Frankie & Alice & Halle & More Movie Bucket List

5 Apr


Barely more than a year ago, I wrote about Halle Berry’s Frankie & Alice, for which the actress earned a Golden Globe nod during the 2010/11 awards season. Aside from its brief, year-end Oscar qualifying run, the movie has been unavailable to mass audiences–until now. A few months ago, a reader alerted me that Berry’s vehicle would finally be getting a national release, and that is exactly what has happened as of this week, so that’s why I’m reposting this, and I hope to see F & A myself, at long last, by the week’s end.

Originally posted on Confessions of a Movie Queen:

Per 2012's Cloud Atlas, 2010's Frankie and Alice (above) and a few others, Halle Berry doesn't necessarily have the best eye for material that translates into mainstream success, but she's not afraid to challenge herself with risky projects; plus, she has an amazing talent for flooding her characters with emotion, which paid off magnificently when her gutsy, no holds barred, performance in Monster's Ball

Per 2012′s Cloud Atlas, 2010′s Frankie and Alice (above), and a few others, Halle Berry doesn’t necessarily have the best eye for material that translates into mainstream commercial success, but she’s not afraid to challenge herself with risky projects; plus, she has an amazing talent for flooding her characters with emotion, which paid off magnificently when her gutsy, no holds barred, performance in Monster’s Ball elevated second rate material to Oscar worthy greatness. Frankie and Alice was similarly primed for awards consideration,  but, alas, to no avail. More than two years after its brief Oscar qualifying run, Frankie and Alice has still not been released on DVD/Blu Ray, and that’s shameful.

Well, as usual, Halle Berry looked smashing at the most recent Academy Awards.  Ostensibly, she was at the ceremony to participate in the salute to the James Bond franchise, per he role as “Jinx” in 2002′s Die Another Day

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Oscars 2013/14: Fashion Gallery

8 Mar

Well, that’s another one for the history books. Sure was fun. Let’s do it again next year, especially if host Ellen DeGeneres is back on board. Oh, did you hear the good news? The telecast was a smash, what with Ellen’s twitter crashing tweet, and reportedly the highest ratings for an entertainment show since the 2004 Friends series finale (that is opposed to a sports related show). Well, it’s easy enough to figure out why audiences tuned in, and it’s not just about Ellen, but the fact that there was abundant interest in many of the high-profile nominees: McConaughey, DiCaprio, Bullock, Lawrence, and Nyong’o, who seemingly came out of nowhere to become the darling of the red carpet during the latest round of awards shows. Plus, there’s always Brad and Angelina. Mr. Pitt scored as one of the producers of Best Picture winner 12 Years a Slave with Ms. Jolie recognized as the most recent recipient of the Jean Hersholt Humanitarian award. Technically, Jolie was officially honored at a ceremony last fall though footage of the event was shown, and Jolie co-presented the Best Director trophy with living legend Sidney Poitier. Additionally, musical performances by Idina Menzel, from the crowd pleasing Frozen, Pharrell Williams, U2, Pink, and Bette Midler also served as huge draws. Of course, no three  and half hour awards show runs without a hitch, but this was still a fun way to spend a Sunday night, definitely an improvement over last year’s Seth McFarlane edition which was all over the place (though not a flat-out disappointment).

Now, about that luxe fashion parade. I have two rules: I don’t promote designers in my version of Oscar’s fashion gallery because I think it’s tacky for well paid actors and actresses to reduce themselves to living billboards for the sake of free clothes–loaners only to boot. Anyway, since these folks have already secured their end of the deal (or deals), there’s no reason for me to jump on the bandwagon. My other rule is that I only feature the fashions that I actually like. I’d rather spotlight the positive than the negative and leave the nastiness to someone else since my belief is that even some of the more unfortunate choices were made by people who really believed they looked pretty or handsome, and who am I to argue with that. Oh, and I’ve included a few of the men this time in contrast to last year’s gallery.

Most of what follows is not in any given order, except, well, the first three. Those are probably my three faves. Now, without further ado…


1. Best Supporting Actress winner Lupita Nyong’o (12 Years a Slave), magnificent in “Nairobi blue”

JenLaw at Oscars2014

2. Best Supporting Actress nominee Jennifer Lawrence (American Hustle)


3. Best Actress nominee Sandra Bullock (Gravity)


Penelope Cruz


Singer Pink sparkles just like those magical ruby slippers as she performs “Over the Rainbow” during The Wizard of Oz tribute


^ Jennifer Garner

June Squibb

Best Supporting Actress nominee June Squibb (Nebraska)



Olivia Wilde


Angelina Jolie, winner of the Jean Hersholt Humanitarian award


Best Supporting Actress nominee Julia Roberts (August: Osage County)


Kate Hudson


Charlize Theron

Jim Carrey

Jim Carrey

Pharrell Williams

Pharrell Williams brings down the house as he performs his Oscar nominated song “Happy” (from Despicable Me 2). Mr. Williams’s hat attracts a lot of media attention, but I’m actually wild for his bright red shoes.

Matthew Mc and Jared

Best Actor Matthew McConaughey (l) and Best Supporting Actor Jared Leto (r), both of Dallas Buyers Club, share fashion sense as well as Oscar victories. Nice touch, guys.

One more…

Ellen as Glinda

Host Ellen DeGeneres as The Wizard of Oz’s Glinda the Good Witch. Ellen, we love you. Don’t ever change, and please come back next year.

Please feel free to add your comments about this year’s “Best Dressed.”

Thanks for your consideration…

Oscars Thrills: The DeGeneres Edition

3 Mar
Ellen's tweet

Oscar host Ellen Degeneres and the tweet seen ’round the world (clockwise from top and center): Kevin Spacey, Brad Pitt, Lupita Nyong’o, Angelina Jolie, Lupita Nyong’o’s brother Peter, Bradley Cooper, DeGeneres, Meryl Streep, Jennifer Lawrence, Jared Leto, Channing Tatum, and Julia Roberts.

How about that Ellen? I’m glad the producers had the good sense to ask her back. I loved her the first time, but that was back in 2006/07, far too long especially considering some of the  weak-ass hosts we’ve been subjected to in the years since then. Ellen’s monologue was not side-splittingly hilarious, but she did a great job of connecting with her audience, especially those actually attending the ceremony, and putting them at ease, and she did so without being mean-spirited as is often the case. It’s just not Ellen’s style. Oh, okay, she might have crossed the line by cracking wise that Liza Minnelli–in person for the Wizard of Oz tribute–was being played by a female impersonator,  but it’s still a good gag simply because, well, it’s so true in that Minnelli, like her mother before her, has a huge gay following with plenty of impersonators in the mix.

Still Ellen was on much more solid footing when she went out into the audience and yucked it up with the nominees, offering Bradley Cooper a lottery scratch-off ticket as a consolation prize, taking and tweeting pictures of her self with Cooper, Streep, et al, ordering pizza for the hungry crowd–and then turning that into yet another joke by passing around singer Pharrell Willams’s much buzzed about hat in hopes of collecting a sizable tip for the pizza delivery guy and making a special note of putting the squeeze on high rollers Harvey Weinstein, Sandra Bullock, and Brad Pitt.  This is pure Ellen, and in spite of all the frivolity, she still managed to keep the show moving and brought it to a close in right at three and a half hours. Brad Pitt, Steve McQueen, and the rest of the producers of the Best Picture winner 12 Years a Slave were  finishing their acceptance speeches 11:00, our time, and  that was that. Good job, Ellen! (Oh, and that Glinda the Good Witch costume was a hoot!)


For years, the Saturday before the Oscars has been marked as the day independent filmmakers gather to celebrate their own. Of course, there are always highly acclaimed, low budget indie offerings that somehow escape the Academy’s attention, so it’s nice when those “little” films get noticed after all. On the other hand, as more and more independent film companies get co-opted by mainstream Hollywood, it’s hard to determine what qualifies as “independent.” After all, many of this year’s Spirit award winners (formerly the Independent Spirit awards) are/were also major Oscar contenders: Best Picture -12 Years a Slave; Best Actor Matthew McConaughey; Best Actress – Cate Blanchett; Best Director: Steve McQueen; Best Supporting Actor- Jared Leto, and Best Supporting Actress – Lupita Nyong’o. Sound familiar? Other winners include: Best First Feature – Ryan Coogler (Frutivale Station)

Best Picture: 12 Years a Slave – I’m glad director and co-producer Steve McQueen remarked that even today millions of people around the world are forced into slavery and are suffering as a result. I also like that McQueen, who made history as the first black filmmaker to helm a Best Picture winner, prevailed in one of the tightest races ever. So while he lost to Gravity‘s Alfonso Cuarón in one category, he did not walk away empty handed–far from it. Again, this was a close one.

Best Supporting Actor: Jared Leto (Dallas Buyers Club) – I have to say I started getting goose bumps when Leto and his mom held hands in anticipation of the announcement in his category. Then, I was overwhelmed when his name was called, and the audience erupted into applause. Oh, and that speech, everything from telling about his single mom raising him and his brother in Bossier City, LA, then segueing to human rights and still managing to thank the cast and crew of Dallas Buyers Club–not bad. Plus, he wisely avoided grandstanding about LGBT rights, as this has angered as many advocates as it has delighted, though he was absolutely correct to acknowledge the struggle of LGBT people in the elegant way he did when concluding his speech: “This is for the 36 million people who have lost the battle to AIDS and to those of you out there who have ever felt injustice because of who you are or who you love, tonight I stand here in front of the world for you. Thank you so much and goodnight.” No, I haven’t just contradicted myself. In other words, rather than go overboard, he played it just right.  Thank god he wasn’t played off by an over-eager music conductor.

Best Supporting Actress: Lupita Nyong’o (12 Years a Slave) – As incredible as Leto’s speech was, Nyongo’s speech was also especially powerful and moving.  She began by acknowledging that every good or wonderful thing that has happened in her life has come at the cost of someone else’s suffering, such as the real-life Patsey, the much abused slave in Solomon Northrup’s autobiography (the basis for her award winning role); moreover, the actress appeared as genuinely humbled by all the hoopla as she claimed. And that’s a beautiful thing. Plus, her beauty is transfixing. Her magnificent face just captured the camera, and it (or the person operating it) could not pull in tight enough. Gosh what a moment. Plus, her dress, and the graceful way she moved in it, made her look positively like a princess.

