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Tuesday, January 25, 2011

The Best Picture Countdown #1: Wings (1927)



Director: William A. Wellman
Starring: Charles "Buddy" Rogers, Richard Arlen, Clara Bow

Clara Bow had such an enormously appealing screen presence. In Wings, the very first film to win Best Picture (and the only silent film to do so), she lights up every scene, even those in which she’s playing moments of sadness, fear or desperation. Marilyn Monroe and Jean Harlow had the same quality. Wings makes the most of it, allowing her a much bigger role than any woman in just about any other war movie I can think of.

Wings tells the story of Jack (Charles “Buddy” Rogers) and David (Richard Arlen), two young men from the same small town. Both are in love with the same woman, Sylvia (Jobyna Ralston), though she only returns the affections of David. Jack, meanwhile, is the object of desire of his childhood friend and neighbour Mary (Bow), to whom he can’t be bothered to spare a second glance (our first indication that there is something seriously wrong with him). When the United States enters into World War I, both Jack and David enlist in the air force and, after a vicious boot camp boxing match, finally become friends. They head off overseas and Mary, who has enlisted in the war effort as an ambulance driver, is not far behind.

During a period of leave in Paris, Jack and David’s path crosses with that of Mary but both are so drunk that they don’t recognize her. This is anguishing for Mary, in part because she knows that MPs are scouring the city, rounding up soldiers to take them back to the front; and in part because Jack is with another woman, someone he’s picked up at the Folies Bergère. Mary borrows a dress in order to pose as a showgirl and lure Jack away then puts him to bed (or, rather, gets him in the vicinity of a bed as he’s on the verge of passing out). Since no good deed goes unpunished, two MPs barge into the room as Mary is changing back into her uniform and, seeing Jack passed out on the bed, jump to the wrong conclusion which results in her losing her job and being sent back to the States. Meanwhile, Jack doesn’t remember a thing about the night, has no idea that Mary has been let go for having been found in a compromising position, and returns to the front, where he and David have a falling out. Later, a misunderstanding leads to tragedy, forever changing Jack and forcing him to make that final transition from boyhood and manhood.

There is a lot of plot to Wings but it juggles its various storylines very well, moving easily between them and keeping the story moving forward at all times. The romantic storyline is a bit rote and perhaps not of much interest to a modern audience (though, as I said, Bow is a captivating screen presence) but the battle scenes are really fantastic. Most of the action scenes take place in the air, where director William A. Wellman stages some really exciting and visually impressive sequences. I doubt I will ever be able to be impressed by stories of actors performing their own stunts in front of blue screens after learning that the actors in Wings not only had to fly their planes themselves, but also had to turn on the attached camera while they were in mid-air, and land the planes all without breaking character. And, of course, in some scenes they had to crash their planes instead of landing them. This was before the advent of the Screen Actors Guild, obviously.

There are also battle scenes that take place on the ground and those are also extremely well staged, making for a really great climax. There is a lot going on in each shot during the battle sequences but Wellman exerts such great control over these scenes that it doesn’t end up looking too fussy and instead just adds to the sense of urgency.

The actors fare very well here. Bow is really endearing and engaging and Rogers is good as the somewhat immature Jack. Arlen, I think, delivers the best performance, conveying a sense of depth to David, largely by underplaying. He knows that Jack has it bad for Sylvia but also knows that he doesn’t have a chance with her (because she loves David), but he goes to great lengths to protect Jack from discovering this so that it doesn’t affect his morale. He’s a very self-sacrificing character and the way that Arlen plays him makes it believable that he’d be so noble.

I went into Wings without being entirely sure what to expect from it and thoroughly enjoyed it. The film is not currently available on DVD but, since it is in the public domain, it is available through youtube, as long as you don’t mind watching it in 10 minute segments. I highly recommend it.

A Brief Note on the Best Picture Countdown

We'll be kicking things off later today with Wings, but before we do I wanted to give you the low down: we'll be proceeding mostly in sequence up through The Hurt Locker, but a couple of reviews aren't going to be ready in time and those will be posted at the tail end of the countdown. Enjoy!

