genre of Ponderous B&W Films Starring Wrinkled Women Made in The Sixties. And since I've recently watched it, it's a natural candidate for a Casting Coup.
What can be said about this film that hasn't been said before? By me? For one, Jack L. Warner was completely against the idea of making a movie starring two actresses past their prime. This is especially interesting because, as much as we can bellyache about ageism and sexism in today's Hollywood, at the time of the film's release, Bette Davis and Joan Crawford were, respectively....54 AND 57 YEARS OLD. By those standards, the following actresses are ripe for hag horror: Joan Allen, Kim Basinger, Geena Davis, Whoopi Goldberg, Amy Irving, Mary Steenburgen, Mary McDonnell, Oprah Winfrey and Kathleen Turner.
Actually, I guess Irving, Basinger, Davis and Turner really don't have the careers they had in their youth. BUT STILL.
Baby Jane was nominated for two BAFTA Awards, two Golden Globes, and the DGA Award. AFI named Baby Jane Hudson the 44th Greatest Movie Villain in 2003. The film was featured, very effectively, in House of Wax, and even referenced on an episode of "Seinfeld". It also led to a successful follow-up, Hush...Hush, Sweet Charlotte, which went on to be nominated for seven Oscars. In 1991, the Redgrave sisters starred in a made-for-TV remake, with Vanessa as Blanche and Lynn as Baby Jane.
Before all that, though, What Ever Happened to Baby Jane? was nominated for five Academy Awards. Joseph D. Kelly, the head of the Seven Arts-Warner Bros. sound department, was nominated for Best Sound, losing to John Cox's work at Shepperton for Lawrence of Arabia. Ernest Haller's eerie Cinematography lost to Jean Bourgoin and Walter Wottitz double-teaming for The Longest Day in the Black-and-White category. I've not seen The Longest Day, but it better have some impressive camera work! Victor Buono, a newcomer to film, would later become known as the villainous King Tut on "Batman" starring Adam West; that night, however, he was nominated for Best Supporting Actor, which went to Ed Begley for Sweet Bird of Youth. Bette Davis should have won for Best Actress, but the award went to Anne Bancroft's admittedly strong work in The Miracle Worker. Joan Crawford, furious at her being snubbed, offered to accept on Bancroft's behalf if she didn't show. Well, Joan got her chance, and reportedly snapped to Bette, "Out of my way!" as she made her way to the stage.
But it won! Yes, Baby Jane, the grand guignol of hag horror, the movie where parakeets are murdered, maids are hammered, and a heavily made-up Bette Davis dances around a beach, Baby Jane won an Academy Award! In the category of Costume Design - Black-and-White, Norma Koch reigned supreme. She even beat out seven-time champion Edith Head's designs for The Man Who Shot Liberty Valance! And when you see Bette Davis in outfits like this:
...you can see the appeal.
Besides, it's a subject that's still relevant. In the movie, Jane is a great child star, but no one respects her as a legitimate actress when she grows up. She takes to drinking, then tries to stage a comeback after forty years...a comeback which involves her wearing the wigs and costumes of her childhood. It's the cautionary Child Star Tale that we all know. Look at its effects on people like Brad Renfro or Lindsay Lohan. Look at the dangers of parents managing their careers, like the Culkins, Gary Coleman's family, or Dina Lohan. It's a subject we know all too well.
But how on Earth does one go about recasting this gem? Really, it all stems from the idea that older actresses should be BEGGING to take these roles. My God, they're the juiciest fun an actress could ever have! The only ones disqualified would be Judi Dench, because she did Notes on a Scandal, and Maggie Smith, because of Keeping Mum. But holy hell, older actresses playing older actresses trying to recapture their youth? YES, PLEASE!
That said, things are being done a little differently for this Coup. Read on...
RAY HUDSON
Who is He: The girls' father. Finding that his younger daughter, Jane, had golden hair and an ability for song-and-dance, he trotted her out to make money as a STAR. He was a promoter and manager first, a father fourth or fifth. Any frustration he took out on Blanche.
Originally played by:
Dave Willock (Revenge of the Creature, Hush...Hush, Sweet Charlotte)
My Choice: Indie Spirit Nominee for Best Actor (Happiness)
Dylan Baker (Thirteen Days, Trick 'r Treat)
Skeezy schemer with a shit-eating grin. That's a face that belongs in a straw boater and pinstripes.
DEHLIA FLAGG
Who is She: The mother of Edwin. This English expatriate taught her son how to play music. She does not mind that he still lives at home, she's just glad to have her precious little boy around her.
Originally played by:
Marjorie Bennett (Man of a Thousand Faces, One Hundred and One Dalmatians)
My Choice:
Julia McKenzie (Shirley Valentine, Bright Young Things)
She's played slightly daffy women before. Besides that, though, she humanizes even the smallest of roles. Remember her brief but memorable turn as Dame Judi's sister in Notes on a Scandal?
MRS. BATES
Who is She: Neighbor to the Hudson sisters. Mrs. Bates is a big fan of Blanche's movies, and often sends her flowers and fan letters. Though put off by Baby Jane's bitter rudeness, Mrs. Bates is always trying to be neighborly.
Originally played by:
Anna Lee (The Ghost and Mrs. Muir, In Like Flint)
My Choice: Indie Spirit Nominee for Best Supporting Actress (Woman Thou Art Loosed)
Loretta Devine (I Am Sam, My Son, My Son, What Have Ye Done)
ELVIRA STITT
Who is She: Maid to the Hudson sisters. She is great friends with Blanche, but fears that Jane is slowly losing her mind. Elvira and Blanche plan on selling the house, getting Jane help, and moving to a smaller place. She only comes once a week, so she is shocked to discover the torture that has been building since her last visit.
Originally played by:
Maidie Norman (Written on the Wind, Airport '77)
My Choice: Indie Spirit Winner for Best Supporting Actress (Lone Star)
Elizabeth Pena (Transamerica, D-War)
EDWIN FLAGG
Who is He: Dehlia's son. Edwin answers an ad in the paper looking for a pianist; it is Jane, seeking an accompanist for her comeback. But Edwin is not at all the charming young Englishman he makes himself out to be. He, too, is a drunk; worse, he's a scoundrel, exploiting older women's tenderness to make money off of them. He is not interested in Jane's comeback or friendship. He just wants her money. This is something flirtatious, sad Jane never realizes.
