BAFTA Winners & Red Carpet

The British Academy have long since finished handing out their prizes and we're still waiting for BBC America to begin the Broadcast. It's so delayed we may just wait till tomorrow morning to watch it and check out the Grammys instead tonight. Who knows? It's so strange to be denied *live* events on the telly.  If you don't want to know the winners before you see the taped broadcast, skip this post.
The Harry Potter Gang

You already knew that it would be a big night for the Harry Potter crowd, since they were getting a special tribute but it was an even bigger night for Bellatrix LeStrange, our Lady Helena, as she took home Best Supporting Actress for her very popular film The King's Speech. It occurred to me today that HBC, for all the ups and downs of her career, noone but her husband has really been casting her for some time, she's really  sealed her place in history, not once, not twice, but three times over. Other actresses should be so lucky. She's an irreplaceable part of 80s era cinema as a major Merchant/Ivory rep player. She's an irreplaceable part of Tim Burton's filmography (and despite his rocky past decade in terms of quality, that means something). AND she's an irreplaceable part of the Harry Potter franchise which dominated the past decade of film. So, well done HBC.

It was sort of a stealth approach to screen immortality but however you get there...

BAFTA WINNERS
Academy Fellowship: Christopher Lee
Outstanding British Contribution to Cinema: the Harry Potter films
Film: The King's Speech
British Film: The King's Speech
Outstanding Debut: Four Lions, Chris Morris
Director: David Fincher, The Social Network
Screenplay: The King's Speech
Adapted Screenplay: The Social Network
Foreign Film: The Girl With the Dragon Tattoo
Animated Film: Toy Story 3
Actor: Colin Firth, The King's Speech
Actress: Natalie Portman, Black Swan
Supporting Actor: Geoffrey Rush, The King's Speech
Supporting Actress: Helena Bonham Carter, The King's Speech

a major night for the Royal family with both Best Film awards

Music: Alexandre Desplat, The King's Speech
Cinematography: Roger Deakins, True Grit (read the Film Experience interview)
Editing: Angus Wall & Kirk Baxter, The Social Network (read the Film Experience interview)
Production Design Guy Dyas, Inception
Costume Design: Colleen Atwood, Alice in Wonderland
Sound: Inception
Visual Effects: Inception
Makeup and Hair: Alice in Wonderland
Short Animation: The Eagleman Stag
Short Film: Until the River Runs Red
Rising Star Award: Tom Hardy

More dresses? Who do you think is best dressed? (UPDATE: More pictures are coming in so this is just a teensy peak of the fashion)

poll by twiigs.com

I'm glad that Julianne Moore got one more big event this year as a nominee. She looks great. She didn't get to cheer on Annette Bening, though. Aside from the supporting categories -- which were part of the very dominant King's Speech (though strangely technicals like production design & costumes were not) -- the BAFTAs gave us the same crop of winners as virtually everywhere else in one of the most samey-samey years in awards history. It's unlikely that Oscar night will hold any surprises. Hopefully there will be major fashion risks to give us plenty to talk about other than "Which of Colin Firth's major speeches did you like best?" 

How are you feeling about the BAFTA choices? Disappointed? Happy? Empty Inside?

Distant Relatives: Guess Who's Coming to Dinner and The Kids Are All Right

Robert here, with my series Distant Relatives, where we look at two films, (one classic, one modern) related through a common theme and ask what their similarities and differences can tell us about the evolution of cinema.

Your sons and your daughters are beyond your command

The relationship between art and social change is one open to debate, with some people believing that art is essential to such change and others believing that its influence is non-existant or minimal at best. Still, as society continues its constant march forward, we can disagree about whether great art can effect it, while perhaps agreeing that the best art often reflects it, becoming a statement of what it meant to be in a certain time and place while touching upon deeper human truths that elevate it to the realm of timeless. Guess Who's Coming to Dinner and The Kids Are All Right are two films from two different times in American history that deal with the changing definition of marriage. Both are domestic dramas. Both find their conflict by indroducing an unfamiliar outsider into a comfortable family atmosphere. But each handles the social issue at their center differently, the prior attempting to effect it, the latter to reflect it.
 
Guess Who's Coming to Dinner is the tale of a stalwart, liberal, San Francisco couple (Spencer Tracy and Katherine Hepburn) whose stalwart liberalism is challanged when their daughter brings home her new fiance, a brilliant, black man (perfect in that he is Sidney Poitier, imperfect for that same reason). Director Stanley Kramer, a great craftsman who never met a social issue he couldn't direct the hell out of, fills the next two hours with a series of soul searching debates, safe revelations, long speeches, and a delightful scene where Tracy gets into a fender bender with a black driver while trying to procure himeself some comfort ice cream. "Thirty or forty bucks, that's how much" says the other driver when asked the approximate cost of fixing his car. And so it is, Guess Who's Coming to Dinner is a film of its time.
 
