Oscar History

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Entries in The Tree of Life (34)


PGA Noms: "Ides" Resurfaces, "Tree" & "Drive" Ignored

20 Days til Oscar nominations!

Every time the Producers Guild of America announces their awards, I have a split second of alternate universe confusion wherein I imagine the golfers on the PGA Tour breaking to vote on their ten favorite movies of the year. I'm pretty sure they'd have found room for DRIVE.

wocka wocka wocka

(I'm sorry! I couldn't resist.)

The other notable exclusion from the PGA's list is Terrence Malick's THE TREE OF LIFE but considering that the two most notable exclusions are auteur movies which didn't exactly light the box office on fire it makes sense that the PGA would embrace bigger and more producer-driven hits in their place. But I don't think this is bad news for The Tree of Life in the best picture race since it's obviously going to get a healthy portion of #1 votes. Enough though? Who knows.

Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures

  • THE ARTIST Thomas Langmann
  • BRIDESMAIDS Judd Apatow, Barry Mendel, Clayton Townsend
  • THE DESCENDANTS Jim Burke, Alexander Payne, Jim Taylor
  • THE GIRL WITH THE DRAGON TATTOO Ceán Chaffin, Scott Rudin
  • THE HELP Michael Barnathan, Chris Columbus, Brunson Green
  • HUGO Graham King, Martin Scorsese
  • THE IDES OF MARCH George Clooney, Grant Heslov, Brian Oliver
  • MIDNIGHT IN PARIS Letty Aronson, Stephen Tenenbaum
  • MONEYBALL Michael De Luca, Rachael Horovitz, Brad Pitt
  • WAR HORSE Kathleen Kennedy, Steven Spielberg


The inclusion of Dragon Tattoo is the most interesting because it is neither a big hit nor a critical darling nor a sound Oscar contender (though I suppose the last point is debatable). Was it Scott Rudin directed sympathy for Embargo-Gate? Was it just lazy just-saw-that voting? Did they genuinely love it?

The inclusion of The Ides of March might be the most telling since it also scored with the Golden Globes rather unexpectedly. When I first saw it I thought "my god, everyone is underestimating its Oscar chances" but then everyone quickly shoved it to the side as an also ran and I followed suit. Perhaps my initial instinct was closer to the truth than I knew? Do you think there's Oscar life left in THE IDES OF MARCH?

animation and tv after the jump

Click to read more ...


Best of Year Pt 2: Sweet 16 from Primordial Ooze to YA Novels

Part One: I Am Thirty Two Flavors 
Other pictures from 2011 that The Film Experience's year wouldn't have been complete without.

Part Two: Honorable Mentions
The year's best movies stretched all the way from the creation to the apocalypse and everywhen in between; time hardly seemed linear in 2011 but immeasurably flexible instead. The year's best films also twisted and shape-shifted in scale and meaning, wrapping big themes around human-sized packages.

THE TREE OF LIFE (Terrence Malick)
Fox Searchlight. May 27th. 
I really didn't know that our Burning Questions columnist Michael C felt so similarly about Terrence Malick's latest so two somewhat agnostic appreciations back-to-back were not intended here at The Film Experience. I greatly admire The Tree of Life's grandiose reach (the creation segment being my favorite chunk) and breathtaking physical beauty but often I felt like I was visiting an impenetrably random museum installation. Still... it's hard to shake the imagery and in a few key sequences -- children playing in poison clouds, brothers crying in tall grass, and especially in the different ways that Mrs O Brien (an ethereal Jessica Chastain) and Mr O'Brien (Brad Pitt's second great performance of the year... can we please give him an Oscar now, people?) touched and taught and looked at their children, the movie was fiercely moving.

Sony Pictures Classics. June 10th.
Let's not call it a comeback. Woody Allen has never gone away and his filmography runs the gamut between masterful and mediocre -- sometimes within the very same movie! What sets Midnight in Paris apart from the pack is a conceit so clever and insightful that it works both within the famed auteur's current limitations and as charming cover for them. It's okay that the present feels so tired and one note when hack screenwriter Gil (Owen Wilson) feels exactly this way about the life he's leading. It's definitely okay that the nostalgic past feels shallow and cartoony since nostalgia is fantasy, a very specific escapist (rear) projection. Quibbling is easy -- it's no Purple Rose of Cairo (an Allen masterwork treading somewhat similar ground) -- but why quibble when Corey Stoll is so funny as Hemingway, Adrien Brody is so amusing as Dali "Rhi-no-ce-ros" and Marion Cotillard's muse complicates the movie so beautifully by rejecting its message entirely and exiting the picture with so little fuss.