Best Director: Alfonso Cuarón (Gravity) –  This is the second consecutive year in which Best Picture and Best Director have been split. Of course, last year’s split was easy to explain since Ben Affleck, the director and co-producer of top dog Argo, was MIA on the Best Director ballot, but Argo was clearly the populist pick (an incredible true story that also had the feel of a classic Hollywood suspense flick),  and Ang Lee’s Life of Pi  was a technical marvel, a product of a visionary. The same with  Cuarón. That he was able to get his vision on the screen in such a seamless manner is an incredible achievement. Plus, there’s something else at work: a Mexican born director with a film shot in England (mostly), financed by an American studio. Yep, Cuarón’s victory plays into all of that “Film is the international language” hype the Academy trots out time after time. Still, I grew up in an era in which Best Picture and Best Director were rarely split, but that is clearly no longer  necessarily the case. Oscar voters are more inclined to share the wealth.

And while we’re at it, please note that Gravity claimed Oscars in 7 of its 10 categories. Besides Best Director, the rest of the bunch includes: Best Visual Effects, Best Cinematography (Emmanuel Lubezki), Best Editing (Cuarón again with Mark Sanger), Best Sound Mixing,  Best Sound Editing (Glenn Freemantle), and Best Score (Steven Price). That’s a grand total of 7 Oscars, second it would appear to Cabaret in the category of films that have won the most Oscars–including Best Director–without actually claiming Best Picture as well. In Cabaret‘s case, the final take was 8. Coincidentally, Cabaret lost to The Godfather, which won a total of 3 Oscars, in the same way that Gravity lost to 12 Years a Slave, which also won three Oscars: Best Picture, Best Supporting Actress, and Best Adapted Screenplay (John Ridley); meanwhile, not a great night for American Hustle. Despite all the early hoopla, and the SAG award for Best Ensemble, the movie ended up 0 for 10, not a record, but…OUCH!!! Btw: The Turning Point (1977) and The Color Purple (1985) both went 0 for 11. Double Ouch!!! Furthermore, out of nine nominees for Best Picture, five of them went home without any awards: American Hustle, Captain Phillips, Nebraska, Philomena, and  The Wolf of Wall Street. Triple ouch? That has to be a little embarrassing. Maybe it’s time for the Academy to “let it go” and return to the traditional slate of five Best Picture candidates.

Backing up a bit: I have to say I’m thrilled for Lubezki at long last. I’ve been a huge fan since 1995′s A Little Princess and A Walk in the Clouds, and I thought after he lost for 2011′s amazing The Tree of Life, he’d never win. Still, a friend of mine with some filmmaking experience–and insight into cinematography particularly–has made the observation that the last 3 or 4 Best Cinematography winners are as much about CGI as they are about actual cinematography, and that’s a legitimate concern too. Have we now turned a corner from which there is no return? Also, regarding those award winning visual effects, Michael and I had the discussion that while the effects in the Star Trek movie were certainly fabulous, they did not have that same power to transport viewers as did the effects in Gravity; the trick, the thrill, of Gravity is that it sweeps up audiences in its excitement without leaving too much time/room  to contemplate the mechanics of what it’s doing while it’s doing it.

Best Actress: Cate Blanchett (Blue Jasmine) – I did not hate Blanchett in Jasmine, and her victory is certainly no surprise, but I’m still not convinced that her performance was a singular achievement, worthy of the industry’s highest award–and almost every other award along the way. Still, she looked great, and her speech was full of witty asides. Plus, I like that she spoke to the success of films powered by women. Btw: when she mentioned that 79 year old Judi Dench was in India filming a sequel, she was likely referring to The Best Exotic Marigold Hotel—not Philomena 2. Blanchett now joins the ranks of Jessica Lange and Meryl Streep as actresses who won their first Oscars as supporting players and their second statuettes in the leading actress category; Blanchett’s first, to clarify, was for 2004′s The Aviator, in which she portrayed Katharine Hepburn. To further clarify, Ingrid Bergman, Helen Hayes, and Maggie Smith have Oscars in both categories, but they first won honors as leading players.

That noted,  I think Bullock’s performance in Gravity was the worthier achievement. How did she pack such emotion into a filmmaking process that did not seem especially, well, actor-friendly? By that, I mean, director Alfonso Cuarón had a clear vision of what he wanted, and it involved a lot of technical apparatus, and Bullock was often asked to act in a vacuum, more or less, but she still delivered–and delivered in a way that doesn’t even seem like acting until AFTER the movie ends. [Per the recently released DVD, Bullock shot significant chunks of her footage on “proxy” sets and/or in an LED powered “light box,” which the crew christened “Sandy’s Cage.”) On the other hand, I guess the upside is that her nomination for Gravity shows that all those honors for 2009′s The Blindside were far from a fluke. Plus, Bullock’s a savvy business woman, and she stands to earn quite a chunk of Gravity‘s astronomical box office take. A year from now, more and more people will bemoan her loss once the luster of Blanchett’s victory fades.

Best Actor: Matthew McConaughey (Dallas Buyers Club) – I’m glad the Texas guy made good, the crowning touch on a comeback 2-3 years in the making. Oh, and the audience ate it up, so it’s all good.  McConaughey’s speech wasn’t particularly eloquent–not to the same degree as Leto’s and Nyong’o’s, but it was heartfelt–and it was true to who he is. Plus, even though it took awhile to get to the point, I liked his story about chasing his best vision of himself, a story that goes back decades in his development, so, again, good for him. McConaughey put a lot of himself on the line for Dallas Buyers Club, and even if his goal was to win an Oscar (which should never be anyone’s goal…it’s tacky), the performance doesn’t necessarily play as pure Oscar bait, which can often backfire. No, I’m willing to give McConaughey the benefit of the doubt, and I do think this was the right role in the right vehicle for him to fully flex his acting prowess. Anybody who has been following his career for lo these 20 or so years has never doubted his talent. We were just waiting for him to sort through the all the drama and the noise of stardom and find greatness.

The Dallas Buyers Club also won Oscars for its makeup team, Adruitha Lee and Robin Matthews. All in all, not a bad haul for a movie about Dallas that was actually filmed in Louisiana. I know, right? Still, Dallas Buyers Club tells an important story, one that deserves–like 12 Years a Slave–to be remembered. I know some LGBT and/or Queer activists and their allies carp about one discrepancy or another, but they might be missing the point. I saw dozens of people, including gay men and transwomen, die of AIDS back in the 80s and 90s, and I know what I know. Those people were allowed to die, and the reasons why are worth documenting.  I’ll now get off my soapbox.

Oh, and speaking of being remembered. We must also never forget people like Alice Sommer, the subject of the winner for Best Documentary Short-Subject, The Lady in Number 6. Holocaust survivor Sommer died barely a week ago at the remarkable age of 110, reportedly the oldest known Holocaust survivor. Now, let that sink in for a moment.

Best Animated Feature Film: Frozen – Wow! What an amazing weekend for the producers of Frozen. Not only has their film become the first offering from Disney proper to win in this category, hard to believe as that might be, but it has also now become only the 18th movie to earn a billion dollars worldwide. Nice. Yeah, yeah, I know I usually give Disney a hard time for being evil and greedy, but that doesn’t mean they only want to take over the world and produce dreck. Well, maybe they do want to  take over the world, but Frozen, even as it “borrows” liberally from one source (“The Snow Queen” by Hans Christian Andersen) and Wicked (that is, the Wizard of Oz inspired book by Gregory Maguire; later the smash Broadway musical institution), is by no means dreck.

Best Song: “Let It Go” (from Frozen) – Give credit to couple Kristen Anderson-Lopez and Robert Lopez for giving the evening’s most entertaining speech, in rhyme, no less.  Oh, and props to Robert Lopez, specifically, for now being a member of the so-called EGOT club, that is, as a winner of  an Emmy, a Grammy, an Oscar, and a Tony.  His Emmys are  for the The Wonder Pets while his Tony awards are for both Avenue Q and The Book of Mormon; his Grammy is for the latter’s cast album.

I have to say that I’m a huge fan of “Let It Go,” especially the Idina Menzel version that appears in the film (rather than the Demi Lovato version that plays during the credits).  I think the song works as powerful character development for Menzel’s Elsa, but it’s also insanely catchy and works on its own terms as ear candy as well. And I’m fascinated that so many little girls have taken it to heart the way they have.  I enjoyed Menzel’s live rendition even though it was a wee bit shaky at times. Still, she cranked it up for a rousing finish–I mean, the song just builds and builds and builds. By the end, it’s like a wipeout and a rebirth.  Was that a standing ovation I saw? Meanwhile, a pox on John Travolta for butchering Menzel’s name as he introduced her. John, you only had one thing to do in your brief time onstage. What’s up with that? Thank goodness, Ellen knew how to go back on stage and set everyone right by correctly saying, “Idina Menzel.” While we’re at it, how about a shout out to some of the other musical highlights: Pink, all decked out in a glittery ruby dress, singing “Somewhere Over the Rainbow” during the Wizard of Oz tribute (again, to me a shaky start, but a rousing, expectation defying finish), Pharrell Williams working his own brand of showbiz magic during the performance of “Happy” from Despicable Me 2; Bette Midler, sublime, singing her evergreen hit “The Wind Beneath My Wings,” and Karen O singing the thoughtful “Moon Song” from Her

20-feet-1Best Documentary Feature: 20 Feet from Stardom – Wow! What a concept! Michael and I so enjoyed watching this documentary about the highs and lows of being a female backup singer (back in the 1960s and 70s mostly) in a male dominated field. Many of these women, such as Darlene Love and Merry Clayton, sing because music informs who they are, but they don’t always get the big breaks for one reason or another, or maybe they do get their breaks, but they lack the killer business instinct it takes to succeed as a “brand.”  Normally, the winners in this category don’t often work as entertainment; they tend to be weightier and/or more hard hitting, but what is hard hitting or weighty anyway? After all, 20 Feet from Stardom makes a strong point about gender, class, and color. I’m sure for the women involved,  as they revisit the stories of their lives, the movie is very hard hitting. Wow, what a thrill, and then to see and hear Darlene Love–without the assist of Autotune–onstage with the rest of the winning team makes all of it even better. A definite high point.

Some of the other highlights include:

Best Original Screenplay: Her by Spike Jonze

Best Costume Design: Catherine Martin (Great Gatsby) & Best Production Design: Catherine Martin and Beverly Dunn (The Great Gatsby)

Best Foreign Language Film: The Great Beauty (Italy)

So, the final tally looks like this:

  • Gravity –  7 Oscars;
  • 12 Years a Slave - 3 Oscars, including Best Picture
  • Dallas Buyers Club – 3 Oscars
  • Frozen – 2 Oscars
  • The Great Gatsby – 2 Oscars;
  • Blue Jasmine – 1
  • Her – 1
  • 20 Feet from Stardom – 1
  • The Great Beauty – 1

That will have to do for now. I’ll get back to the fashions later in the week as I did last year.

