The Hard Sell

Was this really necessary?

I mean they're already going to win a slew of Oscars. (see final predictions and vote on reader polls). Honestly I thought this was a parody of a hard sell Oscar campaign / movie commercial for the first few seconds. My favorite part is either the woman with long hair who actually cries while participating in a movie commercial or the guy in St Louis with the yellow shirt.

The King's Speech reminds us that we're all human.

Uh, I hadn't actually forgotten but... thanks?

Thanks to Glenn for pointing this out. And I know it's splitting hairs but isn't a smidgeon dishonest to claim you're THE most acclaimed movie of the year when another movie has won more prizes than any movie usually ever does and yet another is actually the best reviewed of the year?

Here's Jude With Your Coffee

Start your work week fully caffeinated.

You take it with cream and sugar, right?

Zoinks! Nicole + Cate, Holly + Anna

Aussie actresses Nicole and Cate are fans of each others. We shouldn't be surprised and perhaps we already knew but have forgotten. The March issue of In Style asked four Oscar winning actresses Nicole Kidman, Anna Paquin, Hilary Swank and Susan Sarandon to name their "Oscar Inspiration" and they chose Cate Blanchett, Holly Hunter, Jessica Lange, and Vanessa Redgrave respectively.

This photo has a certain imaginary Film Experience spark as it's an actress (Kidman) that readers tend to think I'm rather too scarily devoted to combined with an actress (Blanchett) that I tend to think readers are rather too scarily devoted to. ;) Not that they both aren't great actresses, mind you.

The article may well have been titled "Airbrushed Inspirations" because all of the photos are way way glossy. But it's a fun concept. Here's what Cate said about her Oscar win for The Aviator.

I was frankly relieved when I won -- relieved I wouldn't have to answer all the questions about what it feels like to lose, and relieved because, playing Katharine Hepburn, you can't but disappoint some people. You have to throw caution to the wind when you take on those real-people roles; you can't think of the outcome.

I don't see this info at In Style's official site but here is a photo-set. The Hilary Swank/Jessica Lange photos are fun but the one that just thrilled me, for the sheer nostalgia, was seeing The Piano's mother and daughter Holly Hunter and Anna Paquin reunited.

The Piano (1993) is among my all time favorite movies and who wouldn't want such a reminder. Anna is apparently now taller than Holly! Although one reason I object to the super processed/airbrushed photo shoots that are the norm these days is that in the age of Photoshop when a photo looks too plastic, I just assume no one was in the room together. Let me see an errant hair or a wrinkle or a weird pucker of cloth, or some PROOF that these are flesh and blood people in a room together.

The other thing I think of when I look at this photo is: DOES HOLLY HUNTER WATCH TRUE BLOOD? Heh. I do. I wonder.

The Short Films: Part III

Michael C from Serious Film here to wrap up our look at the short film categories with a tour of the Documentary shorts.

In this field we have that rarest of specimens: the genuine five-way race. I'd go so far as to put it right up there with Lead Actress as the most quality stacked category of the night. Since they are such uniformly strong contenders I'll skip the for/against format I've been using thus far and instead try to pinpoint what edge each film might have to push it ahead of the competition.

the nominees are...

KILLING IN THE NAME - USA, 39 Minutes, Dir: Jed Rothstein

Issue: Terrorism, specifically the killing of Muslims by Muslims

In 2005 Alshraf al-Khaled's wedding was interrupted by a suicide bomber who killed 27 guests including the fathers of both the bride and groom. Since then al-Khaled has devoted himself to confronting the sources of such terrorism and breaking the Muslim world's code of silence concerning Muslim on Muslim violence.

Killing in the Name makes for a powerful viewing experience. The astonishing footage it compiles includes a wrenching meeting with the father of a man responsible for one of the deadliest suicide attacks ever, an interview with an al-Queada recruiter, and, most disturbingly, al-Khaled's confrontation with a classroom full of young people indoctrinated to view these mass-murderers as heroes. Killing might be too impressive a feat of documentary filmmaking to refuse the prize.

Secret Weapon: In Alshraf al-Khaled the filmmakers have found a bona fide hero. His mission, at no small risk to himself, is equal parts inspiring and horrifying. He is the answer to every TV blowhard who seeks to paint the whole Muslim world with a single brush.

SUN COMES UP - USA, Papa New Guinea, 38 Minutes, Dir: Jennifer Redfearn

Issue: Global Warming 

Rising sea levels are slowly but surely sinking the Pacific Island paradise of Carteret. The village sends out a group of young people to the nearby war-torn island of Bougainville to see if they can find a new home for the hundreds of soon-to-be-displaced families.

Carteret Island is portrayed as a place just short of the Garden of Eden and it is heartbreaking to watch the Islanders as their worst-case scenario gradually becomes a reality. The filmmakers choose their moments well to convey the complex series of obstacles the Islanders face in their diaspora. The film is not without a few glimmers of hope at the end, but they are hard-earned and bittersweet. 

Secret Weapon: Even though all the shorts are extremely emotional (watching them back-to-back was a bit overwhelming) Sun Comes Up might just be the most touching of the lot. It is impossible not to be moved watching its inhabitants' sadness and bravery in the face of their loss. Who would have the heart to deny them the Oscar win?