2010 Oscar Nominees

Best Picture
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
The Social Network
Toy Story 3
True Grit
Winter's Bone

Director:
Darren Aronofsky, Black Swan
Joel & Ethan Coen, True Grit
David Fincher, The Social Network
Tom Hooper, The King's Speech
David O. Russell, The Fighter

Best Actor
Javier Bardem, Biutiful
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King's Speech
James Franco, 127 Hours

Best Actress
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter's Bone
Natalie Portman, Black Swan
Michelle Williams, Blue Valentine

Best Supporting Actress
Amy Adams, The Fighter
Helena Bonham Carter, The King's Speech
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom

Best Supporting Actor
Christian Bale, The Fighter
John Hawkes, Winter's Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King's Speech

Best Original Screenplay
Stuart Blumberg & Lisa Cholodenko, The Kids Are All Right
Mike Leigh, Another Year
Eric Johnson, Scott Silver, Paul Tamasy, The Fighter
Christopher Nolan, Inception
David Seidler, The King's Speech

Best Adapted Screenplay
Michael Arndt, Toy Story 3
Danny Boyle, Simon Beaufoy, 127 Hours
Ethan & Joel Coen, True Grit
Debra Granik, Anne Rossellini, Winter's Bone
Aaron Sorkin, The Social Network

Best Editing
Tariq Anwar, The King's Speech
Kirk Baxter, Angus Wall, The Social Network
Jon Harris, 127 Hours
Pamela Martin, The Fighter
Andrew Weisblum, Black Swan

Best Cinematography
Danny Cohen, The King's Speech
Jeff Cronenweth, 127 Social Network
Roger Deakins, True Grit
Matthew Libatique, Black Swan
Wally Pfister, Inception

Best Art Direction
Alice in Wonderland
Harry Potter and the Deathly Hallows Part I
Inception
The King's Speech
True Grit

Best Costume Design
Alice in Wonderland
I Am Love
The King's Speech
The Tempest
True Grit

Best Makeup
Barney's Version
The Way Back
The Wolfman

Best Original Score
Alexandre Desplat, The King's Speech
John Powell, How To Train Your Dragon
A.R. Rahman, 127 Hours
Trent Reznor & Atticus Ross, The Social Network
Hans Zimmer, Inception

Best Original Song
"If I Rise," 127 Hours
"Coming Home," Country Strong
"I See The Light," Tangled
"We Belong Together," Toy Story 3

Best Sound Editing
Inception
Toy Story 3
TRON: Legacy
True Grit
Unstoppable

Best Sound Mixing
Inception
The King's Sppech
Salt
The Social Network
True Grit

Visual Effects
Alice in Wonderland
Harry Potter and the Deathly Hallows: Part I
Hereafter
Inception
Iron Man 2

Best Animated Feature
How To Train Your Dragon
Tangled
The Illusionist

Best Documentary Feature
Exit Through the Gift Shop
Gasland
Inside Job
Restrepo
Waste Land

Best Foreign Language Feature
Biutiful (Mexico)
Dogtooth (Greece)
In A Better World (Denmark)
Incendies (Canada)
Outside the Law (Algeria)

Monday, January 24, 2011

Oscar Nominations Predictions


Best Picture
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
The Social Network
The Town
Toy Story 3
True Grit

Director
Darren Aronofsky, Black Swan
Joel & Ethan Coen, True Grit
David Fincher, The Social Network
Tom Hooper, The King's Speech
Christopher Nolan, Inception

Best Actor
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King's Speech
James Franco, 127 Hours
Ryan Gosling, Blue Valentine

Best Actress
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter's Bone
Natalie Portman, Black Swan
Michelle Williams, Blue Valentine

Best Supporting Actress
Amy Adams, The Fighter
Helena Bonham Carter, The King's Speech
Mila Kunis, Black Swan
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit

Best Supporting Actor
Christian Bale, The Fighter
Matt Damon, True Grit
Andrew Garfield, The Social Network
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King's Speech

Best Original Screenplay
Stuart Blumberg & Lisa Cholodenko, The Kids Are All Right
Mark Heyman, Andres Heinz, John J. McLaughlin, Black Swan
Eric Johnson, Scott Silver, Paul Tamasy, The Fighter
Christopher Nolan, Inception
David Seidler, The King's Speech

Best Adapted Screenplay
Michael Arndt, Toy Story 3
Danny Boyle, Simon Beaufoy, 127 Hours
Ethan & Joel Coen, True Grit
Debra Granik, Anne Rossellini, Winter's Bone
Aaron Sorkin, The Social Network

Best Editing
Tariq Anwar, The King's Speech
Kirk Baxter, Angus Wall, The Social Network
Jon Harris, 127 Hours
Pamela Martin, The Fighter
Lee Smith, Inception

Best Cinematography
Enrique Chediak, Anthony Dod Mantle, 127 Hours
Danny Cohen, The King's Speech
Roger Deakins, True Grit
Matthew Libatique, Black Swan
Wally Pfister, Inception

Best Art Direction
Alice in Wonderland
Black Swan
Inception
The King's Speech
True Grit

Best Costume Design
Alice in Wonderland
Burlesque
The King's Speech
TRON: Legacy
True Grit