Originally played by: Academy Award/Golden Globe Nominee for Best Supporting Actor (What Ever Happened to Baby Jane?)
Victor Buono (Hush...Hush, Sweet Charlotte, Beneath the Planet of the Apes)
My Choice: BAFTA Award Nominee for Best Supporting Actor (The Queen), SAG Award Nominee for Best Ensemble (Frost/Nixon)
Michael Sheen (The Damned United, The Twilight Saga: New Moon)
"As for that silly Mr. Blair with his Cheshire Cat grin..." He does have a disarming charm to him, doesn't he? One that could hide his ulterior motives. I give him the role of Edwin because he has played schemers and charmers before, and he could have a ball with it.
BABY JANE & BLANCHE HUDSON
Who are They: The Hudson Sisters grew up in each other's shadow. As children, Baby Jane was a vaudeville star, with Blanche has the plain ol' brunette. As they grew older and went into film, Blanche's beauty and talent guaranteed her success in Hollywood; Jane couldn't act her way through an Ed Wood film, but Blanche always saw to it that Jane made a movie a year. The switch hurt Jane, and she took to drunken bitterness. Forty years later, after a car accident at the front gate of their home, Blanche is paralyzed, bound to a wheelchair, while Jane walks about in full makeup, caking more on every day. "Sister, sister, oh so fair; Why is there blood all over your hair?"
Originally played by: Academy Award Winner for Best Actress (Dangerous, Jezebel), BAFTA Award Nominee for Best Foreign Actress (What Ever Happened to Baby Jane?), Golden Globe Nominee for Best Actress in a Drama (All About Eve, What Ever Happened to Baby Jane?) and
ALSO: Best Actress in a Musical/Comedy (Pocketful of Miracles)
Academy Award Winner for Best Actress (Mildred Pierce), BAFTA Award Nominee for Best Foreign Actress (What Ever Happened to Baby Jane?), Golden Globe Nominee for Best Actress in a Drama (Sudden Fear)
Bette Davis (Now, Voyager, Hush...Hush, Sweet Charlotte) as Baby Jane Hudson
Joan Crawford (The Unknown, Grand Hotel) as Blanche Hudson
My Choice:
Now, here's where things get a little different. I always like to post my definite performers, the ones I would hire first. But I have to admit, that when it comes to Baby Jane, I would hold final auditions. Provided these women would audition, of course. So, there's still the Two Hollywood Stars as Jane and Blanche, but I have two choices for each.
The Nominee Sisters:
Academy Award Nominee for Best Actress (Peggy Sue Got Married), Golden Globe Winner for Best Actress in a Musical/Comedy (Romancing the Stone, Prizzi's Honor)
ALSO: Academy Award/Golden Globe/Indie Spirit/SAG Award Nominee for Best Actress [in a Drama] (The Contender), SAG Award Nominee for Best Actress and Best Ensemble/Academy Award/BAFTA Award Nominee for Best Supporting Actress (Nixon), Academy Award/Golden Globe Nominee for Best Supporting Actress (The Crucible)
Kathleen Turner (Body Heat, Marley & Me) as Baby Jane Hudson
Joan Allen (The Notebook, The Upside of Anger) as Blanche Hudson
Turner is an actress who, though still respected, was better known in the 1980s. Her sole Oscar nomination came in 1986. Even on stage, her successful, lauded work in The Graduate was ignored by the Tony committee, while she went home a bridesmaid the night she was nominated for Who's Afraid of Virginia Woolf?. Meanwhile, Allen is always finding new areas of success. The last of her three Oscar noms was in 2001, she won a Tony in 1988, and she has that new TV Movie Georgia O'Keeffe which garnered some awards recognition. Seeing these two play off each other would be a dream come true.
OR
The Winner Sisters:
Academy Award/Golden Globe Winner for Best Actress [in a Drama] (Sophie's Choice) and Best Supporting Actress (Kramer vs. Kramer), BAFTA Award/Golden Globe Winner for Best Actress [in a Musical/Comedy] (The French Lieutenant's Woman), Golden Globe Winner for Best Actress in a Musical/Comedy (The Devil Wears Prada, Julie & Julia) and Best Supporting Actress (Adaptation), SAG Award Winner for Best Actress (Doubt), Hollmann Award Winner for Best Supporting Actress (A Prairie Home Companion)
ALSO: Academy Award/SAG Award Winner for Best Actress (Dead Man Walking), BAFTA Award Winner for Best Actress (The Client), Golden Globe Nominee for Best Actress in a Drama and Musical/Comedy (Bull Durham, White Palace, Thelma & Louise, Lorenzo's Oil, Dead Man Walking, Stepmom) and Best Supporting Actress (Igby Goes Down), Hollmann Award Nominee for Best Supporting Actress (In the Valley of Elah, Speed Racer)
Meryl Streep (Marvin's Room, Prime) as Baby Jane Hudson
Susan Sarandon (Atlantic City, The Lovely Bones) as Blanche Hudson
Streep loves chewing the scenery while still giving dimension to her characters, so Baby Jane would be excellent for her. Sarandon is better in quieter roles, and that sex kitten voice would be purr-fect for the more soothing Blanche. I know Meryl has a smooth voice, too, but she also loes doing new voices.
Which of these pairings would you like to see? Or do you have some ideas of your own? Gimme the feedback below!
I recently wrote about my own relationship with this film. Suffice to say, it's one of my favorites, right up there with Who's Afraid of Virginia Woolf? in the genre of Ponderous B&W Films Starring Wrinkled Women Made in The Sixties. And since I've recently watched it, it's a natural candidate for a Casting Coup.
What can be said about this film that hasn't been said before? By me? For one, Jack L. Warner was completely against the idea of making a movie starring two actresses past their prime. This is especially interesting because, as much as we can bellyache about ageism and sexism in today's Hollywood, at the time of the film's release, Bette Davis and Joan Crawford were, respectively....54 AND 57 YEARS OLD. By those standards, the following actresses are ripe for hag horror: Joan Allen, Kim Basinger, Geena Davis, Whoopi Goldberg, Amy Irving, Mary Steenburgen, Mary McDonnell, Oprah Winfrey and Kathleen Turner.
Actually, I guess Irving, Basinger, Davis and Turner really don't have the careers they had in their youth. BUT STILL.