The Kids Are All Right tells of a long standing lesbian couple, Nic (Annette Benign) and Jules (Julianne Moore) whose family is thrown into chaos when their kids bring their own guest to dinner. In this case, it's the man whose sperm is responsible for both youngsters. Played by Mark Ruffalo as a free spirited man of the earth, Paul's intrusion is dangerous as a disruption of a family unit already fragile from nothing more than the emotional comings and goings of every day life. In a series of events that involve less pontificating than the older film, Paul comes to represent an individual escape for each family member, something new, exciting, refreshing, as they come to mean the same for him.

Tell me who are you?

While both films purport to begin from a place of viewer sympathy, traditional (whatever that means) married couples will find more in common with Nic and Jules than Dinner's Matt and Christina Dreyton. Matt is a newspaper publisher. Christina runs an art gallery. Their daughter Joey is studying in Hawaii when she meets Poitier's John Prentice. They are clearly the creme de la creme of society. Their lives, until the introduction of John are pretty perfect. Contrastly Nic and Jules are at a point in their marriage where their love for each other, while clearly evident, is starting to be overshadowed by the little annoyances, work stresses, and two teenage kids who are, as teenagers tend to do, struggling to find their places in the world. The fact that Nic and Jules are lesbians, while essential to the story, is also almost beside the point. Their family is your family.  

Guess who's Coming to Dinner casts the viewer in the role of the All-American white family who must deal with change when it shows up at their doorstep. The Kids Are All Right casts the viewer as the unconventional family with two matriarchs who must deal when the All-American man (what is Paul but a modern cowboy with a motorcycle instead of a horse?) shows up at their door. According to both films, if you’re of the family’s young generation, you’re likely to embrace or even introduce the change. If you’re parental but romantic, you’ll come around quickly, but if you’re stoic and cynical, you’ll take far more convincing.

We got this solid love

This casting speaks loudly to each films’ motives. Guess Who’s Coming to Dinner is a persuasive piece. It wants to change your mind and suffers from it. The film creates a number of devices to funnel every conflict into the interracial message issue. Included in this are the aformentioned beatification of Poitier’s character, his refusal to marry without the Dreytons’ consent, the short amount of time he and Joey have known each other (1 week -- drama!), Joey’s willingness to define herself only in terms of his wife (“and when we’re married, I’m going to be important too,” she says), and their impending departure to marry (that evening). Now, over forty years later when the interracial marriage element is a non issue, all of these, combined with the fact that Poitier is closer in age to his fiancee’s parents than hers, linger as genuine issues that you wish the characters would be reasonable to address. The film still stands as a slice of time and place but has cornered itself out of any larger universal context.
 
The Kids Are All Right is different. There’s no attempt here to manufacture drama. If the film does anything to make a persuasive argument for gay marriage it's by presenting Nic and Jules and their family as likable, flawed, realistic, capable of surviving great challanges but not without great effort. But generally the film seems disinterested in dignifying the debate by becoming piece of propaganda. The final statement seems to be one in favor of the strong bond of family. Only those who put in the hard work can be a part. So there is another common theme between the films, they are both strongly and progressively pro-family.

The final similarity between these two films (and by means of feeling I've been a little too hard on Guess Who's Coming to Dinner) is a great cast, a collection of fantastic performances, filmmakers who, whatever their motives, have a clear and great empathy and understanding of their characters, and a general sense that life is measured in dinnertimes, when everyone gathers around in anticipation of joy, drama, food and family.

20:10 "I feel like there's some subtext here."

Three years ago at the original blog, I created a series called 20:07 which became one of the most popular TFE features ever and spawned a slew of imitators 'round the web. Just for fun, let's resurrect that ol' pet for the remainder of Oscar season as we finish celebrating the films of 2010 before the new film year begins.

Screen capture: 20th minute and 10th second of The Kids Are All Right

Nic: Honey, you're on a whole other tangent. I have no idea what you're talking about.

Jules: Maybe it hasn't risen to the plane of consciousness for you, yet.

Nic: [Annoyed] Uh... yeah. Maybe.

God, I love these two. Don't you? And I'm not just talking about the actresses.

Tweet

Always The Hours

Virgina Woolf and Laura Brown ...on VH1?

My ladies.

Nicole Kidman  Julianne Moore They need their own Black Swan Nina/Lily moment...
"Come to bed Laura Brown"...

(apparently they kissed -see photo - though with that horizontal blur on Kidman's face she looks like...Mare Winningham?)