Million Dollar Marion

Jose here, still reeling from Rust and Bone this past Sunday (going again today in a couple of hours because it's that good). My first reaction after watching it was: wow, Marion Cotillard truly has been trying to prove to us all her Oscar win was no accident.

I am not a fan of La Vie en Rose but year after year I have found myself more astounded by Cotillard's work. She was heartbreaking in Nine and was the only thing in Inception worth anyone's time, but it's in Rust and Bone where she provesonce and for all  that she's one of the most fearless actresses of our time. Most people think she's a shoo-in for a Best Actress nomination but I'm not sure this will be so easy, given that her character isn't likable at all and we know that AMPAS likes to like its leading ladies; even Margaret Thatcher and Aileen Wuornos had redemptive qualities in their movies.

Cotillard's Stephanie doesn't give a damn if someone likes her or not. When we first meet her she's just been beaten by a guy in a club and she just picks herself up and goes home to her boyfriend, whom she resents for asking for an explanation. After a gruesome accident leaves her disabled, she doesn't change her ways; instead she finds herself a f*** buddy (Matthias Schoenaerts) and becomes involved in some shady business. Can you imagine Million Dollar Baby's Maggie Fitzgerald becoming fiercer after her accident? Rust and Bone is surprising in more than one way and its extreme lack of sentimentality will surely leave some perplexed. But Cotillard is phenomenal. There is one particular scene - set to Katy Perry's "Firework" of all things - where she doesn't speak, but communicates so much through her eyes and face that she should be a frontrunner. She is that good. 

Predictions in Actressing: Few Locks, Many New Variables

It's entirely redundant to tell you that Best Actress and Best Supporting Actress are The Film Experience's favorite Oscar categories. This year's field continues to feel slippery, amorphous, unknowable which is... great. It should be hard to pin down the Oscar race before films have been widely seen and release dates have fully settled. The charts this month are quite shuffled so I hope you'll devour them.

ACTRESS Most pundits have assumed since the very beginning that Cotillard and Wallis were locked up done deals but I'm actually still not comfortable inking either of them in. They could happen, sure, but there are so many contenders and no one beyond Jennifer Lawrence (having one of those mega years that's impossible to deny) has cemented a position here. Especially with all the movement. Even one of these smaller films with rising stars (Olsen, Winstead, Fanning) could happen theoretically or at least siphon key votes if audiences and critics are kind and their campaign is strong.

We should note that little Quvenzhané Wallis has a new problem beyond her very young age in that SAG won't be nominating her (declaring the cast ineligible). Cotillard also has a significant problem in that she isn't the only reknowned actress killing it in a subtitled drama. Emmanuelle Riva anyone? The Hiroshima Mon Amour star is a powerhouse in a very difficult role in Amour. I've just seen the movie so perhaps it's wishful thinking but this is very moving work.

SUPPORTING ACTRESS The big new question mark for me is whether biopic mimicry -- Scarlett Johansson doing Janet Leigh's arched brow Psycho tics -- will finally win her Oscar attention after her breakthrough early misses nine years ago (Girl with the Pearl Earring and Lost in Translation... and to a lesser extent her Woody Allen hussy in Match Point). She stopped being an actress for awhile moving straight to über celebrity but after her Tony-winning run on Broadway and renewed vigor in her filmography, this could be the year. Or will various Psycho co-stars steal the spotlight. It's worth noting that Toni Collette can steal spotlights from anyone anywhere... and if her Hitchcock assistant role has a key scene or two that she can wow in, watch out! (That's a mighty big "if" of course in a film with stars this big playing famous Hollywood icons.)

I should also note that though I'm on the record as no fan of Helen Hunt's 90s Oscar win, I found her work in The Sessions to be very strong. To me it's unquestionably a leading role (it wouldn't be if we didn't spend time with her outside of the titular sessions but we do, making this a lopsided duet) and I'm a bit curious as to why Fox Searchlight so adamantly settled on a supporting campaign so early given that a lead Actress nod still doesn't seem unattainable for this previous winner.

Belated Review: "The Dark Knight Rises"

Though it's normally best to get straight to the point with reviews The Dark Knight Rises (hereafter refered to as TDKR) presents something of a quandary. How do you jump right in to speaking about this particular film when Christopher Nolan's last Batman film has so long ceased being "just a movie". So we begin with a three part preface... 

What?!? Nolan can blow seven reels of a non-origin Batman film before Bruce suits up and you object to me blathering on for three paragraphs before I review the movie? Double standards!

First, I believe that Michelle Pfeiffer's performance as Catwoman is one of the greatest performances of the 1990s, the very definition of what an actor can do when they understand their auteur's vision, get the heightened play of specific entertainment genres, and are capable of imaginative stylization. It pissed me right off that people tried to pretend that no one before Heath Ledger had ever delivered Oscar worthy work within the comic book genre. So Batman Returns is my favorite Batman movie (yes, I know it has flaws. Shut up) and I entered the movie naturally resistant to Anne Hathaway's Catwoman.

Second, I saw the movie alone on Saturday, the morning after it opened. I failed to convince any of my friends to go with me and wasted my second ticket. To my great shame even though I think it's stupid to let fear change your routines (I was on a plane exactly a week after 9/11 as scheduled) I did briefly find myself thinking about where the exits were* against my will and flinched at the frequent gun battles in the movie. When I returned from the movie a friend snarkily asked me "So was is worth risking your life?" and I wanted to punch him. In a non violent way. See, every movie is worth risking your life for because movies are totally safe. Movies do not kill people, people do. People with access to firearms especially which is a lot of people given our nation's embarrassingly pro-tragedy gun laws.