THE WARRIORS OF QIUGANG - USA, 39 Minutes, Dir: Ruby Yang

Issue: Pollution, Government Corruption

The most conventional of the documentary short subjects, Warriors is the portrait of a village of simple Chinese farmers whose community is decimated by the pollution from a new factory. Their fight for change comes up against such obstacles as government corruption and threats of violence. The central figure emerges as one villager with a middle school education who becomes the reluctant leader of the cause. Teaching himself the intricacies of the law, he finds - to his own surprise as much as anyone else - that he is a formidable foe for the forces who seek to crush dissent. There are echoes of the Oscar-winning The Cove in the fight against a government aggressively trying to ignore a problem.

Secret Weapon: Scope. The familiarity of the subject matter shouldn't detract from the achievement of the filmmakers here. Not content to just point the cameras at ruined crops and hulking gray factories, they stuck with this story for years getting the full picture of the story and the society that produced it.

POSTER GIRL - USA, 38 Minutes, Dir: Sara Nesson

Issue: Post Traumatic Stress Disorder, the Iraq War, The Treatment of Veterans

Poster Girl looks at all its big issues through the portrait of Iraq War veteran Robynn Murray who at the age of 19 went from all-American cheerleader to hard boiled machine gunner roaming the streets of Baghdad. Now, years later, she suffers from crippling anxiety attacks, has trouble coping the memories of war time, and has to navigate a labyrinth of red tape in order to claim her disability checks.

More than any of the other entries of this field Poster Girl leaps off the screen with a burn through intensity, largely due to the riveting presence of Sgt. Robynn Murray. You seriously can't take your eyes off her as she boils with anger, crumbles in pain, and rages articulately with feelings of betrayal at the institutions she trusted. Poster Girl is a tough film to shake.

Secret Weapon:  As much as Academy members can sympathize with the plights facing poor foreigners Poster Girl is going to hit closer to home. For British and American Academy it is going to reopen a lot of wounds.

STRANGERS NO MORE - USA, 40 Minutes, Dir: Karen Goodman, Kirk Simon

Issue: Prejudice

Although the horrors of war exist constantly around the edges of Strangers No More, this is the most hopeful of the documentary shorts. Strangers tells the story of the Bailik-Rogozin school in the heart of Tel-Aviv bringing together displaced children from dozens of countries around the world many who have arrived in Israel fleeing for the lives.

Strangers is perhaps the least impressive nominee from a filmmaking standpoint. Its straight forward account of one school year unfolds pretty much how you would expect. At feature length I would say this doc needed to dig deeper into how this school came to be, but at forty minutes I think they were correct to focus on the children and their harrowing stories. It is a simple film, well executed.

Secret Weapon: All those great kids! It's difficult to overstate the emotional impact of watch a kid go in the space of a year from a wide-eyed refugee completely lost in his surroundings to a student speaking fluent Hebrew and cracking jokes with his friends. I have no doubt that will be enough to get a lot of voters to mark their ballots right then and there. 

Marking Your Oscar Pool: Since all the films can lay claim to social significance - and since there is no World War II focused doc to break the tie - the usual Oscar method of choosing the most important-seeming film won't work here. I could easily see any of the five shorts taking the prize, but forced to predict I'm going to go with the film that would be getting my vote and say Poster Girl is going to barely edge out Strangers No More and Killing in the Name and take the Oscar. All the shorts make an impression but Poster Girl is the one that really gets your heart pumping. 

Part I - Animation

Part II - Live Action

Editing. This Word. It Doesn't Mean What You Think It Means.

Though I've read a truly great book on the topic "The Conversations",  know a few editors, and have experimented with this completely fascinating craft in college, this morning when I woke up, I learned that I must have literally no idea what it means. The American Cinema Editor's Guild pulled the rug out by naming Tim Burton's Eyesore in Wonderland the best edited of all comedies in 2010. I realize that my hatred for the movie is self-feeding, ever-growing and thus deeply irrational but still... I watched it in full and all I saw was interminable rhythmless agonizing ugly incoherence.

The ACE Awards

Best Editing, Drama The Social Network's (INTERVIEW)
Best Editing, Comedy or Musical Alice in Wonderland
Best Editing, Animated Toy Story 3
Best Editing, Documentary Exit Through The Gift Shop ("UNSUNG HEROES")
Best Editing, TV Half Hour Modern Family "Family Portrait"
Best Editing, TV Hour The Walking Dead "Days Gone Bye"
Best Editing, TV (Non Commercial) Treme "Do You Know What It Means?"
Best Editing, TV Miniseries Temple Grandin
Best Editing, Reality If You Really Knew Me "Colusa High"

Perhaps the editors know something we don't? Perhaps Burton's footage from Alice was even more ghastly than what we saw in the final cut and Chris Lebenzon is being rewarded for true sorcery or merely for surviving it? Lebenzon has done fine work in the past -- even on other Burton films! -- so we don't begrudge him his kudos but this year??? When you stop to consider the other nominated efforts (The Kids Are All Right, Easy A, Made in Dagenham, Scott Pilgrim vs. the World) and how well those movies flowed and/or maximized their laughs with exceptional comic timing and/or carved out a magical performance or two, it's enough to make you straight up weep and reach for the booze.

The decision is even stranger when you look at the other winners and find that they are all relatively easy to comprehend as noteworthy work. (For instance, I'm not the world's biggest fan of The Walking Dead but that pilot episode was a master class in cumulative thrills, scary but not cheap-scary cutting, and overall pace.)  The same people voted for those achievements. Temporary insanity?

IN OTHER NEWS: Final Oscar Predictions in Craft Categories