Thanks for your consideration…


Oscar Dossier 2013/2014

26 Feb

Here, better late than never is my annual Oscar Dossier, number thirtysomething in a series as I’ve been doing this a long, long time–well before the popularity of the Internet. Honestly, I didn’t think it would happen this year. I’ve been distracted by a major family emergency, so some of my life’s little pleasures, such as rhapsodizing over Uncle Oscar, have been put on the back burner. Seriously, this thing has impacted every aspected of my life though things are looking much better now; however, I saw some pretty dark days beginning in early January and continuing through most of this month. Still, I spent as much time working on this extravaganza as possible. I even got sidetracked by the deaths of Philip Seymour Hoffman and Maximilian Schell, but I persevered; however, I decided not to write about the passing of either Shirley Temple or Harold Ramis in order to stay focused on this particular task. Rest assured, I’m a big fan of both and plan to honor them in some way soon. Oh, and you know what else I let go? A tribute to Steve Martin, the winner of the Academy’s lifetime achievement award (presented in the fall).  For now, here’s what I offer…I’ll be tinkering with this including revising and checking facts between now and Friday, still two days ahead of Oscar time.

KEY: ASC (American Society of Cinematographers); BFCA (Broadcast Film Critics Association); DFW (Dallas-Fort Worth Film Critics); DGA (Directors Guild of America); GG (Golden Globe); LAFC (Los Angeles Film Critics); NBR (National Board of Review); NSFC (National Society of Film Critics); NYFC (New York Film Critics); OFCS (Online Film Critics Society); PGA (Producers Guild of America); SAG (Screen Actors Guild); WFCC (Women’s Film Critics Circle), WGA (Writers Guild of America); USC (Friends of the University of Southern California Scripter Award)



Well, here we are. Per Entertainment Weekly, that initial rush of enthusiasm for American Hustle has waned, and we’re back to a two-horse race between PGA co-winners 12 Years a Slave and Gravity. My guess after much soul searching is that in spite of all the lavish acclaim and worldwide success of Gravity, the Academy will let its success speak for itself and bestow the most coveted trophy on 12 Years a Slave, and that makes sense to me. Oh, I’ll be equally happy with either choice, but I think 12 Years a Slave wins because it’s the more historically significant of the two films. In other words, not to take away from the thrills of Gravity, 12 Years a Slave tells a story that still needs to be told and does so quite powerfully. On the other hand, an informal sample in EW indicates Gravity has a slight edge with voters; however, at the recent British Academy Awards, 12 Years won Best Film while Gravity actually won more awards, including Best British Film, that is, the best film actually made in Britain. Confusing, right? Perplexing, yes?

American HustleNYFC, GG for Comedy, and SAG Award for Best Ensemble | PGA nom | Writer-director David O. Russell turns the Abscam scandal that rocked Congress in the late 1970s and early 1980s into a caper film with plenty of twists and turns (not unlike 1973′s Best Picture winner The Sting). Even so, the movie plays fast and loose with the facts and begins with a curt disclaimer, allowing only that “some” of what follows is actually true. What the movie is really about is a celebration of 70s excess with heavy emphasis on wigs and Halston and Bob Mackie inspired fashions. Still, American Hustle showcases some of today’s hottest stars: Amy Adams, Christian Bale, Bradley Cooper, Jennifer Lawrence, and Jeremy Renner.  Fun stuff, but is it a winner? American Hustle has been nominated for 10 Academy Awards, including Best Actor, Best Actress, Best Director, Best Supporting Actor, and Best Supporting Actress.

Captain Phillips  –  PGA nom and GG nom for Best Motion Picture Drama| This fact based story about the 2009 hijacking of a cargo ship by Somalian pirates–and the American captain held hostage during the standoff–has been a competitor for much of the awards season, and that includes nominations from the Producers Guild of America, the Directors Guild (for Paul Greengrass), the British Academy, the Golden Globes, and Screen Actors Guild nominations for star Tom Hanks and newcomer Barkhad Abdi; however, it seems the campaign has stalled, what with the high profile omissions of both Greengrass and Hanks in their respective Oscar categories. Beyond that, there’s the matter of reports that the movie sacrifices the importance of other crew members in order to play up Phillips and his star incarnation. Captain Phillips has been nominated for 6 Academy Awards, including Best Supporting Actor and Best Adapted Screenplay.

Dallas Buyers Club   - PGA nom and SAG nom for Best EnsembleThe head-to-toe transformations of actors Matthew McConaughey and Jared Leto are not the only shocking things on tap in Dallas Buyers Club. What’s shocking is the way that the Food and Drug Administration was slow to approve medications, other than problematic AZT, to help treat AIDS patients during the 1980s and early 1990s as dramatized in this nominated film. Shocking is also the way to describe the lengths McConaughey’s Ron Woodroof had to go to in order to obtain such medications and bring them into the country illicitly. Woodroof’s “club” (in which participants bought memberships in order to zip through a legal loophole so as to avoid buying illegal drugs) was not unique, but Woodruff was certainly a unique individual, and his club was reportedly better  and more elaborately organized than similar outfits that dotted the country during the same period. Dallas Buyers Club is not likely to win in this race as its director is not also in the running; however, the fact that the movie is actually in the running says a lot about its staying power since skeptics were initially too eager to write it off as simply a vehicle to bolster its leading actor’s credibility. Dallas Buyers Club has been nominated for 6 Academy Awards, including Best Actor, Best Supporting Actor, and Best Original Screenplay.

Gravity  -  DFW, LAFCA [TIE], PGA [TIE] | GG nom for Best Motion Picture Drama|  The fall’s runaway smash hit, about a pair of astronauts hurtling through space after debris from an exploded satellite destroys their space station,  is also a critics’ and industry favorite based on a spate of awards that includes a tie for top honors from the Producers Guild of America, director Alfonso Cuarón’s Directors Guild prize, and Emmanuel Lubezki’s ASC victory.  Believe me,  if you haven’t see it, please be aware that Cuarón pulls out all the bells and whistles to create a technological tour-de-force–in 3-D for those so inclined; 2-D for the less, um, easily swayed (such as myself). The naysayers complain that the movie is big on effects and short on substance. I’ll admit that it’s not necessarily profound, in the same sense as, say, 12 Years a Slave, but it still works as excellent story-telling, again, for those so inclined to exercise a little patience and ferret out some of the deeper meaning. Gravity has been nominated for 10 Academy Awards including Best Actress, Best Director, Best Cinematography, and Best Visual Effects.

Her  -  LAFCA [TIE], NBR | PGA nom and GG nom for Best Motion Picture Musical or Comedy | Spike Jonze’s first film since his overblown 2009 adaptation of Maurice Sendak’s Where the Wild Things Are features the always watchable Joaquin Phoenix as a man–specializing in writing on-demand personalized correspondence–who falls in love with this operating system, voiced with aplomb by Scarlett Johansson. This futuristic tale boasts impressive design elements and occasional wit, but it errs by being too earnest and philosophical when it should be dark and biting. Plus, it’s not so original though it appears Jonze is on track to cop an Oscar for his–”original”–screenplay. We’ve already seen similar episodes in everything from Ovid’s “Pygmalion and Galatea” to Lars and the Real Girl, and, heck, even 1988′s Mannequin if you really want to go there. Her’s chances are hurt in this category because Jonze failed to make the cut for the Best Director award. Plus, despite loads of acclaim well in advance of its national release in January, it’s been a hard sell with the American public, grossing a mere 23 million since it opened for awards consideration back in December. Her has been nominated for 5 Academy Awards including Best Original Screenplay and Best Production Design.

Nebraska  - GG nom for Best Motion Picture Musical or ComedyAlexander Payne’s black and white road movie concerns an elderly man desperate to claim what he believes are sweepstakes winnings, or somesuch, worth one million dollars. Payne’s view on  modern life in the heartland is unflinching, and his trademark dark humour doesn’t always add lighten the proceedings. Still, after sojourns to California’s wine country in Sideways and Hawaii in The Descendants, this is a return for the Omaha native whose early films, Citizen Ruth and Election, explored the darker side of life in his home state as a microcosm of America at large. Nebraska has been nominated for 6 Academy Awards, including Best Actor, Best Director, Best Supporting Actress, and Best Original Screenplay.
Philomena  - WFCCBased on a shocking true story, Philomena stars the great Judi Dench as a plucky Irish woman tormented by the past and determined to find out what happened to the son she was forced to give away while a young unwed mom in the years right after World War II. Philomena‘s inclusion in the Best Picture race is a nice touch, but its odds of winning are slim. Philomena has been nominated for 4 Academy Awards including Best Actress and Best Adapted Screenplay.
12 Years a Slave BFCA , OFCS, PGA [TIE] – | SAG nom for Best Ensemble | This the  incredible true story of Solomon Northrup, a  19th century free man of color (with a wife and children) living in New York , who was tricked, drugged, and sold into slavery. Transported to Louisiana, he endured multiple humiliations but never gave up, and eventually he was freed and reunited with his family.  He published his story the year after his release.  This is no doubt one of the most painful accounts of slavery ever committed to film, and while Northrup’s ordeal is no more humiliating nor dehumanizing than those of people actually born into slavery or sold into slavery as children, it is a potent history lesson that, among other things,  pounds home the message that freedom is something most of us take for granted, and the film serves as a reminder that all humans need to be treated with dignity and respect. That’s a lot for one movie, but this one delivers. 12 Years a Slave has been nominated for 9 Academy Awards, including Best Actor, Best Director, Best Supporting Actress, and Best Adapted Screenplay.
The Wolf of Wall Street  -  PGA and GG nomsI’m at the end of the alphabet here, and I’m all out of words. I honestly don’t know where to begin with this one. It’s from ever-celebrated director Martin Scorsese, and it’s based on the true story of  Jordan Belfort a former stockbroker convicted of fraud in the 1990s.  Of course, Scorsese has legions of die-hard fans, and good for him. On the other hand, this film has tested the patience of many. I freely admit that I’m not a Scorsese fan, and I take each film on  a case-by-case basis. The trailer for this one was a huge turn-off for me, so I skipped it. Even so, I do know that some critics have carped that Scorsese’s take on a known crook–not to mention his high rolling, indulgent lifestyle–is a tad too  kind, leaving viewers scratching their heads; meanwhile, the movie also has the distinction of setting a record for most uses of the “f-word” in one film: reportedly 506 times in 108 minutes, yet even with Scorsese’s nod as a possible boost, this one seems to have already faded as a viable contender. The Wolf of Wall Street has been nominated for 5 Academy Awards, including Best Actor, Best Director, and Best Supporting Actor.



