Yes, No, Maybe So: Nicole vs. Juli. September 2012

Since there weren't enough prizes in the world for Claire "Temple Grandin" Danes and Kate "Mildred" Winslet, who will be our next "Her, again?" awards gobbler?

Will it be Nicole Kidman in Hemingway & Gellhorn vs. Julianne Moore in Game Change? The last time they faced off in awards season (2002) they were actually co-stars and Nic' won for The Hours (Julianne losing for Far From Heaven and The Hours albeit in two separate categories) . Or will they both be trumped by someone we're not thinking of yet when the Emmys role around in September 2012 and this whole awards circus begins anew? 

In this corner, Nicole Kidman as Martha Gelhorn in Hemingway and Gellhorn...

Yes - Philip Kaufman is directing and he's made some amazing films in the past like The Right Stuff and Henry & June. The last time Nicole Kidman lowered her voice this noticeably to play a ballsy writer, she won the Oscar.

No - Isn't there a danger of this gorgeous Star strolling through the rubble of war reminding people of Australia? They didn't much like that one. Four minute trailers always have the problem of making the oncoming product seem overstuffed, unduly episodic and desperate for attention. "And then this happened. And then this happened. And then this happened. And then this happened. Interested? No?" Uh... [Cue: flop sweat, razzle dazzle] Uh... Oh... okay the first part is shit but the second part is REALLY nifty! Ok.... she'd go ♫. I'd go ♫. we'd gooooo. ♫"

Maybe So - The success of this may well rest on the chemistry between Clive Owen and Kidman. Do they have it? And can Clive Owen work his way around the very vivid recent memory of Corey Stoll in this role via Midnight in Paris?

In this corner Julianne Moore as Sarah Palin in Game Change... 

Yes - It might be fun to watch Juliannne Moore attempt biopic mimicry because it's not the sort of thing she's known for. And at this point we'll take anything that might win her an award. Has there ever been an actress as major who hasn't won any major prizes? She wins nothing. No Emmys, No Globes, No Oscars. 

No - "Fair and balanced" has been wiped clean of all meaning ever since Fox News took over the world, but where will this film fall on the scale of fair representation? On the one hand, it might be super to watch a take-down of Sarah Palin. But then again, the target is just so easy so it might feel way too cheap shot-like. On the other, excessive humanization of seemingly soulless political monsters through the magic of warm actresses (see also The Iron Lady) comes with its own queasiness, the humanization of dehumanizing idealogies.

Maybe So - Will anyone be ready to sit through more Sarah Palin when she's been so torturously around ever since 2008?  And can Juli work his way around the very vivid recent memory of Tina Fey in this role via Saturday Night Live?

"I have to win this thing. I so don't want to go back to Alaska!"What kind of bet are you laying down?  

Better yet, do you see awards attention beyond our leading ladies for these HBO Movies? Both have amazing casts. Hemingway & Gellhorn is giving us Clive Owen, Parker Posey, Robert Duvall, David Straithairn, Rodrigo Santoro and Molly Parker (in awards bait position of scorned wife). Game Plan is giving us Woody Harrelson, Ed Harris and Sarah Paulson and a ton of others in small roles.

Be brave in the comments and make some Emmy calls now!

Burning Questions: Can Biopics Help But Glorify Their Subjects?

Michael C. here, just returned from witnessing Meryl Streep in all her awards bait glory.

When controversy arrives in Phyllida Lloyd’s Thatcher biopic The Iron Lady, it comes in the standard form of news footage montages depicting seas of angry protesters clashing with policemen. The actual substance of the issues - massive union strikes, war in the Falkland Islands – is not discussed so much as reframed in the most generic possible terms. Every issue boils down to the same dynamic: Thatcher’s opponents are invariably lily-livered scaredy cats pushing for compromise if not outright surrender, while The Iron Lady holds firm to strength, courage, and principle over popularity. The filmmakers would no doubt say that they are focusing on character over unimportant detail, but it has the direct effect of letting Thatcher off the hook for her positions. Conservatives are free to mentally fill in their ideology and cheer her resolve, while the rest are encouraged to ignore partisanship and admire her gumption.