*I'm super happy to report that I've been to the movies twice after this and never once thought of this.

This is a LOT of baggage to take into a movie already. I get that. And then there's the small matter of my teflon resistance to understanding the genius of Chris Nolan and residual frustration with fanboy culture that demands that I do. I was discussing the push and pull between mandated blockbuster movie culture and blogging demands last week with Rob, a reader, on facebook who paid me the nicest compliment:

I like the balance you strike. Sorta: this is here, can't ignore it, we're all gonna see it, Christian Bale is gonna sound funny, and we move on.

Rob nailed it. Yes. Yes. Yes. Hee. And we move on... finally, to the [spoiler heavy] review. 

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The Diary of Peggy Siegal

High Powered Publicist Peggy Siegal's has just released her Cannes Diary at the Huffington Post. Better three weeks late than never. Peggy throws great Oscar shindigs here in NYC where much handshaking and FYC vote counting happened right before my very eyes last season (remember that party for The Help I wrote about? - that was one of my favorite pieces last year).

Can't wait for the festivities to begin again! For Peggy of course they already have.

Peggy @ Cannes with Michel Hazanavicius & James Woods

My favorite days of the name-dropping diary (Frank Langella would be proud) both happen to be Thursdays.

May 17th. Jacques Audiard's screening of Rust and Bone at the Palais is packed. Marion Cotillard portrays a marine-park trainer who loses her legs to a killer whale. Stop. It's a love story. A street fighter, played by Belgian Matthias Schoenaerts, literally sweeps her off her digitally-erased feet and I promise you, she is walking into the Oscars this year in a Dior Haute Couture.

Peggy promises! Translation: Take note.

Hey, it's not a bad bet. Even if Rust & Bone proves to outré for the bulk of AMPAS voters there's always Cotillard's other juicy lead role in the tentatively titled Low Life in which she plays a reluctant immigrant prostitute. If The Weinstein Company opts to give that one an Oscar qualifying 2012 release. (Oscar voters do love the world's oldest profession.) 

Kidman and Cotillard, both Oscar winners, won fresh buzz at Cannes last month. Will they snag their fourth and second nominations respectively?

Thursday May 24th is my favorite entry. It begins like so.

Lee Daniels shows the The Paperboy. Nicole Kidman is a trailer park Brigitte Bardot. Zac Efron, all grown up, lusts after Nicole wearing underpants. Matthew McConaughey is a hunky gay journalist and John Cusack is the crazy inmate on death-row in this erotic thriller set in1960s Florida.

Lee unabashedly announces at the press conference that his deep understanding of the nutty and violent characters are taken from his personal experience. As he says, "I know these people. My brother is in jail for 18 years for murder." He had Nicole interview seven real women who have long-term relationships with men in jail, adding insight to her stunning performance.

Arriving on Lady Joy, Denise Rich's 170-foot yacht, appropriately disheveled but always chic, Denise whisks me off to her stateroom and instructs her professional hair and make-up staff to fluff me up.

Famous love birds Kanye West and Kim Kardashian are staying on the boat and have just come up from their bedroom for lunch. Kim and I stare at each other's makeup as I sit as close as possible without invading her space. Her skin is like butter. She is quite beautiful.

I rant about every film I have seen. It's a tad too early for Kanye and Kim to digest all this information. Soft-spoken Kanye tells me about his short art film Cruel Summer. Filmed in Qatar, the short is inspired by theRomeo and Juliet-esque classic Middle Eastern tale Antar and Abla.

David Geffen sends the "Rising Sun's" tender, which is larger than my New York Park Avenue apartment to pick me up for lunch. At 453-feet, I board the sixth largest yacht in the world built by Larry Ellison for over $200 million and redesigned by Geffen. From sea level, I climb four flights to greet David. I have three words for him, "Not big enough."

Lunch is with Keith Urban and Wendi Murdoch on an outdoor deck. Again I rant about every film but to a more astute reception. David tells me he never leaves the boat. Would you, if you had a basketball court on board?

On the tender back to shore Keith tells me Nicole and he are moving to the South of France in September for three months while she films Grace of Monaco, a drama about thesp-turned-princess Grace Kelly.

My head is spinning from trying to imagine Kim Kardashian conversing about art movies though I have no trouble imagining the follow up with Keith Urban - he is married to our Nicole after all. But that's Cannes for you - an improbable mix of Household Name Celebrities Famous Just Because They're Famous who might never have set foot in an arthouse in their lives and films made by Household Names if your household happens to be composed entirely of cinephiles. (In which case, can I come over for dinner?)

Believe it or not, this is but a tiny sample. It's a must read. Poor Clive Owen even gets stuck in an elevator with fans for 20 minutes! 

P.S. Yes, I'll update the Oscar charts soon.

Red Carpet Lineup: Cannes 2012

Jose here.

We know you'd been craving more Cannes coverage so we're bringing you a quick look at the red carpet highlights. Before we dive into the awesome world of dresses and leading ladies, let's all admire the beautiful Kylie Minogue who shone at the premiere of Holy Motors, the new film by Leos Carax that's being touted as a hybrid between David Lynch and a joke. 

Kylie plays the leading roles (yes, she plays two characters) opposite the extraordinary Denis Lavant and their film has been getting such ecstatic notices that now people assume it's going to be the big winner. Can you imagine a pop superstar headlining another Palme d'Or winner?

Before I let my mind wander off to random places like Kylie playing Grace on the third US of A installment for Lars, let's see what the ladies have been wearing to the movie premieres... 

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