Baby Jane was nominated for two BAFTA Awards, two Golden Globes, and the DGA Award. AFI named Baby Jane Hudson the 44th Greatest Movie Villain in 2003. The film was featured, very effectively, in House of Wax, and even referenced on an episode of "Seinfeld". It also led to a successful follow-up, Hush...Hush, Sweet Charlotte, which went on to be nominated for seven Oscars. In 1991, the Redgrave sisters starred in a made-for-TV remake, with Vanessa as Blanche and Lynn as Baby Jane.
Before all that, though, What Ever Happened to Baby Jane? was nominated for five Academy Awards. Joseph D. Kelly, the head of the Seven Arts-Warner Bros. sound department, was nominated for Best Sound, losing to John Cox's work at Shepperton for Lawrence of Arabia. Ernest Haller's eerie Cinematography lost to Jean Bourgoin and Walter Wottitz double-teaming for The Longest Day in the Black-and-White category. I've not seen The Longest Day, but it better have some impressive camera work! Victor Buono, a newcomer to film, would later become known as the villainous King Tut on "Batman" starring Adam West; that night, however, he was nominated for Best Supporting Actor, which went to Ed Begley for Sweet Bird of Youth. Bette Davis should have won for Best Actress, but the award went to Anne Bancroft's admittedly strong work in The Miracle Worker. Joan Crawford, furious at her being snubbed, offered to accept on Bancroft's behalf if she didn't show. Well, Joan got her chance, and reportedly snapped to Bette, "Out of my way!" as she made her way to the stage.
But it won! Yes, Baby Jane, the grand guignol of hag horror, the movie where parakeets are murdered, maids are hammered, and a heavily made-up Bette Davis dances around a beach, Baby Jane won an Academy Award! In the category of Costume Design - Black-and-White, Norma Koch reigned supreme. She even beat out seven-time champion Edith Head's designs for The Man Who Shot Liberty Valance! And when you see Bette Davis in outfits like this:
...you can see the appeal.
Besides, it's a subject that's still relevant. In the movie, Jane is a great child star, but no one respects her as a legitimate actress when she grows up. She takes to drinking, then tries to stage a comeback after forty years...a comeback which involves her wearing the wigs and costumes of her childhood. It's the cautionary Child Star Tale that we all know. Look at its effects on people like Brad Renfro or Lindsay Lohan. Look at the dangers of parents managing their careers, like the Culkins, Gary Coleman's family, or Dina Lohan. It's a subject we know all too well.
But how on Earth does one go about recasting this gem? Really, it all stems from the idea that older actresses should be BEGGING to take these roles. My God, they're the juiciest fun an actress could ever have! The only ones disqualified would be Judi Dench, because she did Notes on a Scandal, and Maggie Smith, because of Keeping Mum. But holy hell, older actresses playing older actresses trying to recapture their youth? YES, PLEASE!
That said, things are being done a little differently for this Coup. Read on...
RAY HUDSON
Who is He: The girls' father. Finding that his younger daughter, Jane, had golden hair and an ability for song-and-dance, he trotted her out to make money as a STAR. He was a promoter and manager first, a father fourth or fifth. Any frustration he took out on Blanche.
Originally played by:
Dave Willock (Revenge of the Creature, Hush...Hush, Sweet Charlotte)
My Choice: Indie Spirit Nominee for Best Actor (Happiness)
Dylan Baker (Thirteen Days, Trick 'r Treat)
Skeezy schemer with a shit-eating grin. That's a face that belongs in a straw boater and pinstripes.
DEHLIA FLAGG
Who is She: The mother of Edwin. This English expatriate taught her son how to play music. She does not mind that he still lives at home, she's just glad to have her precious little boy around her.
Originally played by:
Marjorie Bennett (Man of a Thousand Faces, One Hundred and One Dalmatians)
My Choice:
Julia McKenzie (Shirley Valentine, Bright Young Things)
She's played slightly daffy women before. Besides that, though, she humanizes even the smallest of roles. Remember her brief but memorable turn as Dame Judi's sister in Notes on a Scandal?
MRS. BATES
Who is She: Neighbor to the Hudson sisters. Mrs. Bates is a big fan of Blanche's movies, and often sends her flowers and fan letters. Though put off by Baby Jane's bitter rudeness, Mrs. Bates is always trying to be neighborly.
Originally played by:
Anna Lee (The Ghost and Mrs. Muir, In Like Flint)
My Choice: Indie Spirit Nominee for Best Supporting Actress (Woman Thou Art Loosed)
Loretta Devine (I Am Sam, My Son, My Son, What Have Ye Done)
ELVIRA STITT
Who is She: Maid to the Hudson sisters. She is great friends with Blanche, but fears that Jane is slowly losing her mind. Elvira and Blanche plan on selling the house, getting Jane help, and moving to a smaller place. She only comes once a week, so she is shocked to discover the torture that has been building since her last visit.
Originally played by:
Maidie Norman (Written on the Wind, Airport '77)
My Choice: Indie Spirit Winner for Best Supporting Actress (Lone Star)
Elizabeth Pena (Transamerica, D-War)
EDWIN FLAGG
Who is He: Dehlia's son. Edwin answers an ad in the paper looking for a pianist; it is Jane, seeking an accompanist for her comeback. But Edwin is not at all the charming young Englishman he makes himself out to be. He, too, is a drunk; worse, he's a scoundrel, exploiting older women's tenderness to make money off of them. He is not interested in Jane's comeback or friendship. He just wants her money. This is something flirtatious, sad Jane never realizes.
Originally played by: Academy Award/Golden Globe Nominee for Best Supporting Actor (What Ever Happened to Baby Jane?)
Victor Buono (Hush...Hush, Sweet Charlotte, Beneath the Planet of the Apes)
My Choice: BAFTA Award Nominee for Best Supporting Actor (The Queen), SAG Award Nominee for Best Ensemble (Frost/Nixon)
Michael Sheen (The Damned United, The Twilight Saga: New Moon)
"As for that silly Mr. Blair with his Cheshire Cat grin..." He does have a disarming charm to him, doesn't he? One that could hide his ulterior motives. I give him the role of Edwin because he has played schemers and charmers before, and he could have a ball with it.