To be fair to the filmmakers, if Iron Lady had taken the opposite tack and really dug into the thought process of why Thatcher did what she did it would no doubt serve to amplify charges that the movie was aggrandizing its subject. It appears to be a case of damned if they did and damned if they didn’t. The very act of storytelling itself invites the audience to understand the protagonist’s motives and actions. It begs the question: Can biopics help but glorify their subjects? 

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National Film Registry. Have You Seen These Titles?

Porgy & Bess, in which Sidney Poitier and Dorothy Dandridge both lipsynched is one of the 25 inductees.The film is rarely screened, not all that well and regarded but badly in need of restoration. Is that what did it?Each year I read the press release list of the films admitted to the National Film Registry and promptly forget them. I guess I've never absorbed just what this does for the films beyond being an obviously prestigious honor. So this year rather than doing the usual read the titles and forget, I stopped, actually took a breath (a rarity on the web), wondered, and googled a bit. I stopped being lazy about it so you don't have to be either. I didn't just list titles below but actual information!

However I am still a bit confused as what the honor actually means beyond admittance into the Library of Congress. If this meant government funding to restore or preserve the films or if it meant an automatic transfer to each new medium that surfaces (VHS to DVD to Blu Ray to whatever is next) so that that film in question never disappears it would be a truly astounding honor. But it doesn't mean this.  The National Film Preservation Board which is connected to the National Film Registry  does not own the rights and can thus not distribute the films. The honor is also no guarantee of preservation. Film preservation is still a privately funded matter. Hollywood as a whole is fairly disinterested in its own history (except to mine it for remakes) and US politics has always been depressingly anti-arts funding. (Thank the Right Wing of the country for that.)

Here are the 25 new inductees in chronological order of creation. I am ashamed at how few of the I've seen. Should we watch them together?

• The Cry Of The Children (George Nichols, 1912) a short film about child labor
• A Cure for Pokeritis (Laurence Trimble, 1912) a short slapstick comedy
• The Kid (Charles Chaplin, 1921) another Chaplin film for the Registry
• The Iron Horse (1924) a long western starring George O'Brien of Sunrise fame.
• Nicholas Brothers Family Home Movies (1930s and 1940s) I assume this is the famous tap dancers?

The Nicholas Brothers

Beloved orphan fawns, globally famous serial killers, and remarkable actress faces, and more after the jump... How many have you seen?

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Linker by the Dozen

Philadelphia Weekly offers up 6 family films that would draw the ire of the far right in the wake of Fox's ridiculous Muppets bashing.
Coming Soon Another pic of Daniel Day-Lewis from the set of Lincoln, this time with Steven Spielberg
TOH on Matt Damon vs. Tony Gilroy in GQ, hurt feelings around the Bourne franchise.
Guardian David Thomson's ode to Jeremy Renner 

The Cut chooses 11 surprisingly stylish celebrities of 2011
Monkey See 20 Unhappiest People in the Comments Section of Year End Lists. Teehee
Pajiba thinks the teaser poster to Prometheus looks familiar.
Slant Oscar Prospects: Midnight in Paris
Bernardin Could Netflix revive Firefly? It's wishful thinking but thinking wishfully is fun.
Critical Condition "Hush up and watch the Artist" 
Tom Shone why the Globes are better than the Oscars. 

So the HFPA love their stars! What sinful wretches! To survey the history of the Golden Globes is to enter a fragrant Arcadia where all the great Oscar howlers of the last 30 years simply didn't happen. Where E.T. smushes Gandhi, Brokeback Mountain kicks Crash to the curb, and The Social Network roundly thrashes The King's Speech."

@MarkWassmer posted this fine mashup of the latest superhero posters. I haven't posted either previously because their über seriouness drained all joy from my inner child.

I miss superhero pictures that loved color and fun like the original Spider-Man or the original Superman or even X2. Damn you Chris Nolan! ;) I reallydon't want my superheroes looking like they could just meander over to the set of a Clint Eastwood picture and fit right into the I'm A Serious Movie near black and white aesthetics.

Top Ten o' the Day - Dennis Dermody at Paper Mag
Begins by calling The Tree of Life a "psychedelic turd" and moves on to one of the year's most immature and sloppy pictures (Kaboom) so I don't know how seriously to take it but I like the second sentence on Melancholia a lot.