IFC. January 21st. 
This erotic melodrama, a remake of a Korean classic (which I have yet to see), is either the year's most elegantly trashy soap opera or its most biting political metaphor for the carnivorous and consequence-free behavior of the super wealthy and the impotent dramatics of the working poor. Maybe both. Either way it's uncomfortably steamy, beautifully filmed, and superly acted (South Korea is where it's at for actresses these days. Period.) It's also unusually entertaining once the bad behavior and catfights begin. I watched it twice in one week when I first saw it and if my schedule weren't so tight, I'd do so again right now.

PARIAH (Dee Rees)
Focus Features. December 28th. 
Two important new voices emerged in queer cinema this year, writer/directors Dee Rees and Andrew Haigh (his Weekend up later in the countdown). Both filmmakers previously directed one documentary-style feature so they weren't in the discussions of "best debuts" but what debuts these narrative features were! Coming out stories are a staple of gay cinema but few of them have carved out as much emotional nuance from raw feeling. Pariah has so much feeling for its characters that it occassional gets distracted with tangential subplots but better too much genuine feeling than not enough of it or the poorly manufactured variety. This story of a shy closeted lesbian high school student (Adepere Oduye, just wonderful) in a rough Brooklyn neighborhood just aches with emotion and, best of all, future possibility. You find yourself wondering about Alike's journey after the movie ends. The best characters, gay or otherwise, live beyond the end credits [Best LGBT characters of 2011]

SHAME (Steve McQueen)
Fox Searchlight. December 2nd. 
Brandon only has room for one thing in his life. His apartment and office are as barren as his emotional life. Michael Fassbender enters the picture on a naked loop as he travels from bed to phone to bathroom, one day being any day and every day empty but for bodily functions and the pursuit of the next fix. It's the first of many smart decisions that Steve McQueen, one of the most exciting new cinematic voices to emerge in the past decade (see also: Hunger), makes in this visually spare but daringly operatic take on addiction. Shame isn't perfect -- for every "New York New York" segment -- a telepathic conversation? a sung monologue? --  there's another moment that's too on the nose. The best thing about Shame is McQueen's voyeuristic addiction to the contact high of great actors. His camera stalks them ceaselessly but wisely never gets in their way, freezing in place to watch them work their inimitable magic.

YOUNG ADULT (Jason Reitman)
Paramount. December 9th
The first painful chortle of recognition I experienced watching Young Adult was the ease at which YA writer Mavis Gary (a brilliant Charlize Theron) became distracted from her work. A sentence or two, tops, was all she could manage before she was on to more pressing things like e-mail, Diet Coke, pet care (of sorts), and other absent-minded rituals. Sigh. I know the feeling on all counts. It was the first chortle of many. Reitman and screenwriter Diablo Cody, who previously made Juno together, make another compelling case for continued partnership here in this diamond sharp perfectly condensed comedy about prolongued adolescence, untreated mental illness, and terrible cultural values (note how Mavis isn't the only one who worships her skin-deep beauty or encourages her self delusions). 

P.S. It took me half an hour to write that paragraph and it's not even a good one! Thankfully I did not hatch any plan as spectacularly ill conceived as "return to hometown. steal ex-boyfriend away from wife and infant daughter" during the fitful pauses. 

and now... the top ten.


Online Film Critics Need To Talk About Terrence

You may have heard that the Online Film Critics Society unleashed their press release on the world today. It rained Manna Malick from Heaven as The Tree of Life won 5 of their 13 gongs. Their winners...

Picture The Tree of Life
Director Terrence Malick, The Tree of Life
Actress Tilda Swinton, We Need To Talk About Kevin
Actor Michael Fassbender, Shame 

They go against the grain frequently with Best Actress. Aside from obvious sweepers like Natalie Portman or Helen Mirren in their years, winners have included Melanie Laurent from Basterds, Michelle Williams from Wendy & Lucy, Reese Witherspoon in Election and more. Like the Los Angeles Film Critics Association, who are even more adventurous in Best Actress citations, the OFCS is much more traditional / conservative when it comes to Best Actor almost always going with a major future Oscar nominee or frontrunner. The only exception in their entire history is Billy Bob Thornton who won for the Coen Bros picture The Man Who Wasn't There (2001). Funny how critics groups, even large ones, have such obvious personalities.