Blanchett, schmanchett, I’m on board with Team Bullock. Of course, I recognize Blanchett’s incredible skill, but I never warmed to Blue Jasmine. On the other hand, I’m in awe of Bullock in Gravity because for the life of me, I can’t fathom how she found it within her to give such a gripping performance. I think, judging by Bullock’s three People’s Choice awards, that America wants to see Bullock with a second Oscar, but Blanchett is clearly the darling of the season and not likely to stumble this late in the game; however. she might lose a few votes in light of a media smear campaign against Blue Jasmine writer-director Woody Allen, regarding continued allegations that he molested daughter Dylan Farrow more than 20 years ago, a claim Allen has long denied and for whom charges were dismissed due to lack of evidence.

Amy Adams (American Hustle)  – BFCA and GG for Comedy | SAG nom| –  This is Amy Adams’s fifth nomination, and her first as a leading actress. Previously she was in the running for supporting performances in Junebug (2005), Doubt (2008), The Fighter (2010), and The Master (2012). In her first few high profile roles, Adams portrayed sweet, naive women, and that includes her starring turn as a fairytale princess in Disney’s Enchanted; however, lately Adams has found success with darker material. In American Hustle, she plays a sexy con-artist with a British accent and a heart of steel. The Academy likes to reward performers for taking chances, and apparently everyone in Hollywood is in awe of Adams. Plus, she’s the only one in this bunch who doesn’t already have an Oscar. She also earns bonus points for appearing in two Best Picture nominees in one year, the other being Her.
Cate Blanchett (Blue Jasmine) - BFCA, DFW, LAFC [TIE], NSFC, NYFC, OFCS, GG for Drama, and SAG| Blanchett won Best Supporting Actress for impersonating–that’s the most appropriate word–screen legend Katharine Hepburn in her dewy youth in Martin Scorsese’s 2004 Howard Hughes biopic The Aviator. It was Blanchett’s second nomination after dazzling audiences and critics alike in 1998′s Elizabeth. During the 2007/08 Oscar race, she scored double nominations for playing England’s Queen Elizabeth I for a second time in Elizabeth: The Golden Age AND for portraying iconic folk-singer Bob Dylan of all people in I’m Not There. She also snagged a supporting actress nod for 2006′s Notes on a Scandal (more or less opposite fellow nominee Judi Dench).  She’s been the frontrunner in this category for most of the season thanks to a striking performance in a gem of a role, that of a once fabulously affluent Manhattanite whose world comes crashing down around her once her wheeler-dealer husband is arrested for fraudulent business deals. There’s no doubt that this is the kind of full-tilt movie star role that the Academy has long favored. There’s also no doubt that writer-director Woody Allen owes more than a smidge to Tennessee Willams’s Blanche DuBois in A Streetcar Named Desire. Blue Jasmine is an update, and it’s very good for what it is, but it’s also too transparently mechanical for my tastes, and that keeps me at arms length. Interesting fact: Blanchett and fellow Blue Jasmine star Sally Hawkins are the 12th and 13th nominated performances by actresses in Woody Allen films (along with 5 additional nominations for actors in leading and supporting roles); if Blanchett wins she’ll join a winners circle that includes Diane Keaton (Annie Hall, 1977), Mira Sorvino (Mighty Aphrodite, 1995), Penelope Cruz (Vicky Cristina Barcelona, 2008), and Dianne Wiest, a double victor for Hannah and Her Sisters (1986) and Bullets Over Broadway (1994).
Sandra Bullock (Gravity)  – BFCA for Action | GG and SAG noms| This is Bullock’s second Oscar nomination. She won for her first nominated effort, 2009′s fact-based The Blind Side–like Gravity a huge box-office hit. Though Bullock has not dominated this year’s awards season, she copped multiple honors at the People’s Choice awards, no surprise that. This likable actress has enormous audience appeal, and it’s that quality that director Alfonso Cuarón celebrates in Gravity as Bullock portrays an astronaut seemingly lost in space. I honestly don’t think the movie would work with anyone other than Bullock in the lead role.
Judi Dench (Philomena) – WFCC | Golden Globe and SAG noms| I’ll admit that I’m not the biggest Judi Dench fan. Indeed, I sometimes snicker and refer to her as Judi Stench, but when she’s good–as in Philomena and even 2012′s  lavish James Bond opus Skyfall–she’s great. Plus, you’ve got to hand it to this British theatrical giant: she’s earned seven Oscar nods in the past 16 years, including a win for a pivotal (supporting) turn as Queen Elizabeth I in 1998′s Shakespeare in Love. Dench’s multiple Academy nominations are even more impressive given her age. She was over 60 when she secured her place as a finalist for 1997′s Mrs. Brown (in which she played Queen Victoria). Few actresses over 50, even 40, work with as much regularity as Dench, let alone in award caliber projects.  With the exception of 2000′s supporting role in 2000′s Chocolat, Dench’s remaining  Oscar nominations are all for Best Actress: Iris (2001), Mrs. Henderson Presents (2005), and Notes on a Scandal (2006); she’s particularly good as a manipulative school teacher in the latter. If you haven’t yet seen it, put it on your list. Working in her favor this year is the the fact that hers is a true story, a gut wrenching one at that (always a plus), and the fact she stars in a Best Picture nominee though Adams and Bullock claim that distinction as well.
Meryl Streep (August: Osage County) | SAG and GG noms| Streep keeps breaking her own records. This is her 18th nomination–her 15th  in this category–and her hold on the title of Oscar’s most nominated performer will likely hold for some time. Katharine Hepburn, the second most nominated actress, clocks-in with 12 nods while Jack Nicholson weighs in with a dozen noms as the most situated male performer.  On the other hand, even with three Oscars, two for Best Actress (Sophie’s Choice, 1982, and The Iron Lady, 2011) and one for Best Supporting Actress (Kramer vs Kramer, 1979), Streep still lags a wee bit behind Kate Hepburn’s record breaking four wins for Best Actress. And that is not likely to change this year. Despite the well-pedigreed material–actor/playwright Tracy Letts’ Tony and Pulitzer winning play–Streep’s film performed well enough when it first opened though it has also stalled in the past few weeks, and, at least to me, it’s telling that Letts wasn’t even nominated for adapting his own work. Still, Streep, ever the professional, delivers during the story’s “big” moments though the overall effect is still on the stagey side (and sometimes, her makeup, designed to show her in the throes of cancer, is a little too obviously just that: makeup).


A disheveled Matthew McConaughey gets arrested in scenes for 'The Dallas Buyers Club' in New Orleans

Ejiofor or McConaughey? McConaughey or Ejifor? They’re both amazing, but each voter may only choose one or the other. Not both. If I were voting today, I’d go with McConaughey. (Tomorrow, who knows?) I’ll be frank. One of my reasons for leaning toward McConaughey as a personal pick–and remember, everyone’s reasons are different and entirely subjective–is because he’s a Texan, like me. Plus, he gives a stellar performance that demonstrates the full scope of his talent. On the other hand, Ejiofor’s Solomon Northrup is worlds removed from his Kinky Boots character, thereby showcasing his incredible range as well, so, again, who knows how voters will decide. One thing working against McConaughey is his lackluster acceptance speech at the Golden Globes. He reportedly admitted later that he didn’t realize his speech was somehow an “audition.” Oh, but it is, Matty.  He was a little more polished at the SAG awards.  My advice is for McConaughey to go back and rewatch Tom Hanks’s incredibly moving speech from 20 years ago when he won for playing an AIDS patient in Philadelphia. Meanwhile, if voters are too torn, they could go the sentimental route and honor Dern. Still, I want to clarify that even though I’m pulling for McConaughey, at least for today, I won’t be the least bit disappointed if Ejiofor wins.

