Yes, No, Maybe So: "The Iron Lady"

Okay The Film Experience simply must take a long break from Meryl Streep. I blog about her way too much I realize...  So we'll take a long break (by which we mean until she wins her first award or nomination of the season) ...so the long break might be a short one. Such is awards season! 

TOTALLY UNRETOUCHED! © The Film Experience

I have done battle every single day of my life."

Until then, a break. I need it for sanity. As The Iron Lady might say "It's absolutely non-negotiable." But I couldn't leave Streep be without sharing this  100% Authentic Screencap From the Film In Which Margaret Thatcher seems to be planning battle against all the Best Actress players this year. WTF?!

We also can't begin our official Meryl break until after posting this UK trailer of The Iron Lady in case you haven't seen it (no US trailer beyond that old teaser yet).

YES

• Well, we never miss a Streep movie.

NO

• Ehhhhh, I hope this doesn't glorify that woman (Thatcher not Streep). The neo cons have done enough damage to the world without a liberal goddess (Streep) endorsing one of their icons.
• This doesn't look that promising for Jim Broadbent and he deserves another year as great as 2001. 
• Phyllida Lloyd in the director's chair again. Really? If Meryl wants to support female directors we HIGHLY approve but we could name 23 off the top of our heads that would be more deserving of double dipping with some world class actress who could make financing their next film much easier. 

MAYBE SO

• Of course it's rude to assume that Ms. Lloyd couldn't make a huge leap forward in skill after that learning on the job business with Mamma Mia! 'So, this is what a camera is!' We would hate to be judged by our very first blog entry forever ;) 

Yes, No, Maybe So: "The Hunger Games"

We watch trailers. To avoid entirely selling our souls to marketing experts or entirely caving to our preconceived biases, we try to stay balanced as we do so. Sometimes we fail with unqualified "holy hell yes" or "dear god, no!" reactions but it's good to try and keep an open mind. 

On the subject of The Hunger Games, I haven't always had one. Though I live for the movies, the past decade has been rough going for me in franchise-land as Twilight and Harry Potter fandom have reigned for so long that I've begun to feel like an outcast from my own church, the church of the cinema. And now yet another YA appeal genre franchise which promises endless movies that will not be judged on their cinematic merit but on how well they fill fan cravings for beloved characters? I CAN'T DEAL.

I felt abused by the marketing, which has released so many morsels that we know they're building not just a bread crumb trail to the box office but a superhighway.  But that wasn't the problem. It was the way each crumb, no matter how inconsequential, was treated as if it was a seven course meal. Entire movies don't get the kind of attention each little blip from this movie gets.

But then this trailer arrived and it's either so brilliantly cut together that they've finally brainwashed me, or I've just now opened my heart to The Hunger Games or, possibly both. 

YES...

While I've never really thought of Gary Ross (Pleasantville, Seabiscuit) as an inspired visual stylist that might be mere forgetfulness since he doesn't direct features too often. There are quite a few shots I love in the trailer. I mean look at the palette, focal precision, and direct but subdued emotion of those tense crowd scene. Jennifer Lawrence, so strong in Winter's Bone and so sympathetic in Like Crazy looks to continue making good on her promise.  

If the story beats are as economically and fluidly expressed in the movie as in the trailer we're in for a treat. What great buildup and release. Too few trailers understand that the set-up is what's crucial, not the whole package. If you give us the whole movie, what's left to see in the theater? This feels as exciting as any "ready. set. go..." ever did  and I bet we're not even seeing anything beyond the 45 minute mark. 

NO...

I haven't read the source material (I know I know) so I can't be sure what is being metaphored up for us -- if it's reality television, shouldn't they all be volunteers out for fame and fortune and thus willing to exploit themselves? Personal potential pet peeve: I hate when theatricality obviously equates with evil -- and all the excessively theatrical people in this trailer appear to be the villains -- since theatricality is so fun and never hurts anybody. If this is one of those movies were physical aptitude is glorious and noble (even if used in the service of killing people) while entertaining showmanship is a sign of evil, I'm gonna be annoyed!

This is just on my mind because people worship sports and winner-takes-all competition to a scary extent and that seems to be a-ok with everyone, no metaphoric condemnation required. Just the other day I was watching the news and a crowd was literally rioting, turning over cars because Coach Paterno was fired. Never mind the sexual molestation scandal at Penn State that wasn't properly handled under his watch that prompted it... SPORTS ROUTINE INTERRUPTED? CUE: MASS CHAOS. Sports being naturally more important than the well being of children.