BABY JANE & BLANCHE HUDSON
Who are They: The Hudson Sisters grew up in each other's shadow. As children, Baby Jane was a vaudeville star, with Blanche has the plain ol' brunette. As they grew older and went into film, Blanche's beauty and talent guaranteed her success in Hollywood; Jane couldn't act her way through an Ed Wood film, but Blanche always saw to it that Jane made a movie a year. The switch hurt Jane, and she took to drunken bitterness. Forty years later, after a car accident at the front gate of their home, Blanche is paralyzed, bound to a wheelchair, while Jane walks about in full makeup, caking more on every day. "Sister, sister, oh so fair; Why is there blood all over your hair?"
Originally played by: Academy Award Winner for Best Actress (Dangerous, Jezebel), BAFTA Award Nominee for Best Foreign Actress (What Ever Happened to Baby Jane?), Golden Globe Nominee for Best Actress in a Drama (All About Eve, What Ever Happened to Baby Jane?) and
ALSO: Best Actress in a Musical/Comedy (Pocketful of Miracles)
Academy Award Winner for Best Actress (Mildred Pierce), BAFTA Award Nominee for Best Foreign Actress (What Ever Happened to Baby Jane?), Golden Globe Nominee for Best Actress in a Drama (Sudden Fear)
Bette Davis (Now, Voyager, Hush...Hush, Sweet Charlotte) as Baby Jane Hudson
Joan Crawford (The Unknown, Grand Hotel) as Blanche Hudson
My Choice:
Now, here's where things get a little different. I always like to post my definite performers, the ones I would hire first. But I have to admit, that when it comes to Baby Jane, I would hold final auditions. Provided these women would audition, of course. So, there's still the Two Hollywood Stars as Jane and Blanche, but I have two choices for each.
The Nominee Sisters:
Academy Award Nominee for Best Actress (Peggy Sue Got Married), Golden Globe Winner for Best Actress in a Musical/Comedy (Romancing the Stone, Prizzi's Honor)
ALSO: Academy Award/Golden Globe/Indie Spirit/SAG Award Nominee for Best Actress [in a Drama] (The Contender), SAG Award Nominee for Best Actress and Best Ensemble/Academy Award/BAFTA Award Nominee for Best Supporting Actress (Nixon), Academy Award/Golden Globe Nominee for Best Supporting Actress (The Crucible)
Kathleen Turner (Body Heat, Marley & Me) as Baby Jane Hudson
Joan Allen (The Notebook, The Upside of Anger) as Blanche Hudson
Turner is an actress who, though still respected, was better known in the 1980s. Her sole Oscar nomination came in 1986. Even on stage, her successful, lauded work in The Graduate was ignored by the Tony committee, while she went home a bridesmaid the night she was nominated for Who's Afraid of Virginia Woolf?. Meanwhile, Allen is always finding new areas of success. The last of her three Oscar noms was in 2001, she won a Tony in 1988, and she has that new TV Movie Georgia O'Keeffe which garnered some awards recognition. Seeing these two play off each other would be a dream come true.
OR
The Winner Sisters:
Academy Award/Golden Globe Winner for Best Actress [in a Drama] (Sophie's Choice) and Best Supporting Actress (Kramer vs. Kramer), BAFTA Award/Golden Globe Winner for Best Actress [in a Musical/Comedy] (The French Lieutenant's Woman), Golden Globe Winner for Best Actress in a Musical/Comedy (The Devil Wears Prada, Julie & Julia) and Best Supporting Actress (Adaptation), SAG Award Winner for Best Actress (Doubt), Hollmann Award Winner for Best Supporting Actress (A Prairie Home Companion)
ALSO: Academy Award/SAG Award Winner for Best Actress (Dead Man Walking), BAFTA Award Winner for Best Actress (The Client), Golden Globe Nominee for Best Actress in a Drama and Musical/Comedy (Bull Durham, White Palace, Thelma & Louise, Lorenzo's Oil, Dead Man Walking, Stepmom) and Best Supporting Actress (Igby Goes Down), Hollmann Award Nominee for Best Supporting Actress (In the Valley of Elah, Speed Racer)
Meryl Streep (Marvin's Room, Prime) as Baby Jane Hudson
Susan Sarandon (Atlantic City, The Lovely Bones) as Blanche Hudson
Streep loves chewing the scenery while still giving dimension to her characters, so Baby Jane would be excellent for her. Sarandon is better in quieter roles, and that sex kitten voice would be purr-fect for the more soothing Blanche. I know Meryl has a smooth voice, too, but she also loes doing new voices.
Which of these pairings would you like to see? Or do you have some ideas of your own? Gimme the feedback below!
Monday, February 22, 2010
Casting Coup: Goldfinger
James Bond is rarely respected by Oscar. Since 1962, the movies have received eight Academy Award nominations, including three for 1977's The Spy Who Loved Me (the last for 1981's For Your Eyes Only), and only two wins. That last win was in -- wait for it -- 1966, honoring 1965's Thunderball, the FOURTH Bond film. Now, I know many consider the Bond franchise to be "just" action flicks, and even Cubby Broccoli said, the movies weren't "art, just entertainment". But holy shit: 2006's Casino Royale, Telly Savalas in On Her Majesty's Secret Service, all the songs from From Russia with Love to Moonraker, David Arnold's scores since 1997, John Barry's scores from Dr. No to The Man with the Golden Gun, visual effects, sound....
What does make sense, at least, is that first nomination. Remember how huge The Dark Knight was and everyone was clamoring for it to win awards? It was nominated at the PGA, DGA and WGA awards, won two of its six Oscar nominations, and when it became the second highest-grossing movie of all time (not adjusted for inflation), it also became the most successful Batman movie ever. It absolutely defined the year in pop culture for 2008. It wasn't the first Batman movie, but it was the biggest and the best.
Likewise, in 1964, Bond mania reached its peak with the release of Goldfinger. This was the movie that started the merchandising awesomeness of the Bond films, including its relationship with toy car makers Corgi. The Aston Martin DB5, the most popular Bond vehicle of all time, made its debut here, sending sales of the car skyrocketing. In two weeks, it recouped its $3 million budget. It's also the Bond film with the most iconic henchman, most bombastic song, most (believably) action-packed finale...and, of course, the beginnings of absolutely amazing chick names with the introduction of Pussy Galore. Not to make a pun, but it is the gold standard by which other Bond films are judged.