Christian Bale (American Hustle) - GG nom for Comedy | Christian Bale’s much heralded gift for metamorphosis is all over the place in American Hustle. Whereas in director David O. Russell’s The Fighter (2010), Bale displayed a dramatic weight loss in order to convincingly portray a real-life drug addict–and won a Best Supporting Actor Oscar as a result–in Russell’s newest the now 40 year-old former child star shows plenty of extra poundage and a ridiculous comb-over as a slimy, middle-aged con- artist with marital issues and a girlfriend on the side. For all the praise Bale has earned over the years–no, decades–he has not generated as much buzz this season as have Dern, Ejiofor, and McConaughey though he (Bale) was among the honorees for the SAG’s Best Ensemble prize, and he was nominated for a Golden Globe.  Here’s an amusing tidbit.  Fifteen or so years ago, Bale was lauded as the prime candidate to play the lead in the big screen adaptation of Bret Easton Ellis’s controversial best seller, American Psycho; however, in the wake of Titanic‘s  astronomical grosses, studio personnel were eager to court newly minted superstar Leonardo DiCaprio for the project. The decision to replace Bale with DiCaprio sparked an outrage while also leading from one complication to the next. In the end, DiCaprio bailed, so to speak, and Christian was back on board–in one of his most iconic performances. Today, of course, Bale and DiCaprio are competing against each other for an Oscar. Let the grudge match begin. (Additionally, Best Supporting Actress frontrunner Jared Leto also appeared in American Psycho.)
Bruce Dern (Nebraska)  – LAFCA, NBR | SAG and GG noms| This is Dern’s second nomination. His first came over thirty years ago–Best Supporting Actor for 1978′s Coming Home, in the role of Jane Fonda’s Vietnam vet husband: gung-ho for the war at the beginning of the film, miserably unstable upon return. He won the Best Actor prize last May for Nebraska, in which he plays an ornery codger, a former mechanic who has sacrificed too many years to drink, who sets out on a road trip with his son, bound and determined to claim what Dern’s Woody believes is a million dollar jackpot. I’m not a fan of the word “quirky,” but that’s what Alexander Payne’s black and white film is. A slice of faded Americana in the new millenium, true enough, but quirky nonetheless. Dern’s performance is a bit understated compared to say either Ejiofor’s or McConaughey’s, and  his character doesn’t really change from the beginning of the film to its end, but the Academy loves a sweet comeback, and Dern may very well be just in time. Plus, speaking of quirky and sentimental, please remember that back in the 74/75 race, no less than seasoned veteran Art Carney won an Oscar for playing a much older man on a road trip in Paul Mazursky’s Harry and Tonto, outpacing the likes of Dustin Hoffman (Lenny), Jack Nicholson (Chinatown), and Al Pacino (Godfather II)–all of them higher profile candidates in Best Picture contenders.
Leonardo DiCaprio (The Wolf of Wall Street)   BFCA (Comedy), GG (Comedy)  | Wow! Can you believe it’s been exactly 20, yes, 20 years since DiCaprio earned his first Oscar nod? He was a barely known teen at the time, breaking into the big leagues as the mentally challenged younger brother of Johnny Depp’s Gilbert in What’s Eating Gilbert Grape, filmed on location in Texas. DiCaprio was a revelation in a film that, while more a critical than commercial hit at the time, has endured as a classic. Of course, one reason that Gilbert Grape was rediscovered probably had something to do with the gi-normous success of 1997′s Titanic which found DiCaprio and Kate Winslet playing star-crossed lovers.  These days, DiCaprio is about as in-demand as any actor in Hollywood, and his resume includes additional Oscar nominations for 2004′s The Aviator (as Howard Hughes)  and Blood Diamonds (2006). He’s been busy lately what with The Wolf of Wall Street and last spring’s splashy 3-D adaptation of The Great Gatsby. One line of thought regarding this year’s race is that the Academy really, really wants to reward DiCaprio at long last (and as producer, this is a dream project for him), while another school of thought is that the film is too divisive with the naysayers harrumphing that director Martin Scorsese, despite his statements to the press, is too dazzled by his morally bankrupt lead character, and that makes some audiences uncomfortable. It’s easier to root for other characters in other films. On the other hand, the fact is that regardless of the controversy, DiCaprio’s peers nominated him for Best Actor, and he’s very much in the race.
Chiwetel Ejiofor (12 Years a Slave)  OFCS, WFCC | SAG and GG noms| London born Ejiofor has been shining in a wide range of roles  for more than a decade with such highlights as Kinky Boots, in which he played a drag queen on a mission. His performance signaled a wave of accolades, including Golden Globe and British Independent Film Awards nominations (for Comedy) as well as a nod from the London Film Critics. Prior to that, besides multiple stage roles abroad, he appeared in Woody Allen’s Melinda and Melinda (a rare feat for a leading black actor), as well as Inside Man, Children of Men, and Salt.  Now, he’s garnering more praise than ever, and approaching frontrunner status, for playing Solomon Northrup, a real-life 19th century American and free man of color who was kidnapped and sold into slavery, as the title of Ejifor’s nominated film confirms. Since I began writing this profile, he has claimed Best Actor honors from the British Academy, a reminder that among his other skills, he knows his way around an American accent.
Matthew McConaughey (Dallas Buyers Club) - BFCA, DFW,  GG for Drama, and SAG | The Texas native made the leap from attention nabbing supporting player, in such films as Dazed and Confused (1993) and Boys on the Side (1995), to full-fledged stardom when he scored the leading role in Joel Schumacher’s 1996 adaptation of John Grisham’s A Time to Kill.  A year later, he appeared in such high profile films as Contact and Amistad.  That early promise was somehow subverted by a string of mostly silly and/or forgettable films, mostly romantic comedies. Not that there’s anything wrong with that, but what seemed fresh and fun in the popular How to Lose a Guy in 10 Days co-starring Kate Hudson seemed worn-out by the time he reteamed with Hudson for Fool’s Gold. Over the past two years (or so), McConaughey has been busy reinventing himself, as both a leading and a supporting player, in such varied films as The Lincoln Lawyer, Killer Joe, Magic Mike, Bernie, The Paperboy, Mud, and even The Wolf of Wall Street. Dallas Buyers Club may very well his most challenging role yet,  though the true story of a Dallas man who helped bring experimental drugs to HIV patients, including himself,  plays a little fast and loose with the facts. Still, the movie’s Best Picture nomination proves that it has legs, and McConaughey’s recent triumphs, such as his SAG award, show that–contrary to early reports–the role offers more than a gimmicky physical transformation. In other words, there’s a huge emotional arc as well.


Cuaron at DGA

Alfonso Cuarón is the big winner so far, but a 12 Years a Slave sweep could swing things in Steve McQueen’s favor, which would be historic. What’s keeping Cuarón at the forefront of this race is that his film is such a testament to his vision, his technical expertise, and his perseverance. It is in many ways, a singular achievement, and that seems to be the prevailing thought though, again, McQueen provides the Academy a chance to make history, and his film demonstrates his skill with actors as does David O. Russell’s American Hustle.

Alfonso Cuarón (Gravity) - BFCA, DFW, LAFCA, GG, and DGA | With Gravity, Cuarón puts his money and technical know-how where his vision is and creates a cinematic marvel.  This is his first nomination in this category though he has been nominated in the past for co-writing Y tu mamá también and for co-writing and co-editing 2006′s Children of Men. This year, he’s a triple threat with nominations for producing, directing and editing.
Steve McQueen (12 Years a Slave) – NYFC | DGA nom|  British born McQueen–no relation to America’s matinee idol of the 50s, 60s, and 70s, is only the third black director ever nominated in this category, after John Singleton (2001′s Boyz n the Hood–also the youngest, at 24, to be nominated in this category) and Lee Daniels (2009′s Precious). Perhaps the telling difference between McQueen and the other two is that McQueen’s film is actually a Best Picture frontrunner, and that could make all the difference. Oh, and McQueen’s film boasts three acting nods, another plus.
Alexander Payne (Nebraska)  On the upside, Payne has been down this road twice: for 2004′s Sideways, and for 2011′s The Descendants; however, he’s the only director in this bunch who wasn’t also nominated for the recent DGA prize.
David O. Russell (American Hustle)  - DGA NomWill the third time be the charm for Russell? He was first nominated in this category for 2010′s The Fighter, and then he was back in the thick of it for 2012′s Silver Linings Playbook. Ironically, given his once highly reported on-set rows with high profile actors, Russell is now highly regarded as an actor’s director. Not only has he guided three actors (Christian Bale, Jennifer Lawrence, and Melissa Leo) to Oscar winning status, he’s accomplished the singular feat of directing two films in a row with nominations in all four acting categories. To clarify: only fifteen films can claim such distinction though none of them have featured four winners. Still, if actors/actresses–the Academy’s largest voting bloc–unite, Russell could pull ahead of critics’ darlings Cuarón and McQueen; however, even Rob Marshall, the DGA winner for 2002′s Chicago, ended up an also-ran 11 years ago even though his film was the Best Picture frontrunner (and did in fact take the top award), and even though Chicago boasted four acting nominations in three categories.
Martin Scorsese (The Wolf of Wall Street) –  DGA NomAfter years of unsuccessful bids, Scorsese finally hit the jackpot with 2006′s The Departed. Prior to that victory, he’d been nominated in this category for Raging Bull (1980), The Last Temptation of Christ (1988), Goodfellas (1990), Gangs of New York (2002), and The Aviator (2004). He was infamously snubbed for 1976′s Taxi Driver even though the film was in the running for Best Picture. More recently, he was back in the game for 2011′s–to me, underwhelming–Hugo.



Lupita Nyong’o delivers the goods in one of the year’s most powerful films. She’s a Yale grad, and she’s quickly become a red carpet sensation thanks to her exquisite style. What more do you want? Done.

Sally Hawkins (Blue Jasmine)  – GG nom | If Blue Jasmine is an update on Tennessee Williams’s A Streetcar Named Desire (and it clearly is), then Hawkins’s Ginger is also clearly playing Stella to Cate Blanchett’s Blanche. (Blanchett’s Blanche. Ha!) It’s actually a thankless role because it’s obvious that writer-director Woody Allen is more excited by the title character and has only a limited understanding of women in Ginger’s socioeconomic class. In other words, Allen condescends to Ginger, and Hawkins has the unenviable task of making it work.  Fortunately, Hawkins is a resourceful actress. Her nomination is well earned and, perhaps, almost overdue. She’s been, or has almost been, down this road in the past with acclaimed performances in Happy-Go-Lucky and Made in Dagenham.
Jennifer Lawrence (American Hustle) –  NSFC, NYFC, GG |SAG nom| Lawrence won the first prize of the season and went on to claim a Golden Globe as well, but in spite of her enormous charisma,  it’s quite a stretch to think that this popular actress could claim back-to-back Oscars before turning 24. Sure, the Academy is all about attracting younger members–and younger viewership–but back-to-back Oscars are rarities. Of course, Lawrence’s first Oscar, for 2012′s Silver Linings Playbook, was actually for Best Actress–another reason why it would be odd for her to reign as a supporting player at this point. She’s a star, after all. Her role in American Hustle, that of a comically needy wife seemingly incapable of NOT creating havoc wherever she goes and whenever she speaks, is a nice change of pace given the conscientious roles she plays in such enterprises as Winter’s Bone (her first Oscar nomination) and The Hunger Games franchise–and maybe even her award winning turn as a young emotionally fractured widow in Silver Linings Playbook.
Lupita Nyong’o (12 Years a Slave) - BFCA, DFW,  LAFCA, OFCS, and SAG | GG nom | Per the IMDb, Ms. Nyong’o was born in Mexico, raised in Kenya, and attended college in the U.S.–including studying acting at Yale University. 12 Years a Slave is her movie debut though not her first professional gig as she previously appeared in MTV’s apparently controversial Shuga. Her brutally broken Patsy (in 12 Years) may very well be the most compelling, most heartbreaking character of the year, and Nyong’o just throws herself full-force into the devastation. On the other hand, some Oscar forecasters believe that Nyong’o is perhaps earning too much acclaim due to the assumption that audiences are responding to the plight of the character rather than the actual performance, meaning the award should go to an actress who had to do “more” with “less” (such as Hawkins).  I believe that it is indeed possible for voters and viewers alike to be  manipulated, for lack of a better word, in such a way, but I also think that audiences wouldn’t be responding the way they do to this character if they didn’t feel the connection to Patsy right from the start, and Nyong’o defintiely deserves credit for that. She faces considerable competition, most likely from Squibb, possibly Lawrence, but her SAG win is telling.
Julia Roberts (August: Osage County)   - GG and SAG noms | Seems hard to believe, but it’s been a whopping 13 years since Roberts triumphed in the Best Actress category for her straight-up performance as real-life colorful crackerjack legal investigator Erin Brockovich. Maybe I’m the only one who thinks time has raced by in the years since then. Roberts didn’t disappear in the role. Rather, she used her staggering movie star appeal to create a singular achievement that left audiences and Academy members cheering. It was her third nomination and first win after early triumphs in Steel Magnolias (Best Supporting Actress, 1989) and Pretty Woman (Best Actress, 1990). In August: Osage County, she plays the oldest of three sisters dealing with a helluva-cantakerous matriarch (the formidable Streep). Roberts’ Barbara is the one sister who’s unafraid to stand up to her mom even when it hurts, and Roberts attacks the part with gusto. For my money, she’s easily the best thing in the whole disappointing mess, but, as was the case with Erin Brockovich, she’s still very much Julia Roberts too. What does that mean? She’s a gifted actress, but her star wattage blazes brighter than her talent. In other words, she’s no chameleon, but she’s the very best possible Julia Roberts that we have.  I can’t imagine her winning for this odd little curio, but I’m glad to see she’s got her game back after years of working rather selectively, though she had her moments in Mirror, Mirror, and I enjoyed watching her in Eat  Pray  Love.
June Squibb (Nebraska)  GG and SAG noms | Hard to believe, perhaps, but this tiny octogenarian, who looks like a run-of-the-mill dotty old lady, worked for decades in theatre before she started making films, including a stint as Electra in the original Broadway run of Gypsy. In movies, she frequently portrays stock characters, but in Nebraska, she has a role of consequence as the much beleagured wife of Bruce Dern’s Woody. For decades, it’s been her duty to try to reign in her wild card of a husband and though Squibb’s Kate might look and sound like a nag, it becomes clear over the course of the movie that she has a deep abiding love for Woody, a point made abundantly clear in a zealously delivered speech late in the film. This is the stuff of which Oscars are made, and I’m fine with that, but as good as Squibb is, her character lacks the staggering arc that Nyong’o embodies in 12 Years a Slave. Furthermore, this is a category, unlike Best Supporting Actor,  in which newer talent is often–though not always–rewarded over sentimental favorites. Just ask Lauren Bacall (The Mirror has Two Faces, 1996), Gloria Stuart (Titanic, 1997), and Ruby Dee (American Gangster, 2007).


