The glorious Danielle Deadwyler in "Till"

by Nathaniel R

Danielle Deadwyler in "Till"

Often times Oscar buzz arrives before a performance seen on the basis that the role will be a) meaty b) important-feeling and c) feature typically awards-friendly elements. There's a reason this happens frequently. Voters of all awards bodies, not just the Academy, are sometimes guilty of awarding the role in question rather than thinking about what the actor actually did with their big opportunity. The unfortunate byproduct of this is that sometimes, no matter how much an actor elevates it, people might assume "well, it was the role". In these scenarios even the enthusiasm around the performance can feel a little rote because it's expected. It arguably happens with most biopic roles now. The role of Mamie Till-Mobely, the mother of Emmett Till who channeled her grief at her son's murder into Civil Rights activism, meets all those pre-release requirements for buzz and a likely nomination even if Danielle Deadwyler hadn't been incredible. The very good news is that she most definitely is...

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Almost There: James Dean in "Rebel Without a Cause"

by Cláudio Alves

Today, it's time for another name from your list of requests – James Dean. The doomed star was nominated posthumously for Best Actor in 1955 and 1956 for his work on East of Eden and Giant. In that first year, however, he was also in Nicholas Ray's Rebel Without a Cause, delivering a performance that's arguably more iconic than the one that got him Academy recognition. Playing a troubled teen, Dean embodied a new archetype and carved a place for himself in the annals of Hollywood history.

Considering the actor's meteoric rise and both films' popularity, it's fair to say that Dean got some votes for the Ray-helmed adolescent drama. Indeed, if not for the other flick, he probably would have scored a nom for Rebel Without a Cause…

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Alternate Oscars: 1955 Edition

by Cláudio Alves 

Ever since I started following the Oscars, I've liked to come up with dream ballots. Indeed, it's become something of a hobby to write down such ideal Academy Awards, whether following eligibility rules or not. Lately, through Letterboxd and the influence of an Excel-addicted friend, those lists have graduated from notebooks to an array of overcomplicated multicolored spreadsheets with which I horrify whoever is unlucky enough to see them. All this to say that, when Gabe Guarin asked me to be part of his Alternate Oscars podcast, I was ecstatic. At long last, I've found an opportunity to make good use of those spreadsheets!

On the latest episode of Alternate Oscars, Gabe and I discuss 1955 and come up with our ideal ballots in a podcast awards ceremony full of cinephile gushing and Kenji Mizoguchi-love. Take a listen:

What do you think of our choices? Share your choices, too.

Best Shot Index: 'All That Heaven Allows'

We revived the long dormant "Hit Me With Your Best Shot" club last week with Nightmare Alley and tonight the film is Douglas Sirk's melodrama All That Heaven Allows (1955). It's currently streaming on the Criterion Channel and HIGHLY recommended. The drama features Jane Wyman as a New England widow and Rock Hudson as the younger gardener she falls for. He doesn't care much for societal expectations but she's awfully concerned about what her neighbors and grown children think. While the film was underappreciated in its time (zero Oscar nominations for this beauty?!) it has since grown into being an influential classic, famously homaged in Far From Heaven (2002). (Each week on Best Shot anyone who would like to join is welcome to post their choice for the chosen film. We'll add more shots if any more come in.)

Click on these "Best Shots" to see why these players chose it...

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Hit Me With Your Best Shot: All That Heaven Allows (1955)

by Nathaniel R

Cary: I suppose these old beams are rotted.
Ron: No they're oak. They're good for another 100 years

Do any of you remember that short burst of retro Douglas Sirk-enthusiasm in 2002? Todd Haynes, Pedro Almodóvar and François Ozon (all of whom cite Sirk as an influence) all had new very stylized films out, and the lost art of melodrama was suddenly in the air and being discussed. Sirk was briefly exalted (especially in Haynes' Far From Heaven, a direct homage to All That Heaven Allows our topic today). Those were good times. It should happen every few years, trotting Sirk back out again, to marvel at his gifts.

Realism has not always been the most prized end-game of art, but for most of our lives the consensus, from critics audiences and awards bodies has wildly favoured it. Give us something real and gritty! Melodrama, then, is a hard ask for many moviegoers though we've never understood why...

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