 I feel slightly guilty enjoying the spoils of Von Trier's ongoing depression."

Occupy Q&A! Purposefully Bad Acting & Post-Movie Etiquette

Roughly one hundred years ago on November 18th, 2011 I took questions for the next Q&A and after what was meant to be a short diversion answering the oddly abundant small screen questions I am now answering them. I am many things but I am nothing if not punctual. This is Part one of two as there is much to answer. Tomorrow's edition will actually arrive tomorrow night as it's already written. Yay me!

Just to stretch out the variety a bit I asked y'all to refrain from any questions about legendary actresses this time -- my favorite topic and apparently yours since many of you didn't listen ;) -- so  in this week's column, the men get a little time to shine. Let's go!

ANNIE: What was your favorite experience of seeing a movie with an audience, where the audience's reaction actually enhanced your viewing?

I've had many screenings like this that have enhanced my love of the movie we're all watching together. Which is why I believe so emphatically in the sanctity of moviegoing, and why I wish studios and theaters would lower prices before they price themselves out of populist relevance. TV is free and home theaters are getting larger so the movies really need to understand that they can't be making it so difficult for families to hit the multiplex or who will go? Movie attendance is a fraction of what it once was no matter how big the box office numbers seem and that is sad.

Jack and Leo discussing how awesome Barbra Streisand is in "Funny Girl"In terms of special events almost nothing beats Funny Girl's revival at the Ziegfeld several years ago here in NYC. It must have been sold out and that theater is HUGE. I saw at least one semi-famous person in the crowd and everyone was obviously there because they loved the movie. Seeing such a legendary star-making performance super-sized in a historic theater that had actual ties to the movie? Bliss. Nobody was raining on anyone's parades in there. It felt like oxygenated euphoria in that house. Also you know what movie was fun to watch with a typical noisy multiplex crowd just a few blocks from there? The Departed ! I still relish the audience reaction when you-know-who gets shot so mercilessly without fanfare or warning. It was as if there were tiny rugs under every individual theater seat and diabolical trickster Martin Scorsese had yanked them all at once and all OH.HELL.NO broke loose in there; the most fun you'll ever have watching someone get shot in the head!

How's that for a double feature: Funny Girl and The Departed ? Hee.

JOHN-PAUL: With three summer releases still alive in the Best Picture race (The Help, Midnight in Paris, The Tree of Life) and fall Oscar-bait movies seemingly underwhelming left and right (J. Edgar, The Ides of March, Carnage, A Dangerous Method, etc.), do you think the so-called "Oscar season" will become less relevant in the coming years?

I wish I could say "Yes" but this happens on a fairly regular basis and nothing changes. What's more this year has even more "one week qualifiers" than usual (4 or 5 by my count), so the system is definitely not changing for the better. I hate to be a broken record but I firmly believe that AMPAS should change the rules drastically. I don't think a film should be eligible for the Oscars unless it has allowed regular moviegoers to watch it in at least the top six markets. The current system gets called elitist on a regular basis but for stupid reasons ("Hey they didn't vote for that lame-ass blockbuster sequel that audiences flocked to for habitual lemming-like reasons!") and never for the actual elitist problem which is that you can show yourself for seven days in one theater in LA and ignore moviegoers totally and still be eligible for Best Movie prizes. That's all kinds of elitist, suggesting that the only audience a movie need concern itself with is 6000+ voting members of AMPAS. 

Mr. W: Any thoughts on Jean-Jacques Beineix' 'Diva'?

Have you ever seen DIVA (1981)? It's quite a time capsule.

Love it. Saw it three times at least in the 80s on VHS. Unfortunately I remember little about it other than its distinctly 80s new wave aesthetic and the fantastic diversity of the cast (black, asian and white characters on equal footing in the narrative? So rare in the 80s! And even now). I also liked that the story was built around something as mundane but unusual as a bootleg concert of an opera singer who refused to be recorded. No one speaks of "bootlegs" anymore -- they were put out of business by illegal downloads and leaking. 

JOHN T: Which legendary male actor would you like to pull a Christopher Plummer and make a comeback and get his first nomination-must be 65 or older to enter.

[The answer and more questions after the jump including awesome bad acting, Occupy Wall Street and post-movie etiquette.]

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