Jared Leto Dallas Byers Club

Being declared the frontrunner–in any category–almost from the moment a given film is released can be a burden as the awards season progresses. By the final stretch, voters grow weary of seeing the same face at various and sundry events. Plus, the cynics begin crawling out of the woodwork. In Leto’s case, he’s been singled out by some, but by no means all, LGBT activists of exhibiting heteronormative privilege and/or insensitivity during some of his acceptance speeches and promotional appearances on behalf of Dallas Buyers Club as if he is somehow incapable of empathy and unworthy of even playing such a challenging role, let alone being honored for doing so. Telling the opposition to simply “get over it” seems insensitive. Maybe the best thing is to remind one and all that Leto is only being honored for being an actor, and may the best man win.

Barkhad Abdi (Captain Phillips)  GG and SAG noms | This 25 year old Somali native makes his film debut as the chief pirate in the fact-based Captain Phillips. Per the IMDb, Abdi moved to the U.S. with his family when he was fourteen years old. He was living in Minnesota when cast in the film. He attended college at Minnesota State and had apparently never entertained any notion about acting professionally when he showed up at an open casting call. The rest is history. His isn’t exactly a Cinderella story, however, as he has reportedly had multiple run-ins with the law. Of course, studio personnel are working overtime to downplay all that because it disrupts their narrative. Abdi is not the frontrunner in this category, but I liken his chances to that of the late Dr. Haing S. Ngor, a transplanted Cambodian who achieved cinematic immortality, and an Oscar, after being cast as Dith Pran in 1984′s The Killing Fields. If Oscar voters feel inclined to send a message and break the steady hold that Jared Leto has in this category, thereby adding an element of surprise to what appears to be an open and shut case, Abdi stands to gain the most.
Bradley Cooper (American Hustle)  – GG noms | Bradley Cooper earned his first nomination just last year for starring in director David O. Russell’s Silver Linings Playbook. I think it’s great that Russell and Cooper have such rapport–and that Russell is steadily amassing a crackerjack repertory company (including Bales, Lawrence, and Adams), but Cooper’s role, as a federal agent who teams up with known con-artists to put the sting on corrupt politicians, is hardly supporting. He’s one of three co-leads, and that’s all there is to it. Still, the actor deserves props for letting down his guard long enough to play someone who often looks foolish whether that means sporting a ’70s era curly home-perm or being a romantic sap.
Michael Fassbender (12 Years a Slave) –  OFCS | GG and SAG noms |  This German born, London based, actor has been a star on the rise for a few years, beginning, say, with his portrayal of IRA member Bobby Sands in director Steve McQueen’s Hunger (which recreates Sands’s fatal  1981 hunger strike while he was imprisoned); from there, he appeared in the likes of Quentin Tarantino’s Inglorious Basterds and Ridley Scott’s Prometheus (a prequel to the director’s classic Alien). In 2011, he was all over the place, appearing in Jane Campion’s adaptation of Jane Eyre, yet another X-Men blockbuster, David Cronenberg’s A Dangerous Method (as Carl Jung), and, most notoriously, Steve McQueen’s Shame, in which he dazzled many critics as a sex-addict. He was reportedly well-positioned to earn his first Oscar nod for the latter, but that didn’t happen. Now, he and McQueen–obviously a potent partnership–are both nominated for 12 Years a Slave.  Fassbender goes all out in his nominated performance–some might say, “over-the-top”–as he tries (valiantly?) to humanize a sadistic slave owner, the point apparently being that the character is so consumed with conflict–due to his sexual attraction to a favored female slave–that he spirals out of control. No offense, Michael, but as fascinating as you are to watch, I think you’re still playing a conceit, a thoroughly contemporary , and misguidedly romantic one at that–as though he wandered in from a different movie. (What I get is that we’re supposed to see Fassbender’s character as yet another victim of the institution, and I think that’s an easy trap). I  can see the appeal to other actors however, because Fassbender’s approach seems all Method-y and obvious. (I’d be prepared eat my words, however, if someone could show me that the character is presented in similar terms in Northrup’s original text.)
Jonah Hill (The Wolf of Wall Street Jonah Hill’s nod proves that his first nomination for 2011′s Moneyball was no fluke. At the time, Hill worked hard to rehabilitate his image–as a slobby frat boy-type–including a well-publicized weight-loss. Hill showed that he knew how to play the game. Since then, he’s gained back the weight, but his career has not suffered. Even so, he must be considered the longshot here as he was not included among the nominees for either the Golden Globe or the SAG award. On the other hand, the fact that he is nominated here, in spite of being overlooked earlier in the season, indicates that support could be stronger than originally estimated.
Jared Leto (Dallas Buyers Club)  BFCA, DFW, LAFCA [TIE], NYFC,  GG, and SAG | This 42 year old actor is currently in the midst of one of the most stunning comebacks in recent showbiz memory. The Louisiana native was in his twenties when he catapulted to teen-dream status in the short-lived if cultishly renowned  TV series My So-Called Life starring 15 year old Claire Danes.  After the show was cancelled, Leto tried to hard to reinvent himself in such high profile projects as Prefontaine, as 1970s track sensation Steven Prefontaine (later eclipsed by Billy Crudup in Without Limits) before segueing to  The Thin Red Line, American Psycho (starring Christian Bales), Requiem for a Dream, and Panic Room.  Sure he worked, but he wasn’t a star. Not that there’s anything wrong with that, but when the offers became fewer and fewer, he retreated and pursued a career in music instead–and that seemed to be that. Now that he’s seemingly on the cusp of winning an Oscar, it will be interesting to see what he does next–and when that might be.


The cast of American Hustle (l-r): Christian Bale, Bradley Cooper, Amy Adams, Jeremy Renner, and Jennifer Lawrence. Between them, they boast two Oscars and a total of 14 nominations.


Woody Allen (Blue Jasmine)
Craig Borten & Melisa Wallack (Dallas Buyers Club)
Spike Jonze (Her)
Bob Nelson (Nebraska)
David O. Russell and Eric Singer (American Hustle)

Relatively slim pickings if you ask me. Anyone who reads this blog regularly knows that I have serious issues with Woody Allen’s  Blue Jasmine. To me, it’s too nakedly a rip-off of Tennessee Williams’s  A Streetcar Named Desire to be wholly original. What’s funny, even to me, is that I wasn’t similarly outraged when Allen was nominated for 2005′s Match Point even though it was clearly inspired by A Place in the Sun (itself adapted from Theodore Dreiser’s An American Tragedy). The difference between then and now is that in Match Point, Allen cleverly aped the inspirational source, setting the audience up for one expectation, before deconstructing it and spinning it in an all-new direction. Not so with Blue Jasmine. Whatever. It’s not Allen’s year. No matter. He’s not a fan of the Academy. Plus, he’s already won three Oscars in this category (Annie Hall, 1977; Hannah and Her Sisters, 1986, and Midnight in Paris, 2011), and he holds the record for most nominations in this category as well: 16 total. Spike Jonze, who boasts a previous Best Director nod for 1999′s Being John Malkovich, has won some of the season’s high profile awards, but Her might not be a significant enough achievement despite the hoopla. On the other hand, the time may very well be ripe to honor David O. Russell, who was nominated for adapting Silver Linings Playbook last year, and is also in the race for Best Director. Plus, those who like his movie are nuts for it. If I were voting, I’d probably go with Dallas Buyers Club because it’s the one movie in the bunch that actually surprised me–even if it is based in a true story; however, after careful consideration, I must confess that my true favorites aren’t even nominated:  Gravity by Alfonso Cuarón, and In a World by Lake Bell.


The USC Libraries 26th Annual Scripter Awards

Screenwriter John Ridley recently triumphed at the annual Scripter Awards, sponsored by the Friends of the USC Library; it’s just one of Ridley’s many honors this season. His other credits include Red Tails, The Wanda Sykes Show, the Barbershop TV series, Three Kings, and even The Fresh Prince of Bel-Air. He’s also credited as an executive producer on 12 Years a Slave though he’s not on the final Best Picture ballot due to technicalities.

Steve Coogan and Jeff Pope (Philomena)
Julie Delpy, Ethan Hawke & Richard Linklater (Before Midnight)
Billy Ray (Captain Phillips)
John Ridley (12 Years a Slave)
Terence Winter (The Wolf of Wall Street

As Steve Coogan is also one of the producers and stars of Philomena, I can easily imagine him being honored as a so-called triple threat. I also think that Richard Linklater and his collaborators are an upset waiting to happen based on their unique history: they first collaborated on 1995′s Before Sunrise and have followed that offering with two more entries in the ongoing, and critically acclaimed, saga of the characters portrayed by Delpy and Hawke. The second feature, 2004′s Before Sunset also scored a screenwriting nod, and I think they’re well-positioned to hit the jackpot, but, of course, they’ll have to get past 12 Years a Slave, which has already claimed two of the biggest prizes: the WGA and the Scriptor, awarded by the Friends of the USC Library to writers of book-to-film adaptations.