Actor Michael Fassbender, Shame
Supporting Actress Jessica Chastain, The Tree of Life
Supporting Actor Christopher Plummer, Beginners
Adapted Screenplay Bridget O'Connor, Peter Straughan for Tinker Tailor Soldier Spy
Original Screenplay Woody Allen, Midnight in Paris
Editing Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa for The Tree of Life
Cinematography Emmanuel Lubezki for The Tree of Life
Animated Feature Gore Verbinksi's Rango
Film Not in the English Language Asgar Farhadi's A Separation
Documentary Werner Herzog's Cave of Forgotten Dreams

As previously noted the OFCS will also be handing special prizes to Jessica Chastain and Martin Scorsese in addition to these prizes. Jessica Chastain, very recently interviewed right here, was so busy this year they must have figured that one prize wasn't enough.


Burning Questions: How Does One Rank An Almost Masterpiece?

Michael C. here with a question I can't stop turning over in my mind.

After finalizing my list of the best movies of 2011 I experienced a powerful surge of cinephile guilt when I realized Joe Cornish’s fantastically goofy Attack the Block enjoyed a healthy place on the list while Malick’s The Tree of Life was nowhere to be seen. Certainly this was an unforgivable lapse of taste, if not a dereliction of my duties as a film writer. Tree of Life is about nothing less than - to borrow a phrase from Douglas Adams - life, the universe and everything. Even if I had gripes with Tree and thought it only reached its potential in fits and starts, shouldn’t laying a fingertip on such greatness guarantee it a spot? If Olympic athletes can be graded according to degree of difficulty, why not films?

The question, simply put, is how does one rank a flawed masterpiece?

If, by the way, you consider Malick's magnum opus an unqualified success, if you had a religious experience watching butterflies land on Jessica Chastain, then feel free to substitute the name Melancholia, Shame, Margaret or whichever hugely ambitious endeavor you felt stayed stubbornly Earthbound despite its attempts to reach for the stars. But for me, Tree is the one I wrestle with.

One problem with giving points for unfulfilled ambition is that it reinforces the idea that certain movies are superior to others in their very conception. This is the same lazy thinking that leads thudding Oscar bait to be nominated over exciting genre fare year after year. Frost/Nixon is history, Dark Knight is kid stuff. Nominate Frost/Nixon. Ideally both Attack the Block and The Tree of Life start with the same blank slate. 

Of course, the real dilemma is not unfulfilled ambition but those fleeting moments when a film earns all that hyperbolic praise. It would be irresponsible to ignore that Tree of Life frequently presents images that stop the heart and contains stretches that are just about flawless. But those moments come married to endless minutes of Sean Penn stumbling over rocks. Material that felt like Malick cut it down just enough to lose all meaning but kept it in to assure us that it had a purpose when he started. In the end, I was overwhelmed with admiration but my spirit remained curiously unstirred. Wouldn’t the professional thing be to chalk that up to my own problem and rank Tree highly because I recognize the film's potential to move others?

Sean Penn, stumbling around.

I don’t think so. If there is a benefit to the questionable practice of ranking artistic achievements against each other it is to level the playing field between the grand apples and the quirky oranges. What is owed to Malick’s achievement is respect and careful consideration, not genuflection. If in 2011 the film that made the strongest impression on me was the one with furry black aliens with bioluminescent blue teeth then I have to stand up and say so, even if that makes it appear that I have the critical acumen of a 12 year old boy on a sugar high. 

Because when you get down to it all movies from Kubrick and Tarkovsky down to Babe: Pig in the City are after the same thing: a lasting connection with the audience. The test of time is going to be merciless to those films that almost but did not quite achieve greatness, so we may as well be just as merciless in the present. Singin' in Rain was not made with an eye for the list of all-time greats, but there it sits while grand almost-masterpieces like Lost Horizon fade with each year. I would take any random Daffy Duck cartoon over Doctor Zhivago. And let's not forget: In 1998 it wasn't exactly fashionable for a critic to rank a shaggy mystery about a pot-addled bowler above Malick’s Thin Red Line. Yet which of those two films spawned a religion?  



Feel that I am being way too glib with a cinematic masterpiece? Have another example of cinematic emperor's new clothes that needs to be mentioned? Let me know in the comments. You can follow Michael C. on Twitter at @SeriousFilm or read his blog Serious Film

Previous Burning Questions...