MAYBE SO...

The subject matter -- 24 people enter the games, only 1 can survive by killing the others, I take it ? -- has the potential to be totally icky in lots of hypocritical "are you not entertained?!?" Gladiator ways and also, if we meet 24 people are they going to divvy them up and make them easily good or evil so that it will be easy to "enjoy" as mainstream movies tend to be. Or is it actually a nuanced portrait of desperate people in which case... isn't it going to leave one feeling sick afterwards that the hero has to murder other potential heroes? The topic just seems so... ewww.

But the trailer works in that ready set... don't you wanna see what happens... go!.

So I'm now a yes. Are you a yes, no or maybe so? But more importantly... were you one of these things before the trailer arrived?

10 Word Reviews: Hanna, Like Crazy, Puss in Boots, Coriolanus

Though I'm happy to have finally banged out a few thoughts on J Edgar, I'm never going catch up without engaging in some quickies. So herewith some miniature takes on things I've recently seen that I haven't written up. (And at the end of the post, a bit more on J. Edgar because you were asking... )

CORIOLANUS
For Fiennes directorial debut he adapts one of Shakespeare's lesser tragedies
10WR: Swings with brutish fists, occasionally landing blows. Impactful locale choices. B 
Oscar? Supporting Actress. It will be all about beastly mama Redgrave chewing determinedly on her own anger. (Fiennes does the spitting for their amusingly Oedipal bond).

LIKE CRAZY
Crazy College Kids Cuddling Cross-Atlantic 
10WR: Intermittently endearing / annoying, sensitively made. Starter kit for promising careers. B-
Oscar? Unlikely despite early buzz to the contrary. Best Actress is too crowded and romantic dramas don't win kudos for their male leads. On that note, I feel it's worth trumpeting that Anton Yelchin is every bit as strong as Felicity Jones in detailing the first crushing moments of love and the romantic confusion that often follows. Bonus points for giving us the most authentic "drunk but horny, trying to stay awake" face the movies have ever seen.

NO STRINGS ATTACHED
Crazy Post-Collegiate Kids' "NO CUDDLING!" Coitus
10 WR: 100% predictable but funny. Authentically acted despite proud sitcom leanings. C+
Oscar? LOL. But no embarrassment for Portman as post-Oscar performances go -- which it could have been. She's far better here than in The Other Woman. No really.

PUSS IN BOOTS
Puss invades another fairy tale (Jack and the Beanstalk) for treasure and personal redemption.
10WR: Indulgent backstories / setpieces bore. Charms with character and recurring gags.  B 
Oscar? Seems likely for animated feature but then they did ignore the last two Shrek movies. 

HANNA
in which a teen killing machine is on the run from...  because of... with only .....
10 WR: Carnage-filled collision of fairytales/Catholocism. Ridiculous. Unique. Very watchable B
Oscar? Stylized teen driven genre pieces are not their thing so "No". But how about that Chemical Bros score, eh? Cinematography was compelling, too.

J EDGAR & OSCAR?
Already reviewed and interviewed but y'all kept asking about Oscar. I only have it predicted for two nominations right now, Best Makeup and Best Actor. The makeup is getting mostly bad reviews but bad reviews have rarely stopped them from honoring "Most Makeup" in the past. As for the Best Actor nomination for Leonardo DiCaprio, I agree with Mark who says in the review comments.

I don't want to live in a world where Leo is given out of some sense of obligation but Fassbender is snubbed for his miraculous turn in Shame.

... but we do live in that kind of world, even if this year happens to pan out differently.

Otherwise, I don't see a way the film can find much Oscar traction. The costumes and art direction aren't particularly showy (and it's a crowded year). The cinematography seems to be one of the more divisive elements and historically the cinematography branch isn't as enamored with Eastwood's filmography as other branches tend to be. Even when his films are Best Picture nominated they don't often show up. Unforgiven (Jack N. Green) is the only one of his four Best Picture nominees to receive a cinematography nomination and Changeling (Tom Stern) is the only other one of his pictures so honored.

What's next review wise?
More substantial takes coming on Melancholia and the Scandinavian Oscar submissions...

Peek A Boo, Veronica

Veronica Lake was born eighty-nine years ago today. She had a hair-do built for Noir, one eye winking come hither while the other hid around the corner, a concealed weapon. Her most famous role in Sullivan's Travels is much less sinister than all that of course, but thanks to the visual loan that Kim Basinger took with LA Confidential I think Veronica will forever be thought of as a girl who had secrets in her hair.