Gravity Cinematography

Last year, Ang Lee’s 3-D epic Life of Pi emerged as the Academy’s most honored film though it failed to claim the top prize. Instead, Lee’s project dominated the technical categories, claiming awards for Best Cinematography, Best Visual Effects, and Best Score, oh, and Best Director, of course. This year, history will likely repeat itself with one film heavily favored to make an impressive showing regardless of how it fares in the major categories, and that film, of course, is Gravity. Once upon a time, the surest route to a Best Cinematography Oscar was via a lavish spectacle with plenty of awe-inspiring landscape footage: Days of Heaven (1978), Dances with Wolves (1990), A River Runs Through It (1992), Legends of the Fall (1994), and There Will Be Blood (2007) easily fit the bill; however, the biz is changing, and the last few Best Cinematography winners show increasing digital sophistication such that Inception (2010), Hugo (2011), and the aforementioned Life of Pi won for both their cinematography as well as their visual effects–the latter pair, like Gravity, also shot in 3-D. That bodes well for Gravity though too much of a good thing might signal the need for change. Plus, I think many of us have given up hope that we’ll ever see cinematographer Emmanuel Lubezki win an Oscar. This is his sixth nomination, and it seemed like he was as good as gold the last time he competed–with 2011′s The Tree of Life, but he lost to Robert Richardson, as noted, of Hugo fame. Still, Lubezki has already been honored by his peers in the American Society of Cinematographers though that was also the case in 2011; however, more recently, Gravity did indeed claim Best Cinematography, Best Visual Effects, and Best Sound (among others) at the British Academy Awards.


It almost seems too easy to think that designer Catherine Martin would win Oscars in two categories for her work in last spring’s lavish adaptation of F. Scott Fitzgerald’s The Great Gatsby, especially since costumer Theoni V. Aldredge won an Oscar for the 1974 adaptation, starring Robert Redford and Mia Farrow. Will the Academy really revisit the same property even with a bigger budget? Right now, that’s the way it looks; after all, Martin won a pair of Oscars for her costume and production design on 2001′s Moulin Rouge, so we know she’s a designer with a proven track record. Plus, she already won awards in one or both categories at the British Academy awards and a variety of other bashes. Interestingly, if she wins for her work as the film’s art director/production designer, she’ll share honors with Beverly Dunn. On the other hand, despite a well-documented collaboration with Miuccia Prada on the film’s wardrobe, Martin’s is the sole name representing Gatsby on the final ballot. Oh, and did I mention that, as was the case with Moulin Rouge, she’s married to Gatsby’s director, Baz Luhrmann. Meanwhile, the Gatsby nayasyers are rallying behind first time Oscar nominee Michael Wilkinson for his American Hustle costumes. On the other hand, I’m not getting a sense of 12 Years a Slave Here. It’s possible that a sweep could develop and take everything, including Best Costume and Best  Art Direction with it.


Would you believe me if I were to tell you that Frozen, clearly inspired by Hans Christian Andersen’s “The Snow Queen” (by way of Broadway’s Oz-esque Wicked), may very well be on its way to becoming the first Disney film to win Best Animated Feature Film? How so? Well, the first winner in this category, Shrek, was from DreamWorks, and Japanese master animator Hayao Miyazaki’s Spirited Away was next though, true enough, it was distributed in the states by Disney without being of Disney. Beginning with 2003′s Finding Nemo, the folks at Pixar collaborated with the Disney bigwigs for series of winners that include The Incredibles (2004), Wall-E, Up, and even 2012′s Brave; however, Frozen is a pure Disney in-house production, so, yes, if it wins, it will be a first for the studio. At this point, there’s no reason to think that this blockbuster–380 mill and counting (about a hundred mil more than Brave)–will not reign supreme. And not just because of all that money. Not only has the movie been well-reviewed, but it’s a touched a nerve with audiences (obviously), especially pre-teen girls who simply cannot get enough. Not only did Frozen clean up at the recent Annie awards, it made another kind of history by being the second such winner (after Shrek) to be directed, or co-directed, by a woman. In this case, Jennifer Lee.  Still, Lee and her team face ample competition in the form of The Croods and The Wind Rises, the swansong of the aforementioned Miyazaki. The other nominees are Despicable Me 2 (I skipped it, but I loved the first one) and the French import Ernest and  Celestine. Still, if Frozen loses, it will be one of the major upsets of the evening.

Besides the Best Animated Feature award, Frozen is also heavily favored to snag the Best Song trophy thanks to the insanely catchy “Let It Go” by Kristen Anderson-Lopez and Robert Lopez, robustly performed within the film by Wicked Tony winner Idina Menzel (and on a smash pop single by Demi Lovato). Not only is “Let It Go,” an inescapable Girl Power anthem, replete with dozens upon dozens of YouTube cover versions, I’m sure it’s also a big hit with drag queens and future beauty pageant contestants; after all the film version features a complete hair and costume change. Of course, it’s not the only song in the game, and some voters might be sick of “Let it Go” by now.  Rock gods U2 won the Golden Globe for their contribution to Mandela: Long Walk to Freedom, and Pharrell Williams, of “Happy” (from Despicable Me 2) is also incredibly buzzworthy right now thanks to his recent Grammy awards for producing Daft Punk’s “Get Lucky” (along with nods for collaborating with Robin Thicke on “Blurred Lines”).  On the other hand, there’s probably little or no chance for “The Moon Song,” which was actually composed by Her‘s writer-director Spike Jonze.

Thanks for your consideration…

Maximilian Schell: Man of Many Gifts

9 Feb
Schell in JN

Austrian born Maximilan Schell was a mere 31 years old when he won the 1961/62 Best Actor Oscar for his impassioned performance in Stanley Kramer’s Judgment at Nuremberg. At the time, per the Academy’s database, Schell was the second youngest Best Actor winner, behind Marlon Brando in 1954′s On the Waterfront. This many years later, he’s still considered the fourth youngest with Adrien Brody (The Pianist) and Richard Dreyfuss (The Goodbye Girl) in the top two slots.

I watch the morning news, both local and national editions, every weekday–frequently on Saturdays as well, often on Sundays too. Strange then, that I neither saw nor read anything about the passing of Oscar winner Maximilian Schell until I flipped through the latest issue of People. Apparently, Schell died in Austria, his birthplace, last Saturday, February 1, at the age of 83. Of course, we all know how the death of another Oscar winner, Philip Seymour Hoffman, attracted scads of media attention–and scrutiny–over the past week (guilty as charged on my end), and Schell’s death somehow got lost in the shuffle.

Anyway, here’s what I know about Schell. I’ve long been a fan even though I have NOT seen more of his movies than I have seen, but I have some clear faves, and I’m familiar with some of his more high-profile offerings.


Judgment at Nuremberg (1961): In a film headlined by such established actors as Spencer Tracy, Burt Lancaster, and Richard Widmark (not to mention Montogimery Clift in a supporting role), Schell, a relative newcomer to American films, walked away with top honors, including the year’s Best Actor Oscar along with a Golden Globe and accolades from the New York Film Critics Circle. Not only did Schell  (lower left) triumph over co-star Tracy (upper right) in the Oscar race, he also trumped Paul Newman in The Hustler and Charles Boyer in Fanny.  (The fifth nominee was Stuart Whitman in the barely remembered The Mark.) Interestingly, Schell portrayed the same character, Hans Rolfe, in a televised version of the same story in 1959. The twist in the scenario, if there is one, is that Schell actually portrays the defense lawyer, the man arguing on behalf of  someone on trial for war crimes. Even if viewers don’t buy Rolfe’s argument that blame has been cast too easily on a few individuals, while ignoring the larger picture and perhaps the bigger crime, Schell packs a wallop in his “big” moments.


Topkapi (1964): In this delightful caper, Schell (center) shared the screen with Melina Mercouri (r) and Peter Ustinov (l), who won his second Best Supporting Actor Oscar. This is a movie that Michael and I frequently watch late, late, at night. Glamorous locales, intricately plotted, plenty of suspense, a “mod” flourish or two, and more than a few laughs. Never disappoints. If you’ve never seen it, you might be surprised at how much Brian De Palma borrowed from Topkapi in the first Mission Impossible big screen adventure back in ’96, specifically the scene in which Tom Cruise’s Ethan Hunt uses an elaborate harness to penetrate a high level security office–a scene recently parodied in Progressive Insurance commercials featuring actress Stephanie Courtney as ever solicitous Flo. Just know that director Jules Dassin and crew did it first in Topkapi.

The Pedestrian

The Pedestrian: Schell wrote and directed this 1973 Oscar nominated German film which also looked back at at the war and war criminals. Schell appeared in the movie as well. I’m pretty sure that seeing Schell being interviewed about The Pedestrian on one talk show or another is my oldest memory  of him outside knowing he’d won an Oscar for Judgement at Nuremberg. If I had ever seen him in a film prior to that, it escaped me at that time. Okay, back to The Pedestrian. The Oscar for Best Foreign Language Film that year went to François Truffaut’s Day for Night; however, back in Germany, The Pedestrian scored at the German Film Awards, taking not only Best Picture but also Best Actor (Gustav Rudolph Sellner). Schell also directed international sensation Dominique Sanda in 1970′s Young Love, a Swiss offering which also competed at the Academy Awards for Best Foreign Language Film.


The Man in the Glass Booth (1975): Schell, in heavy old-age makeup, earned his second Best Actor nomination for the American Film Theatre adaptation of Robert Shaw’s play (perhaps inspired by the trial of Nazi war criminal Adolph Eichmann). Though director Arthur Hiller’s treatment is a bit stagey, and Shaw asked to have his name removed from the credits, the movie serves as a powerful showcase for Schell’s tremendous talent as he navigates the difficult arc of a wealthy industrialist crumbling under the weight of cruel, conflicting identities. Detractors no doubt find it loud and/or hammy, but for me it’s simply mesmerizing. Jack Nicholson bested Schell for the Oscar, but he was in good company with also-ran Al Pacino in Dog Day Afternoon.