Distant Relatives: 2001: A Space Odyssey and The Tree of Life

Robert here w/ Distant Relatives, exploring the connections between one classic and one contemporary film.

It's not exactly the secret of the cinematic year that Stanley Kubrick's 2001: A Space Odyssey and Terrence Malick's Tree of Life are two films of a similar kind. Indeed as Tree of Life hype grew to its crescendo this past spring and reviews started hitting the web it seemed like almost a requirement for writers to reference the 1968 science fiction classic. There were, I think, three reasons for this. First, which we'll get to shortly, that the two films do indeed have much in common in terms of theme and narrative. Second that both are epic length stories that many cinephiles consider high-water marks in the medium, and finally the involvement of Douglas Trumbull whose special effects work helped realize 2001: A Space Odyssey. When it was announced that he'd be working on The Tree of Life and creating sequences of a cosmic nature, the inexorable relationship between these two movies seemed predestined, and no one had even seen the Malick film yet. But with all the hooting about space and science fiction and experimental narrative and Trumble effects, the connection between 2001: A Space Odyssey and The Tree of Life now feels more like a solid fact to state and less like a flexible area to explore. So let's explore it.
Questions about the meaning of life, ponderances about the origin of the world and wonderment about how it all connects isn't a new or even unusal theme in moviedom. But most of the time, in fact almost all of the time, filmmakers feel the need to create an onscreen surrogate for both themselves and the audience to ask these questions. So most films about the meaning of life involve a solitary figure, a writer or an artist or a chess-playing knight meandering about wondering out loud what it all means. In movies about the meaning of life, it is the goal of the protagonist to find the meaning of life. Not so in The Tree of Life and 2001. While characters do ponder big mysteries, it's the narrative itself that takes us to the origins of creation. And to be clear, I'm using the term "origins of creation" pretty loosely here applying it to both the big bang for The Tree of Life and the early evolution of man for 2001: A Space Odyssey. Events past, much like stars in the sky, seem to be much farther from us and closer to one another than truth would have it. But in each film, the point is the same, that the events that will make up the significant dramatic conflict in the picture mean very little without cosmic context.

This context involves where we've been, where we are, and where we're going, scientifically & religiously speaking. The purpose of showing both the grandeur of the universe and the primal nature of man's past is to suggest our smallness and the smallness of the characters in these films. To them, their lives and their conflicts are the encompass of their universe. But in the scope of history, they are miniscule. Malick and Kubrick do this by creating worlds that at first seem dissimilar but upon further investigation are very alike. If there's any consistent criticism of Stanley Kubrick it's that he is a "cold" director, caring less for his humans than for his technique. 2001: A Space Odyssey plays into the hands of this criticism, featuring stoic human characters and providing our only emotional payoff from the mind of a machine. This seems in great contrast to Malick's film about the daily life, fears, loves and feelings of a family. But Malick's filmography has always presented us with the image of a harmonious world invaded by human violence, apathy, and destruction. The present set segments of The Tree of Life (the ones featuring Sean Penn that have been criticized as a somewhat pointless framing device) show us a world constructed, or is that destructed, by modern technology, and are as cold and austere as anything found in a Kubrick film.

But neither director holds as much ill-will toward the human race as you may suspect. Both films ultimately take us to our unknown future, whether that be the future of one man or all of humanity is, in both cases, ambiguous at best. Interpretations of the "star child" into which astronaut Dave Bowman turns at the end of 2001 are varied and range from the suggestion of alien manipulation to natural evolution to spiritual rebirth. Kubrick's film's finale may generally be considered more atheistic than Malick's but even the then pope (John Paul II, quite the film buff) was said to be a fan and considered the film one of great spirituality. This spirituality is how most people have viewed The Tree of Life's final sequence which presents us with a "heaven" that doesn't exactly adhere to any specific religion's interpretation of such a place, but still seems to present man's ultimate destination as one of great peace, community and beauty. In addition to this, both films seem to view mankind's journey to this ultimate destination as one essentially intertwined with the act of creation and the relationship between the creator and the created, whether it be ape and tool, parent and child, scientist and AI, god and man, and may I add, filmmaker and film. The message seems to be that it is creation that give us meaning, and advances us from insignificantly miniscule and suffering to, ultimately, a state of grace.

Other Cinematic Relatives: Such is the uniqueness of these two films, no other were immediately apparent to me. I'll let you fill in your suggestions in the comments.