Naked Gold Man: Roles For Which Meryl Streep Was Not Nominated

For this week's gold man column, we're skipping the general overview and getting really specific. Who doesn't enjoy a good zoom in on Meryl Streep? The Iron Lady, her Margaret Thatcher biopic performances, begins screening very soon -- they moved the release date back but not the screenings. So we need to discuss this before it does and the focus shifts from groundless speculation to case evidence.

Every time I've floated the notion that Meryl Streep cannot be an Iron Lock for a Best Actress nomination since her film has not been seen, people object. "But Meryl is ALWAYS nominated," sayeth everyone. Not so, not so. While it's true that The World's Greatest Actress™ seems as much a can't miss prospect in Best Actress as she did in the 80s what with nominations for Prada, Doubt and Julia fresh in our minds, she has missed the shortlist. Yes, even THE MOST NOMINATED is not always nominated. Some of those roles even looked good on paper and in some of them she was marvelous onscreen. If there'd been Oscar blogs back in in the 80s and 90s, for example, pundits would've leaned on her whilst predicting each and every year with as much lazy force as voters do when balloting. There is no such thing as someone who is Oscar-nominated for everything they've ever done -- unless they only made one film or their name is Stephen Daldry (three-for-three thus far in Best Director). Even James Dean, who famously received two post-humous Oscar nominations, was only nominated for 66% of his three iconic film roles...

...yeah, yeah. true, true. okay, okay...

You can't be nominated in the same acting category twice in one year so theoretically Dean could have been nominated for Rebel Without a Cause if it hadn't been for East of Eden. This is an important point which we will discuss in the following "snub" list. 

25 Streep Roles That Weren't Oscar Nominated

Meryl's entrance into the cinema she would soon reign. Julia (1977)

1977 Julia
"Anne Marie" is really just a cameo (two scenes) but it's magically fitting that this then unknown actress's first screen role was opposite two acting legends: Jane Fonda & Vanessa Redgrave (a probable Best Supporting Actress this year as she is quite sensational in Coriolanus). For most people the only way is down from there but for Meryl she's all, like, 'hey shove over. I'm here!' If she felt intimidated it doesn't remotely show in her haughty, funny, scene-stealing bit. But only important actors get nominated for cameos, even cameos this juicy, and Meryl was not yet a star. [More on Meryl's debut]

1978 The Deer Hunter -1st nomination

1979 The Seduction of Joe Tynan and Manhattan
This was the year of Kramer vs Kramer (her first win, following her first nom for The Deer Hunter in '78) so Academy voters couldn't have nominated her politico's mistress "Karen Traynor" or her angry lesbian ex-wife "Jill" in Woody Allen's other 70s masterpiece. Though these roles undoubtedly helped her win (note that the critics awards she won that year include all three) they wouldn't have won her nominations in a theoretical Kramer absence given the Oscar reception of Tynan (zero noms) and her internal competition in Manhattan. [More on this her year of actressy ascendance]

1979 Kramer vs. Kramer -2nd nom/1st win
1981 The French Lieutenant's Woman - 3rd nom

1982 Still of the Night  
This noirish femme fatale role arrived two weeks before the Sophie's Choice juggernaut (her second Oscar win) so technically she couldn't have been nominated for it unless they demoted her to "supporting" which they didn't. (The actress who got the 'demotion so we can double dip' you was Jessica Lange for Tootsie, who went on to win supporting while losing lead to Meryl.)  Though this noir may have added to surface cries of "Meryl can do anything!" Meryl herself didn't think so; according to some reports she wasn't particularly thrilled with her own work in it.

1982 Sophie's Choice -4th nom/2nd win
1983 Silkwood -5th nom

1984 Falling in Love
Meryl's work as "Molly Gilmore" a married woman who falls for a fellow commuter (her Deer Hunter co-star DeNiro) is actually rather touching. But it arrived fast on the heels of five shape-shifting legend-making iconic roles. This normal contemporary woman probably felt underwhelming to voters. Something "Magic Meryl" could probably do in her sleep and why not take a wee break from the exhaustingly perfect new legend? Trivia Note: We can't prove it but we believe any American actress not playing a farm wife that year was disqualified in a special one-year-only AMPAS ruling.  That's the only feasible explanation for the psychotic snubbing of Katheen Turner in Romancing the Stone.

1985-2009 including the 3 most interesting case studies in When Meryl is Not Nominated AFTER THE JUMP.

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