Julia (1977): Schell (r) earned his third and final Oscar nomination–as Best Supporting Actor–for his brief role (practically a cameo) as the enigmatic Mr. Johann in an adaptation of one passage in Lillian Hellman’s memoirs Pentimento, starring Jane Fonda (l) and Best Supporting Actress winner Vanessa Redgrave. I’ll be frank. I was a senior in high school the year this movie competed in the Oscar race, and while most of my classmates were clearly rooting for all things Star Wars, and that means Alec Guiness as Obi Wan Kenobi, I was pulling for Schell, subtle but significant in a role full of intrigue. Interestingly, he lost to no less than Jason Robards (aka Jason Robards Jr.) as Hellman’s mentor and sometime lover Dashiel Hammet in the same film. Robards made history as the first back-to-back winner in the category, following his triumph as Washington Post editor Ben Bradlee in 1976′s All the President’s Men.


Marlene: Never content to rest on his laurels, Schell once again ventured behind the camera to create this Oscar nominated documentary about silver screen legend Marlene Dietrich. Simply, Dietrich was in her 80s at the time, and she agreed to cooperate on the condition that Schell not film her directly. To that end, audio of Schell’s interview with the aging, and quite temperamental, star is played against footage of her best work.  My memory, from seeing a clip on one of the early morning news shows, is Dietrich getting testy when pressed by Schell to explain why she considers The Devil is a Woman the greatest film ever made. I believe her response is something to the effect of “It is because I say it is.” That’s my memory. Thanks, Max.

The Freshman

The Freshman (1990): No, your eyes are not playing tricks on you. That’s Marlon Brando on the left, parodying his Oscar winning role as The Godfather’s Don Corleone in Andrew Bergman’s 1990 romp. The movie stars Matthew Broderick (not pictured) as a fresh-faced college student who falls in with a suspicious crowd, including Schell (r) as an alternately sinister and loopy chef, as soon as he hits the Big Apple in order to attend NYU. The Freshman was one of my favorite movies from 1990 though it was not a huge hit. On the other hand, we did well enough with it back at the old UA during the same summer in which we also played Ghost and Total Recall. Those who are less than enthused with the Freshman (no connection to Harold Llyod’s 1925 offering) complain that it’s silly and derivative, but most of the jokes hit, and the derivative stuff is harmless (and even makes sense in context). To me, it’s tremendously sweet and clever, and the cast is top-notch:  Brando, Broderick, Schell, Bruno Kirby, Penelope Ann Miller, B.D. Wong, Paul Benedict, Frank Whaley, and Bert Parks (as himself). Indeed, The Freshman was actually nominated for a Casting Society of America award. Make it a double-feature with Topkapi and enjoy!

Schell’s many other credits include The Young Lions (1958), which first teamed him with both Marlon Brando and Montogmery Clift, The Odessa File (with Jon Voight–and still on my bucket list), Sam Peckinpah’s Cross of Iron (1977), Richard Attenborough’s A Bridge Too Far (1977), The Chosen (1980) and Disney’s extravagant 1979 Christmas offering, The Black Hole. One of his last films was 2008′s quirky–and that’s really the best word–The Brothers Bloom starring Adrien Brody and Mark Ruffalo.

He appeared in many high profile TV productions, earning Emmy nominations for Stalin (as a supporting player to star Robert Duvall), and Miss Rose White. He also portrayed no less than Peter the Great in a 1986 mini-series. He enjoyed a six episode run on the acclaimed Wiseguy and starred in a 1959 adaptation of Hamlet.

Schell’s death is not as shocking as the passing of Philip Seymour Hoffman a week ago, but I feel the void nonetheless. I don’t know whether Schell ever truly became a household name in spite of decades of exciting work, but I certainly know that he dedicated most of his life to honing his craft, creating meaningful work (often succeeding), and exploring a wide variety of opportunities. A life well-lived, Mr. Schell.

Thanks for your consideration…

Schell at the Internet Movie Database:

Academy Awards Database:

RIP: The Talented Mr. Hoffman

2 Feb

Oscar winning actor Philip Seymour Hoffman has passed away at the age of 46, apparently from a drug overdose. His struggles with substance abuse have been well documented for some time.  I’ll include a link to a New York Post article at the end of this piece that includes all the alleged grisly details.  The Post, never known for subtlety, is what it is.


RIP: Philip Seymour Hoffman (1967-2014). L: Hoffman as writer Truman Capote in 2005′s Capote. R: Winning the 2005/06 Best Actor Oscar.

For years, Hoffman gave his all in a wide variety of supporting roles in such films as Scent of a Woman  and Leap of Faith (both 1992), Twister (1996), Boogie Nights (1997), The Big Lebowski (1998), Patch Adams (also 1998), and The Talented Mr. Ripley (1999). He began his ascent to leading actor status in the likes of Flawless (1999), in which he played a transsexual opposite Robert DeNiro and earned a Screen Actors Guild nod. Indie efforts, such as Love Liza (2002) and Owning Mahowny (2003), followed with mixed success, but the real game changer was 2005′s Capote, a star vehicle conceived especially for Hoffman by his longtime pal actor-writer Dan Futterman and directed by another close associate, Bennett Miller.  This time everything clicked, and Hoffman, uncharacteristically urbane as the famously flamboyant and sharp-tongued author of In Cold Blood, became the early favorite in a tight race for the Oscar, a race that included Heath Ledger (Brokeback Mountain), Joaquin Phoenix (as Johnny Cash in Walk the Line), David Strathairn (as Edward R. Murrow in Good Night, and Good Luck), and Terrence Howard (Hustle and Flow).

After winning the Oscar, Hoffman worked as steadily as he ever had, only his most acclaimed performances were more often secondary than leading. For example, he earned Academy Best Supporting Actor nominations for Charlie Wilson’s War (2007), Doubt (2008), and The Master (2012). Regarding the latter, it was his fifth collaboration with writer-director Paul Thomas Anderson after Hard Eight (1996), the aforementioned Boogie Nights, Magnolia (1999),  and Punch Drunk Love (2002). Hoffman was featured in his friend Miller’s Oscar nominated Moneyball (2011) and was recently seen in The Hunger Games: Catching Fire. He had reportedly begun work on the next installment of The Hunger Games franchise, Mockingjay.

Hoffman was in a long-term relationship with costumer Mimi O’Donnell; they have three children. The actor’s list of accolades also includes Tony nominations for revivals of True West, Long Day’s Journey into Night, and Death of a Salesman.

Hoffman always struck me as troubled, and I freely admit that his performances sometimes left me baffled.  I don’t feel compelled to elaborate on that at this particular time, however. His death is still a shocker, a tragedy. On the other hand, I was quite moved by his Oscar acceptance speech when he spoke about being one of four children raised by a single mom, and that’s how I would like to remember him. Oh, how I grieve for his mother now.  Rest in Peace, Mr. Hoffman.

Here is a link to his Oscar acceptance speech, via Business Insider. I dare you not to be moved:

Hoffman’s obituary in the New York Post

Hoffman at the Internet Movie Database:

Hoffman at the Internet Broadway Database:

The Producers (Guild, That Is): Win, Lose, or Draw

23 Jan

Well, the 2013/14 awards season  has just gotten even tighter. Especially the race for Best Picture, that is.  Anyone looking to the Producers Guild of America award to break what appears to be a three-way tie between American Hustle, Gravity, and 12 Years a Slave is probably convulsing in the agony of suspense right about now as the PGA managed the seemingly impossible by honoring co-winners. That’s right, we have a tie, a tie between Gravity and 12 Years a Slave, the buzzworthiest pair of contenders going all the way back to late summer/early fall rush of film festivals. Sorry ’bout it, American Hustle.

Now, how seriously should we awards fiends take this most recent development? Well, since its inception in 1990, the PGA’s Golden Laurel has never gone to co-winners; moreover, the PGA prize has foreshadowed the Oscar winner for Best Picture 18 times. Not bad, and that includes the seven most recent victors–everything from 2007′s No Country for Old Men to last year’s Argo. (The last split occurred when the PGA picked Little Miss Sunshine, and the Academy favored Martin Scorsese’s The Departed.) Furthermore, Academy rules are designed to make tie-votes virtually impossible, which is why we see far fewer of them in any category than we do in the results from some of the critics groups. To clarify, there has never been a tie for Best Picture in the Academy’s history though there were essentially two such winners at the inaugural event: Outstanding Picture (Wings) and Unique and Artistic Production (Sunrise).  Wings is now recognized as the official first Best Picture winner while the “Artistic” award was retired after the first year.


Gravity (Warner Bros. Pictures) – Producers: Alfonso Cuarón and David Heyman

What I find so interesting, even compelling and maybe fascinating, is that Gravity and 12 Years a Slave cover some of the same ground thematically. Now, don’t get me wrong: I full well-understand the difference between a fluffy popcorn movie dressed-up in existentialist drag  (maybe vice-versa) and a harrowing real-life saga about identity and human rights, the difference between the visceral thrill of cutting edge special effects and “old-fashioned” storytelling that pierces the heart. Even so, these movies share a single thematic element, and that’s the terrifying prospect of someone having his/her whole world turned upside down and being powerless (or at least seemingly powerless) to do anything about it–whether that means being tossed into the dark stretches of space, never to set foot on earth again, or being effectively kidnapped and sold as mere property, never to see your family again, and not having the right to have your voice heard in protest. One dazzles the eye and delights the imagination while the other horrifies as it rips away at the foibles and frailties of humankind. Two stylistically and structurally different movies but one common element: dread, or fear of the unknown.  I think what makes this contest so hard for voters is that both movies are excellent in their own ways; they both work on the same primal level, so, really, it’s all a matter of taste. And reflection doesn’t necessarily help.

Maybe this weekend’s DGA awards will help clarify the confusion, but over the past several years, we’ve seen the Academy split Best Picture and Best Director honors with greater frequency than in previous 30 or 40 years. For example, last year Best Picture went to Argo while Best Director went to Ang Lee (Life of Pi). Similarly, during the 2005/06 contest, the Academy’s directors branch awarded Lee for Brokeback Mountain while the top prize went to Crash.  I can also easily imagine a situation in which voter frustration creates a clear path for a Best Picture spoiler, meaning  American Hustle. In all honesty, I can’t recall a Best Picture race quite as hard to call as this one. Oh sure, every race, every year, comes with its own unique set of factors; however, every year almost always includes one obvious frontrunner, sometimes two. Sometimes, there’s barely anything worth rooting for in the first place.


12 Years a Slave (Fox Searchlight Pictures) – Producers: Anthony Katagas, Jeremy Kleiner, Steve McQueen, Brad Pitt, and Dede Gardner

I wonder what’s happening with the oddsmakers in Vegas right now. Luckily for me, I invest enough of myself in the Oscars each and every year without having to add money to the fun.  So, for now, I’ll just enjoy the race for what it is–and that includes a total of 9 contenders–and revel in the strengths and complexities of two amazing candidates–win, lose, or draw.

Thanks for your consideration…


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