Archive for Oscars

The Sunday Intertitle: Uncle Oscar

Posted in FILM with tags , , on March 4, 2018 by dcairns

 

There was a vague plan to go round to our chum Nicola’s to watch the Oscars. Which could have worked, as the teacher’s strike means I don’t have to be at work Monday morning. But Nicola has moved to palatial new accommodations in Glasgow, and snow is still general over Scotland, and the idea of staying up all night, even in good company, to watch the self-congratulatory meat parade and then traveling back the next morning… too much ugh.

 

Intertitles are from WINGS, which won Best Picture before that category was invented, as most sources would have it. Clearly, Outstanding Picture means Best Picture, and this is why the Best Picture award goes to a film’s producer/s. Image is from SUNRISE, which won Best Unique and Artistic Picture… and the producer picked that one up too. My interp, arrived at this second, is that both those films should be listed as the first Best Pictures.

You can see why they combined the two awards: each winner might feel slighted. “You mean my picture is Unique and Artistic but not Outstanding?” “What, so my picture is Outstanding, but it’s not Unique and Artistic?”

Advertisements

The Noms

Posted in FILM, Politics with tags , , , , , , , , , , on January 24, 2018 by dcairns

So, unusually, I have actually seen some of the Oscar-nominated films.

We saw THE SHAPE OF WATER. Fiona is a big Del Toro fan. I like him as a person on the movie scene, but usually wish I could like his films more than I do. I like THE DEVIL’S BACKBONE best, the rest seem to miss the mark. I like the compromised MIMIC better than I like PAN’S LABYRINTH, which gives you some idea.

This one disappointed both of us, but all the reasons I could give you don’t mean much, because the real reason was we didn’t buy into the central relationship and as a result we weren’t moved. We were interested, but we didn’t get weepy, which we should have, surely, since this is basically E.T. (and SPLASH, but then SPLASH is E.T. too).

The romance seemed to consist of Sally Hawkins giving Doug Jones some hard-boiled eggs. I can imagine that Guillermo sees this as the highest form of love, and he might feel he would be tied by unbreakable romantic bonds to anybody who gave him some hard boiled-eggs, but I couldn’t relate to this. Now, if it had been cheese on toast…

The production design of Hawkins’ apartment, styled after Mario Bava’s BLACK SABBATH (episode: The Drop of Water), is gorgeous. We didn’t buy the light from the cinema downstairs filtering through the floorboards, but we were willing to be indulgent. But then when Hawkins fills the bathroom with water, we stopped indulging. You can have a flimsy, permeable floor or an impossibly strong, almost-watertight floor, not both. And that flooding the house was a stupid thing to do when you’re hiding from the authorities.

(How I know about water and floors: there’s an anecdote from the filming of TOMMY. The production made what can in hindsight be seen as a mistake in putting Oliver Reed and Keith Moon in the same hotel. One evening, Moon knocks on Ollie’s door and asks for help moving his water-bed. Ollie is a very strong man: his party trick was to seize a bar-top and hold his entire body out horizontally. But he doesn’t know that it’s impossible for a human being to move a water-bed when it’s full of water. It weighs about twice what any strong man could lift. Still, Ollie has a try, and does succeed in ripping the water-bed, flooding the room with 200 gallons of water, not enough to fill a bathroom but enough to cause Moon’s hotel room to collapse into the room below. So I always laugh at stories of rock stars destroying hotel rooms. They merely destroy the contents of hotel rooms. Moon and Reed destroyed two actual rooms. This may seem like a digression but the film is called THE SHAPE OF WATER so it isn’t.)

Other bits of production design we liked: well, all of it, but the dais Jones is strapped to is borrowed from THE HUNCHBACK OF NOTRE DAME.

And the idea of a film set in a secret government lab but centering on the cleaners is lovely.

But I didn’t buy the baddies wanting to dissect their only specimen, I didn’t buy the Russians at all (what they wanted seemed to make no sense). I couldn’t invest because I couldn’t believe. The twist was cool, but the sudden miraculous powers bit kind of confused that. It seemed odd that a writing team wouldn’t pick up on each others’ mistakes more. But I’m sure if Del Toro asked me to co-write a film (ain’t going to happen NOW, is it?) I would be somewhat in awe of him and just agree with all his ideas even if I privately thought maybe they were silly.

We also saw THREE BILLBOARDS OUTSIDE EBBING, MISSOURI. That has lots of entertainment value, and we did respond emotionally, and I think we’re all grateful Martin McDonagh isn’t trying quite so hard to be Irish. I did have qualms, but mostly some time after seeing it, so I can kind of recommend it as a cinema experience.

At first, when I heard people having an issue with the film’s treatment of race, I thought, well, that’s not really what the film’s about. Which I would stand by. But Sam Rockwell’s character is explicitly identified as a particularly horrible racist. And then he’s put through quite a lot, and tries to redeem himself. But racial awareness never plays any role in that character arc, that shot at redemption. He doesn’t seem to think about it, and nor does the movie anymore. Which I think is a problem. It does seem rather too urgent and serious an issue to drop into and out of your movie. Would it have been better to leave it out, or else deal with it more fully? How would they have done that?

By making Frances McDormand’s character black, I guess. Hmm, would that make it a more urgent, serious and meaningful film, all by itself? I think it might.

And we have seen GET OUT (no complaints, a masterpiece — so why didn’t I write about it?), THE DISASTER ARTIST (a wasted opportunity), I saw DUNKIRK, Fiona saw and liked LOGAN, we saw the STAR WARS and the BLADE RUNNER and WAR FOR THE PLANET OF THE APES.

Gotta see PHANTOM THREAD! That’s the one I feel doltish for not having caught. But oh look, it isn’t out here. So I’m not stupid for missing it, yet.

And the Oscar goes to…

Posted in FILM, Television with tags , , , , , , , on February 27, 2017 by dcairns

3000

For a moment there I was feeling a good deal of sympathy for Warren Beatty. As he said, he was handed the wrong envelope. Finding a card saying “Emma Stone, LA LA LAND” he was understandably nonplussed. Had he looked at the ENVELOPE, it would have been clear what had happened, but in the heat of the moment, it’s understandable that he froze and didn’t think to do that.

Except that won’t quite do, because the card doesn’t just say “Emma Stone, LA LA LAND” it also says “Best Actress” or “Best Actress in a Leading Role” or something. Which means it might as well have said “This is the Wrong Card.” Which would be a surprising thing to read, but not actually a confusing one. You might be thrown by it, but you wouldn’t hand the card over to Faye Dunaway to read out.

I don’t blame Faye, who must have thought Warren had lost it, taking so long to read the damn card. So that when she got a look at it, she thought time was of the essence and blurted out the name of the film printed there.

The same thing ALMOST happened in 1985.

Larry Olivier was given the job of presenting. He omitted to read the nominees’ names. Which caused a couple of the organizers a moment of panic — did Olivier read the name of the winner or did he just read the first name, alphabetically, on the list of nominees.

The organizers rushed up to him afterwards and asked him this. “I have absolutely no idea,” Sir Larry blinked. There was then, as I recall, some kind of CAR CHASE to find the only person who actually knew what was supposed to be in the envelope. It turned out that, by luck or good judgement, the right film won. And I think, actually, the best film of those nominated, which God knows is unusual enough