Best Makeup
Alice in Wonderland
Black Swan
The Wolfman

Best Original Score
Alexandre Desplat, The King's Speech
Danny Elfman, Alice in Wonderland
Rachel Portman, Never Let Me Go
John Powell, How To Train Your Dragon
Hans Zimmer, Inception

Best Original Song
"You Haven't Seen The Last of Me," Burlesque
"Coming Home," Country Strong
"I See The Light," Tangled
"We Belong Together," Toy Story 3
"Shine," Waiting For Superman

Best Sound Editing
How To Train Your Dragon
Inception
Toy Story 3
TRON: Legacy
Unstoppable

Best Sound Mixing
Black Swan
Inception
Iron Man 2
True Grit
Unstoppable

Visual Effects
Alice in Wonderland
Harry Potter and the Deathly Hallows: Part I
Inception
Iron Man 2
TRON: Legacy

Best Animated Feature
How To Train Your Dragon
Tangled
Toy Story 3

Best Documentary Feature
Client 9: The Rise and Fall of Eliot Spitzer
Exit Through the Gift Shop
Inside Job
The Tillman Story
Waiting For Superman

Best Foreign Language Feature
Biutiful (Mexico)
In A Better World (Denmark)
Incendies (Canada)
Life Above All (South Africa)
Outside the Law (Algeria)

Thursday, January 20, 2011

Canadian Film Review: Lilies (1996)


* * * 1/2

Director: John Greyson
Starring: Matthew Ferguson, Danny Gilmore, Jason Cadieux, Aubert Pallascio, Marcel Sabourin

The play's the thing
Wherein I'll catch the conscience of the King.

- Hamlet

Like Hamlet, John Greyson's film Lilies centers on a man determined to avenge a wrongful death, who uses a play to draw out the confession of the man responsible. Adapted from Michel Marc Bouchard's play Les Feluettes and set in a Quebec prison, this tale of love, jealousy, and revenge makes for an utterly engrossing and engaging film.

The story begins in 1952 when Bishop Bilodeau (Marcel Sabourin) is asked to visit a prisoner to hear a special confession. The prisoner is Simon Doucet (Aubert Pallascio), who grew up with Bilodeau in the same small town. Almost as soon as he arrives, Bilodeau realizes that all is not as it appears and that he has been lured to the prison under false pretences. The confession is not meant to be Doucet's but his own and it will be elicited through a play Doucet has written which will be performed by the other prisoners.

The play is set in 1912 and involves the relationship between Doucet (played in the play by Matthew Ferguson) and a young man named Vallier (Danny Gilmore). Young Bilodeau (Jason Cadieux) is jealous of their relationship because he wants Doucet, whom he regards as a saint, for himself but the bond between Doucet and Vallier is too strong to be broken. Except, perhaps, by Doucet's father and his own internalized homophobia. After meeting Lydie-Anne (Alexander Chapman), a French Baroness, Doucet attempts to lead a "normal" life by courting her and becoming engaged. His love for Vallier remains strong, however, and eventually he's forced to admit that he can't live a lie and he and Vallier make plans to run away together. But before they can get away tragedy strikes and events unfold in such a way that it leads to Doucet's imprisonment.

All of the roles in the film are played by men, which can seem jarring at first but quickly comes to feel natural with the way that the story unfolds. It also adds new dimension to one of the story's primary themes, which is the idea of gender/sexuality as performance. Doucet thinks he can play against his nature, an impossibility which is only highlighted by the fact of Chapman playing Lydie-Anne and also by the way that the characters relate to each other. Doucet is trying to play the role of the traditional heterosexual male but he's chosen a partner who is on a higher social and economic plane, facts which ultimately subvert a traditional male-female power dynamic. Add in the fact that Lydie-Anne is the sexual aggressor and it becomes increasingly clear that Doucet occupies a submissive role in the relationship, further undermining the idea that when he's with Lydie-Anne he's fulfilling society's idea of what real masculinity is.

In terms of the staging of the play within the film, Greyson moves easily back and forth between a straight up, stripped down stage version on the prison floor and scenes shot in realistic settings with elaborate sets and costumes. Again, this can be a bit jarring at first but Greyson handles the shifts in such a masterful way that by the end you don't even really notice, it just becomes a part of the ebb and flow of the story.

Lilies would go on to win 4 of the 14 Genies for which it was nominated, including Best Picture. Greyson was nominated for Best Director and Ferguson, Gilmore and Cadieux all received Best Actor nominations while Chapman was singled out for a Supporting Actor nod. Had it been up to me, Brent Carver also would have received a Supporting nomination for his performance as Vallier's mentally unstable (but intensely supportive) mother, the Countess de Tilly. While all the actors are excellent, it was Carver's performance which resonated the most for me.