Brief Notes on the Daytime Emmy Nominations

We want to thank Abe Fried-Tanzer for doing so much Emmy contender coverage for us this year. The Primetime Emmy Awards are, of course, the "draw" but it occurred to us recently that "primetime" and "daytime" have surely lost their meaning in our current streaming era. That is to say but for the vestigial meaning they carry, who actually thinks of TV based on its airtime sanymore? People now watch whatever shows they watch whenever they want to watch them. Even live events aren't always screened as they air but often piecemeal through clips on the following day(s).

Eastsiders, up for 8 Emmy Awards in its final season

So herewith 5 brief notes on the Daytime Emmy Nominations just announced...

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The curious case of "The Red Balloon"

by Cláudio Alves

Last time we explored the history of non-English speaking films at the Academy Awards, we looked at the success of Japanese cinema in the Best Costume Design category. In 1956, two years after the historical victory of Teinosuke Kinugasa's Gate of Hell, the Academy finally inaugurated the Best Foreign Language Oscar as a competitive category. Federico Fellini's La Strada was the first winner and, like Gate of Hell, it also scored a nomination in another category, Best Original Screenplay. This time around, though, the foreign film champion lost that additional statuette. However, it didn't lose to a Hollywood production or even an English-language one. Instead, that year's prize for Best Original Screenplay went to one of the weirdest Oscar winners of all time. 

We're talking about a nearly dialogue-free French short film about a magical balloon directed and written by the creator of the Risk board game… 

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Review: Military Wives

by Chris Feil

Much of the newest film from The Full Monty director Peter Cattaneo, Military Wives, follows the mold of that effort that made him an Oscar nominee. It’s an emotionally effective ensemble portrait of blue collar Britain, with unseasoned performers finding a renewed sense of community through performance. Good times, neatly plotted setbacks, and reconciliation within family units are had by all. It even ends on an iconic disco track, but this time with even more charmingly awkward dancing.

However, Military Wives is more defined by its modesty than its showmanship, lovely and satisfying but without much in the way of complication or embellishment. Even as it follows the formula, it downplays much of its musicality and emotional grace notes when you expect it to soar. Comfort classic status is sadly averted due to its lower register, and yet it still fulfills most of what you crave in a film such as this.

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1947: Agnes Moorehead in "Dark Passage" and "The Lost Moment"

by Nick Taylor

One way to search for great performances outside of Oscar's history books is merely to check in on what the great character actresses of their day were busy doing besides not getting their due. In 1947 just to cite a few examples, You couldn’t go wrong with Mary Astor, warm and sympathetic as the mother of sickly Liz Taylor in Cynthia, and even better at nimbly flipping through the morally compromised history of a saloon-owner afraid her daughter will run away with a dangerous man in Desert Fury. There’s also Elsa Lanchester as the housemaid in The Bishop’s Wife, so piquantly observant in a role that often invites stooging. But if we’re talking supporting actresses, surely the first stop for anyone seeking out the heavies of Classic Hollywood is Agnes Moorehead. Moorehead’s performances n Dark Passage and The Lost Moment were my first stops after completing Oscar’s lineup in preparation for the Smackdown. 

The more famous of Moorehead’s two films in 1947 was Dark Passage, best known as the third of four films Humphrey Bogart and Lauren Bacall made together...

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Emmy Watch: Supporting Actor in a Movie or Mini-Series

by Abe Fried-Tanzer

Tim Blake Nelson is surely a shoo-in for Watchmen

This category is arguably the weakest of the acting races in the limited series or TV movie fields this Emmy season, but that’s only because this TV season was filled with so many fantastic female characters. That’s a reason to celebrate, surely, but it does means that this particular category is wide open. Still, it's a good bet, in the absence of a strong field of performances, that multiple nominees will come from the most widely watched or admired shows. You'd have to go back to 2012 to find a lineup that didn’t feature at least one series or TV movie with multiple nominees in this particular category....

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