So it was that it became the first Bond film to find itself nominated at the Academy Awards, winning in the sole category where it was honored: Best Effects - Sound Effects. Now, this is interesting, because it's a category that no longer exists. In 1965, they had Best Sound, Best Effects - Sound Effects, and Best Effects - Visual Effects. The category for Best Sound Effects was added the year before, and lasted until 1968. In the 1970s, it was mainly a Special Achievement Award, before becoming Best Sound Effects Editing from 1981 to 1999. Only in the last decade did it become the Best Sound Editing category we know and like well enough. Goldfinger is a deserved winner in this category, too. Just the laser and the hum of Ft. Knox alone are evidence enough. In fact, the entire section within Ft. Knox, where Bond battles Oddjob, is masterful in its sound work.
Now, Bond is a familiar face at the Casting Coups for The Silver Screening Room. This past June, I cast Diamonds Are Forever, Moonraker and Live and Let Die. In addition, I had a master list of the Bond regulars. This included Michael Gambon as M, Claudie Blakley as Moneypenny, Josh Brolin as Felix Leiter and Chiwetel Ejiofor as James Bond. Some would consider it criminal to recast Goldfinger: where can I get another Gert Frobe or Honor Blackman? But the real crime, of course, would be ignoring one of the most iconic films in all of cinema. Wouldn't you agree?
MR. MIDNIGHT
Who is He: The head of a large crime syndicate. Goldfinger brings him and others to plot the invasion of Fort Knox. Midnight pledges his cooperation and men to Goldfinger in exchange for a payment of gold bricks. His loyalty is repaid later when he, like the others, is gassed by Goldfinger. In the movie, that is. In the book, he goes with Goldfinger to help with Operation Grand Slam.
Originally played by:
Bill Nagy (A Countess from Hong Kong, You Only Live Twice)
My Choice:
Keith David (Armageddon, The Princess and the Frog)
A smooth talker with an imposing presence, he could quickly telegraph the power, pride, and gullibility of this brief role. One of my favorite character actors, too.
MR. SIMMONS/JUNIUS DU PONT
Who is He: In the film, he is Mr. Simmons; in the novel, he is Junius Du Pont, who met Bond at Casino Royale. In both cases, he is losing card games to Auric Goldfinger, and it is he who introduces 007 to the Golden Gangster. He suspects something dishonest, and asks Bond to investigate.
Originally played by:
Austin Willis (The Mouse That Roared, The Boston Strangler)
My Choice:
Frank Sivero (Goodfellas, The Wedding Singer)
Another reliable character actor. It's a simple role, albeit one that allows for a lot of glad-handing. Sivero can pull off the "buddy, buddy, help me, buddy" aspect of the role. He brings that New York attitude, and that's what Du Pont or Simmons or somebody needs.
MR. SOLO/HELMUT M. SPRINGER
Who is He: One of the gangsters Goldfinger invites to his Kentucky ranch to plan Operation Grand Slam. Solo is the only one who won't go with the plan, so Goldfinger allows him to leave. By way of DEAD! In the book, he has an "accidental" fall down the stairs, and his name is Helmut M. Springer. In the novel, he is shot while riding in the backseat of a car, which is then crushed at a junkyard. Advantage: movie.
Originally played by:
Martin Benson (The King and I, Cleopatra)
My Choice: SAG Award Nominee for Best Ensemble (Nixon)
Paul Sorvino (Romeo + Juliet, Repo!: The Genetic Opera)
As the only other notable gangster of the story, I wanted someone who already has mob credentials. Sorvino, famous for playing Paul Cicero in Goodfellas, is that guy. Hey, maybe the opera-trained singer can cover the song, too!
COLONEL SMITHERS
Who is He: Representing the Treasury, Smithers suspects that something is afoot with Mr. Goldfinger. He trains Bond on the gold market, preparing him for the mission at hand. He and M together come up with the mission to track Goldfinger.
Originally played by:
Richard Vernon (The Tomb of Ligeia, Evil Under the Sun)
My Choice: BAFTA Award/Hollmann Award Nominee for Best Supporting Actor (Venus)
Leslie Phillips (Millions, Is Anybody There?)
If you know Phillips, there is little need to explain this. If you don't, it's farly simple: older, British, with a voice and demeanor that suggest "retired banker". And Smithers is a money kind of guy.
TILLY MASTERTON
Who is She: Jill's sister. Like Bond, she follows Goldfinger to his hideout. Unlike Bond, her mission is a pure vendetta, avenging the death of her sister at the hands of the billionaire terrorist. Bond considers trying it with her, but Tilly will not have it. Besides, she's more interested in Miss Pussy Galore....
Originally played by:
Tania Mallet
My Choice:
Laura Michelle Kelly ("Marple: Nemesis", Sweeney Todd: The Demon Barber of Fleet Street)
With only two film roles, Kelly shows a strong presence. No surprise, since she's theatrically trained. She meets the beauty requirements for a Bond Girl, but she can also hold her own.
JILL MASTERTON
Who is She: Goldfinger's secretary. She watches his games with Du Pont/Simmons through binoculars, informing her boss of his opponent's hand through his earpiece. Bond catches her, stops her, and -- because it's goddamn James Bond -- fucks her for a day. For her betrayal, Goldfinger paints her completely gold. Every inch of her. The paint suffocates her, and she is left on the bed for Bond to see.
Originally played by:
Shirley Eaton (Ten Little Indians, The Blood of Fu Manchu)
My Choice:
Jennifer Ellison (The Phantom of the Opera, The Cottage)
Sometimes, when casting Bond Girls, you just got to think: Does she have experience? Is this part within her range? How large are her two chief assets?
ODDJOB
Who is He: Goldfinger's manservant, a muscled mute with a sharp bowler hat.
Originally played by:
Harold Sakata (Mako: The Jaws of Death, The Happy Hooker Goes to Washington)
My Choice:
Tony Lee ("Lost", Novel Romance)
Lee is perhaps best-known as Sun's "other man" on the show "Lost". Everyone on that show is great, and he's no exception. He's fit, so he can be a physical threat to Bond. I don't think we always need sumo wrestlers or Schwarzenegger types to fight 007; it's more threatening when it's someone your own height and build who is whooping your ass.
PUSSY GALORE
Who is She: In the film, she is relegated to Goldfinger's personal pilot. In the novel, and this is much cooler, she is the leader of an all-lesbian gang, the only ones who get away. This could have something to do with the fact that they're all pilots, and therefore can fly out of anywhere. But also, Bond takes a shine to her, and she realizes he's the only male man enough for her. If that makes sense.
