a.k.a. "The Oscar Messenger"

In terms of Oscar, what do today’s announcements of the Independent Spirit Nominations mean? I think this year they may mean more than they’ve ever meant before, since Oscar is looking like it’s going Indie in a big way this year.

The only films that weren’t eligible were the mega-budget ones like “Gravity” and “Captain Phillips”, but also middle range budgeted films like “Lee Daniels’ The Butler,” “August: Osage County” and “Saving Mr. Banks.”

So that showed some surprises, like the  Best Actor category nearly matching what have been predicted all along. And they even expanded this highly competitive category to six. Wish the Oscars were flexible enough to do something like that!

Robert Redford (All Is Lost), Bruce Dern(Nebraska), Matthew McConaghey(Dallas Buyers Club), Chiwetel Ejiafor(12 Years a Slave), all turned up. As did Michael B. Jordan(Fruitvale Station) As did Oscar Issac for “Inside Llewyn Davis”. He’s the one I can tell you for sure right now will NOT turn up on the Oscar shortlist of five. Nor will Jordan.

Someone who MIGHT surprise in Supporting is John Goodman, for his blown-out, slightly comatose, drugged-up jazz musician. It’s a small part, but he steals the film. And Goodman has NEVER EVEN BEEN NOMINATED! Not ever! For shame!

Apart from Goodman’s mega-bolt jolt, I was very disappointed with “Inside Llewyn Davis”. Shockingly so. I was really psyched to see this movie that has been heaped with critical praise since Cannes.

The ending is terrible and shocking and depressing. And it has one of those Coen Brothers  abrupt endings, like in “No Country for Old Men” or “A Serious Man.” BAM! And then suddenly when you least expect it, it’s over.

I’m up and down on the Coens. And so, shockingly were the Indie Spirits,  and while nominating “Inside Llewyn Davis” for Best Feature, and Oscar Issac for Best Actor, they did not even nominate them for either their directing or writing!

I felt cheated, bitter, by “Inside Llewyn Davis” and soooo disappointed.  I felt like a great opportunity had been missed. And all that hype that’s it had! For what?

But then that’s what Llewyn, their Welsh-descent, folk-singing failure is feeling. So maybe it’s right that I felt that way. That’s what was intended. I was feeling what Llewyn was feeling. Did I over-identify with something inside myself that I didn’t want to see?

It’s their attempt to examine failure in show business and self-destruction and what happens to the middle-of-the-road talented. They end up as road kill, this film is saying.

And a contemplation of the mediocre, ends up being, well, not that interesting, really.But it’s haunting…I couldn’t stop thinking about it.

Oh! But they want to identify with, to LOVE Llewyn, and by gosh, they try every cinematic trick in the book to engage you with this semi- likable, stumble-bum of a failure. He fails at EVERYthing!

Carrie Mulligan turns up almost unrecognizably as his some-time girl friend/folk singer, Jane, who simply yells at him “YOU’RE A LOSER!””You suck!” She repeats over and over.

But the film wants you to identify with his struggle, and you do, sort of, but then you get kicked in the teeth quite literally and  harshly by the quixotic conclusion. As Llewyn does.

Oscar Issac, who’s first major film role this is, has to carry nearly the whole damn thing. That and an orange-colored cat. He and the cat are the plot. The cat becomes the symbol of Llewyn’s career, and the love/hate relationship with this  cat, who isn’t even his, is meant to show us Llewyn’s best side, his humanity.

“Oh! You see he can’t be that much of a loser! He likes animals!”

But it’s not enough to hang a picture on.But that’s precisely what the Coens’ have done. They want us to examine, really examine failure.

Oscar Issac has beautiful, large, dark soulful eyes, which the Coens’ and their camera keep getting lost in. And I did too, except when you look inside Llewyn Davis, there’s not much there. He’s a middling singer. And a big-time clusterfuck. Or rather, HIS CHARACTER is. The Coens’ have set Issac an almost impossible task.

Try to play a middlingly talented, not very nice guy, bent on destroying everything around him that’s good. A great part. And a fine, dangerous line to walk for an actor. A tight tight rope balancing act between alienating everyone while not alienating the audience from yourself as a talent. Tough stuff. And you have to say that Issac gives it everything he’s got.

However, it’s nice to see Greenwich Village looking like it did in the early ’60s, when the film is set. And folk music to me is no big whoop. Never was.

And I never dug Bob Dylan, who is supposed to be lurking in the shadows, as the arbiter of change. What change? To me  there was none.

So I left this film feeling totally down on it, like Llewyn is on his whole life, not just his music. So this kind of non-traditional movie, is the sort of film that the Indies would shower nominations upon. But they seemed to feel the same way about it that I did. Mixed. Or mixed up.

And I bet the Academy does, too.  Although if, in a field of ten, the Coens’ “A Serious Man” can get a best picture nod out of AMPAS, then who knows? “Inside Llewyn Davis” could, too. The Coens have an ardent fan base of admirers in the Academy.

But like “A Serious Man”, it won’t win anything. MAYbe a “Best Original Screenplay” nod, and a Supporting Actor nom for John Goodman, too. And T-Bone Burnett was in the background taking care of all the musical numbers, which were many.

And like “Les Miserables” last year, all of the songs were sung live, and not pre-recorded, and in front of a live coffee-house audience. Who also seemed half-dead.

This is a very tricky high-wire act the Coens are trying to pull off. Making a full-blown Hollywood movie movie about an abject failure. A mediocrity, who no one loves. A singer who can sing well, but not THAT well. An unsympathetic sympathetic character is then what? Simply pathetic?

Why should we waste our time? And awards?

E.T.A. Tonight “Llewyn Davis” won Best Picture at the Gotham Awards! And Oscar Issac bounded on to the stage to accept for the Coens who were not there(They probably thought “12 Years A Slave” was going to win, and so did I, but it got NOTHING!) and Issac wowed the crowd by saying, he was so proud and happy to be accepting the award for the Coens. “It’s a movie made in New York about New Yorkers, filled with New Yorkers,” And everybody loved him.

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