Originally played by:
Honor Blackman (Jason and the Argonauts, Bridget Jones's Diary)
My Choice: Academy Award/SAG Award Nominee for Best Supporting Actress (The Curious Case of Benjamin Button), SAG Award Nominee for Best Ensemble (Hustle & Flow, The Curious Case of Benjamin Button)
Taraji P. Henson (Smokin' Aces, Talk to Me)
Sexy and fierce. The woman is undeniably beautiful, but you know she could kill you just as easily as smile. A fantastic actress who can hold her own against any of her screen partners, oftentimes stealing the show without them realizing it. Henson would be a worthy addition to the Bond Girl Sisterhood.
AURIC GOLDFINGER
Who is He: A wealthy businessman, also known as The Richest Man in England. Goldfinger is an expatriate who keeps his wealth as gold bullion, spread across the world. He does not keep anything in banks, nor does he pay taxes. The body of his car is pure gold, which he hides beneath a false exterior, allowing him to smuggle the precious metal across borders. He runs a business that makes metallic furniture, and plans Operation Grand Slam: the destruction, one way or another, of Fort Knox.
Originally played by:
Gert Frobe (The Longest Day, Chitty Chitty Bang Bang)
My Choice:
Richard Sammel (Casino Royale, Inglourious Basterds)
His brief appearance in Basterds is notable for his suave, honorable demeanor never failing as he defended evil. He made wickedness look like an obvious course of action. So, he may not be as large as Goldfinger always has been in our minds, but he definitely deserves a big role like this one. He can get the character down, and still be lithe enough to keep up with James Bond. He's the only one for this role.
Yes? No? Maybe so? Sound off in the comments!
What does make sense, at least, is that first nomination. Remember how huge The Dark Knight was and everyone was clamoring for it to win awards? It was nominated at the PGA, DGA and WGA awards, won two of its six Oscar nominations, and when it became the second highest-grossing movie of all time (not adjusted for inflation), it also became the most successful Batman movie ever. It absolutely defined the year in pop culture for 2008. It wasn't the first Batman movie, but it was the biggest and the best.
Likewise, in 1964, Bond mania reached its peak with the release of Goldfinger. This was the movie that started the merchandising awesomeness of the Bond films, including its relationship with toy car makers Corgi. The Aston Martin DB5, the most popular Bond vehicle of all time, made its debut here, sending sales of the car skyrocketing. In two weeks, it recouped its $3 million budget. It's also the Bond film with the most iconic henchman, most bombastic song, most (believably) action-packed finale...and, of course, the beginnings of absolutely amazing chick names with the introduction of Pussy Galore. Not to make a pun, but it is the gold standard by which other Bond films are judged.
So it was that it became the first Bond film to find itself nominated at the Academy Awards, winning in the sole category where it was honored: Best Effects - Sound Effects. Now, this is interesting, because it's a category that no longer exists. In 1965, they had Best Sound, Best Effects - Sound Effects, and Best Effects - Visual Effects. The category for Best Sound Effects was added the year before, and lasted until 1968. In the 1970s, it was mainly a Special Achievement Award, before becoming Best Sound Effects Editing from 1981 to 1999. Only in the last decade did it become the Best Sound Editing category we know and like well enough. Goldfinger is a deserved winner in this category, too. Just the laser and the hum of Ft. Knox alone are evidence enough. In fact, the entire section within Ft. Knox, where Bond battles Oddjob, is masterful in its sound work.
Now, Bond is a familiar face at the Casting Coups for The Silver Screening Room. This past June, I cast Diamonds Are Forever, Moonraker and Live and Let Die. In addition, I had a master list of the Bond regulars. This included Michael Gambon as M, Claudie Blakley as Moneypenny, Josh Brolin as Felix Leiter and Chiwetel Ejiofor as James Bond. Some would consider it criminal to recast Goldfinger: where can I get another Gert Frobe or Honor Blackman? But the real crime, of course, would be ignoring one of the most iconic films in all of cinema. Wouldn't you agree?
MR. MIDNIGHT
Who is He: The head of a large crime syndicate. Goldfinger brings him and others to plot the invasion of Fort Knox. Midnight pledges his cooperation and men to Goldfinger in exchange for a payment of gold bricks. His loyalty is repaid later when he, like the others, is gassed by Goldfinger. In the movie, that is. In the book, he goes with Goldfinger to help with Operation Grand Slam.
Originally played by:
Bill Nagy (A Countess from Hong Kong, You Only Live Twice)
My Choice:
Keith David (Armageddon, The Princess and the Frog)
A smooth talker with an imposing presence, he could quickly telegraph the power, pride, and gullibility of this brief role. One of my favorite character actors, too.
MR. SIMMONS/JUNIUS DU PONT
Who is He: In the film, he is Mr. Simmons; in the novel, he is Junius Du Pont, who met Bond at Casino Royale. In both cases, he is losing card games to Auric Goldfinger, and it is he who introduces 007 to the Golden Gangster. He suspects something dishonest, and asks Bond to investigate.
Originally played by:
Austin Willis (The Mouse That Roared, The Boston Strangler)
My Choice:
Frank Sivero (Goodfellas, The Wedding Singer)
Another reliable character actor. It's a simple role, albeit one that allows for a lot of glad-handing. Sivero can pull off the "buddy, buddy, help me, buddy" aspect of the role. He brings that New York attitude, and that's what Du Pont or Simmons or somebody needs.
MR. SOLO/HELMUT M. SPRINGER
Who is He: One of the gangsters Goldfinger invites to his Kentucky ranch to plan Operation Grand Slam. Solo is the only one who won't go with the plan, so Goldfinger allows him to leave. By way of DEAD! In the book, he has an "accidental" fall down the stairs, and his name is Helmut M. Springer. In the novel, he is shot while riding in the backseat of a car, which is then crushed at a junkyard. Advantage: movie.
Originally played by:
Martin Benson (The King and I, Cleopatra)
My Choice: SAG Award Nominee for Best Ensemble (Nixon)
Paul Sorvino (Romeo + Juliet, Repo!: The Genetic Opera)
As the only other notable gangster of the story, I wanted someone who already has mob credentials. Sorvino, famous for playing Paul Cicero in Goodfellas, is that guy. Hey, maybe the opera-trained singer can cover the song, too!
COLONEL SMITHERS
Who is He: Representing the Treasury, Smithers suspects that something is afoot with Mr. Goldfinger. He trains Bond on the gold market, preparing him for the mission at hand. He and M together come up with the mission to track Goldfinger.
Originally played by:
Richard Vernon (The Tomb of Ligeia, Evil Under the Sun)
My Choice: BAFTA Award/Hollmann Award Nominee for Best Supporting Actor (Venus)
Leslie Phillips (Millions, Is Anybody There?)
If you know Phillips, there is little need to explain this. If you don't, it's farly simple: older, British, with a voice and demeanor that suggest "retired banker". And Smithers is a money kind of guy.
TILLY MASTERTON
Who is She: Jill's sister. Like Bond, she follows Goldfinger to his hideout. Unlike Bond, her mission is a pure vendetta, avenging the death of her sister at the hands of the billionaire terrorist. Bond considers trying it with her, but Tilly will not have it. Besides, she's more interested in Miss Pussy Galore....
Originally played by:
Tania Mallet
My Choice:
Laura Michelle Kelly ("Marple: Nemesis", Sweeney Todd: The Demon Barber of Fleet Street)
With only two film roles, Kelly shows a strong presence. No surprise, since she's theatrically trained. She meets the beauty requirements for a Bond Girl, but she can also hold her own.
JILL MASTERTON
Who is She: Goldfinger's secretary. She watches his games with Du Pont/Simmons through binoculars, informing her boss of his opponent's hand through his earpiece. Bond catches her, stops her, and -- because it's goddamn James Bond -- fucks her for a day. For her betrayal, Goldfinger paints her completely gold. Every inch of her. The paint suffocates her, and she is left on the bed for Bond to see.
Originally played by:
Shirley Eaton (Ten Little Indians, The Blood of Fu Manchu)
My Choice:
Jennifer Ellison (The Phantom of the Opera, The Cottage)
Sometimes, when casting Bond Girls, you just got to think: Does she have experience? Is this part within her range? How large are her two chief assets?
ODDJOB
Who is He: Goldfinger's manservant, a muscled mute with a sharp bowler hat.
Originally played by:
Harold Sakata (Mako: The Jaws of Death, The Happy Hooker Goes to Washington)
My Choice:
Tony Lee ("Lost", Novel Romance)
Lee is perhaps best-known as Sun's "other man" on the show "Lost". Everyone on that show is great, and he's no exception. He's fit, so he can be a physical threat to Bond. I don't think we always need sumo wrestlers or Schwarzenegger types to fight 007; it's more threatening when it's someone your own height and build who is whooping your ass.
PUSSY GALORE
Who is She: In the film, she is relegated to Goldfinger's personal pilot. In the novel, and this is much cooler, she is the leader of an all-lesbian gang, the only ones who get away. This could have something to do with the fact that they're all pilots, and therefore can fly out of anywhere. But also, Bond takes a shine to her, and she realizes he's the only male man enough for her. If that makes sense.
Originally played by:
Honor Blackman (Jason and the Argonauts, Bridget Jones's Diary)
My Choice: Academy Award/SAG Award Nominee for Best Supporting Actress (The Curious Case of Benjamin Button), SAG Award Nominee for Best Ensemble (Hustle & Flow, The Curious Case of Benjamin Button)
Taraji P. Henson (Smokin' Aces, Talk to Me)
Sexy and fierce. The woman is undeniably beautiful, but you know she could kill you just as easily as smile. A fantastic actress who can hold her own against any of her screen partners, oftentimes stealing the show without them realizing it. Henson would be a worthy addition to the Bond Girl Sisterhood.
AURIC GOLDFINGER
Who is He: A wealthy businessman, also known as The Richest Man in England. Goldfinger is an expatriate who keeps his wealth as gold bullion, spread across the world. He does not keep anything in banks, nor does he pay taxes. The body of his car is pure gold, which he hides beneath a false exterior, allowing him to smuggle the precious metal across borders. He runs a business that makes metallic furniture, and plans Operation Grand Slam: the destruction, one way or another, of Fort Knox.
Originally played by:
Gert Frobe (The Longest Day, Chitty Chitty Bang Bang)
My Choice:
Richard Sammel (Casino Royale, Inglourious Basterds)
His brief appearance in Basterds is notable for his suave, honorable demeanor never failing as he defended evil. He made wickedness look like an obvious course of action. So, he may not be as large as Goldfinger always has been in our minds, but he definitely deserves a big role like this one. He can get the character down, and still be lithe enough to keep up with James Bond. He's the only one for this role.
Yes? No? Maybe so? Sound off in the comments!
Happy Hubba-Hubba...
Can she really be thirty-five? I'm still getting used to her being thirty!
Happy Birthday to SSR's reigning Goddess of Beauty, Drew Barrymore!
Sunday, February 21, 2010
The Brit Locker
You've probably already heard about the champions from the ceremony across the pond. Just in case you need a refresher, though:
BEST PICTURE went to The Hurt Locker. I hope this, once and for all, puts the final nail in the coffin for the silly "something other than The Hurt Locker will win" articles. I don't think the new voting system matters; The Hurt Locker has the necessary support to take it all March 7. Especially since this American production won over homegrown An Education, something not even No Country for Old Men could accomplish (it lost to Atonement). Now, I know the only Oscar-BAFTA matches in this category in the past ten years are Gladiator, LOTR: ROTK and Slumdog Millionaire, but the planets are in alignment, the cards are dealt, and The Hurt Locker is going to win.
An Education even lost to Fish Tank for OUTSTANDING BRITISH FILM. I hear it's very good, this Fish Tank, but I haven't seen it yet.
The Hurt Locker's greatest asset, of course, has been the champion of the season (Globes notwithstanding), and it was no different here: Kathryn Bigelow won BEST DIRECTOR, which will be repeated at the Academy Awards, making her the sexiest winner in this category since...hm. Redford?
Colin Firth's BEST ACTOR win was deserved and just. I don't expect this to be repeated at the Oscars, but he's the best damn actor in the category. His award here will go down in my mind as the true results.
BEST ACTRESS went to Carey Mulligan, which I can see happening at the Oscars in case of Streep and Bullock splitting it. I'm glad she won. She's absolutely fantastic in An Education.
Christoph Waltz and Mo'Nique won BEST SUPPORTING ACTOR and BEST SUPPORTING ACTRESS, respectively. Same old song.
Mark Boal, writer of The Hurt Locker, won for BEST ORIGINAL SCREENPLAY, an award many people expect Quentin Tarantino and Inglourious Basterds to win at the Oscars. Me, I find Boal, Bigelow and the Hurt Locker train unstoppable. Jason Reitman and Sheldon Turner won for BEST ADAPTED SCREENPLAY for Up in the Air. Same old song.
Michael Giacchino's Up score took top honors in BEST MUSIC. Giacchino, who also composed the Star Trek score this year, in addition to Pixar's Ratatouille and The Incredibles and the modern classic Speed Racer, has been waiting for major awards recognition. This is his year.
And Barry Ackroyd won BEST CINEMATOGRAPHY for The Hurt Locker. Indeed, only in VFX and Best Actor did the film not come up as champion. Just take a look at the rest of the honors:
BEST EDITING, BEST SOUND
The Hurt Locker
BEST COSTUME DESIGN, BEST MAKEUP/HAIR
The Young Victoria
BEST PRODUCTION DESIGN, BEST VFX
Avatar
OUTSTANDING BRITISH DEBUT
Moon
FILM NOT IN THE ENGLISH LANGUAGE
Un Prophete
ANIMATED FILM
Up
SHORT FILM
I Do Air
SHORT ANIMATION
Mother of Many
ORANGE RISING STAR
Kristen Stewart
The most any film won is two, save for The Hurt Locker, which championed in six categories. Even the Brits know: The Hurt Locker is the film to beat.
BEST PICTURE went to The Hurt Locker. I hope this, once and for all, puts the final nail in the coffin for the silly "something other than The Hurt Locker will win" articles. I don't think the new voting system matters; The Hurt Locker has the necessary support to take it all March 7. Especially since this American production won over homegrown An Education, something not even No Country for Old Men could accomplish (it lost to Atonement). Now, I know the only Oscar-BAFTA matches in this category in the past ten years are Gladiator, LOTR: ROTK and Slumdog Millionaire, but the planets are in alignment, the cards are dealt, and The Hurt Locker is going to win.
An Education even lost to Fish Tank for OUTSTANDING BRITISH FILM. I hear it's very good, this Fish Tank, but I haven't seen it yet.
The Hurt Locker's greatest asset, of course, has been the champion of the season (Globes notwithstanding), and it was no different here: Kathryn Bigelow won BEST DIRECTOR, which will be repeated at the Academy Awards, making her the sexiest winner in this category since...hm. Redford?
Colin Firth's BEST ACTOR win was deserved and just. I don't expect this to be repeated at the Oscars, but he's the best damn actor in the category. His award here will go down in my mind as the true results.
BEST ACTRESS went to Carey Mulligan, which I can see happening at the Oscars in case of Streep and Bullock splitting it. I'm glad she won. She's absolutely fantastic in An Education.
Christoph Waltz and Mo'Nique won BEST SUPPORTING ACTOR and BEST SUPPORTING ACTRESS, respectively. Same old song.
Mark Boal, writer of The Hurt Locker, won for BEST ORIGINAL SCREENPLAY, an award many people expect Quentin Tarantino and Inglourious Basterds to win at the Oscars. Me, I find Boal, Bigelow and the Hurt Locker train unstoppable. Jason Reitman and Sheldon Turner won for BEST ADAPTED SCREENPLAY for Up in the Air. Same old song.
Michael Giacchino's Up score took top honors in BEST MUSIC. Giacchino, who also composed the Star Trek score this year, in addition to Pixar's Ratatouille and The Incredibles and the modern classic Speed Racer, has been waiting for major awards recognition. This is his year.
And Barry Ackroyd won BEST CINEMATOGRAPHY for The Hurt Locker. Indeed, only in VFX and Best Actor did the film not come up as champion. Just take a look at the rest of the honors:
BEST EDITING, BEST SOUND
The Hurt Locker
BEST COSTUME DESIGN, BEST MAKEUP/HAIR
The Young Victoria
BEST PRODUCTION DESIGN, BEST VFX
Avatar
OUTSTANDING BRITISH DEBUT
Moon
FILM NOT IN THE ENGLISH LANGUAGE
Un Prophete
ANIMATED FILM
Up
SHORT FILM
I Do Air
SHORT ANIMATION
Mother of Many
ORANGE RISING STAR
Kristen Stewart
The most any film won is two, save for The Hurt Locker, which championed in six categories. Even the Brits know: The Hurt Locker is the film to beat.
The Write Stuff
And your winners for this year's WGA Awards are:
In original screenplay, beating out (500) Days of Summer, Avatar, The Hangover and A Serious Man.....MARK BOAL FOR THE HURT LOCKER!!!
It is as I predicted. The Hurt Locker has now won the prize at all guilds save SAG. People do realize it's been the frontrunner to win Best Picture for, like, ever, right? And if they didn't before, they should now. I would predict it to win the Oscar in this category too, were it not for the pesky presence of Inglourious Basterds, which was deemed ineligible for the WGA.
In adapted screenplay, beating out Crazy Heart, Julie & Julia, Precious and Star Trek....JASON REITMAN AND SHELDON TURNER FOR UP IN THE AIR!!!
Again, as I expected. This ain't rocket surgery. Up in the Air will win at the Oscars, too, as a strange sort of consolation prize for not awarding Clooney, the actresses, or Reitman's director persona. Or Picture. Anyway, this one it has in the bag.
Just two weeks until The Big Night!
In original screenplay, beating out (500) Days of Summer, Avatar, The Hangover and A Serious Man.....MARK BOAL FOR THE HURT LOCKER!!!
It is as I predicted. The Hurt Locker has now won the prize at all guilds save SAG. People do realize it's been the frontrunner to win Best Picture for, like, ever, right? And if they didn't before, they should now. I would predict it to win the Oscar in this category too, were it not for the pesky presence of Inglourious Basterds, which was deemed ineligible for the WGA.
In adapted screenplay, beating out Crazy Heart, Julie & Julia, Precious and Star Trek....JASON REITMAN AND SHELDON TURNER FOR UP IN THE AIR!!!
Again, as I expected. This ain't rocket surgery. Up in the Air will win at the Oscars, too, as a strange sort of consolation prize for not awarding Clooney, the actresses, or Reitman's director persona. Or Picture. Anyway, this one it has in the bag.
Just two weeks until The Big Night!
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