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Posts tagged ‘John Adams’

Best Supporting Actress- Pre-Festivals, Pre-TIFF

BEST SUPPORTING ACTRESS 2012 -Pre-TIFF

This category was ceded by many, months ago, to Anne Hathaway’s heartbreaking, shattering performance in the trailer of “Les Miserables.” I have never seen a trailer to have such an impact on the Oscar Race, and so EARLY! Back in June. Or May even…And the film doesn’t come out til Christmas!

“The Dream Lives,” the trailer ends with these titles “This Christmas.” Well, I for one can hardly wait!

Why was Universal releasing this so early?

Well, it was superbly done, brilliantly edited, and plaintively sung by Hathaway. It contains the song “I Dreamed A Dream,” which is arguably one of the most famous songs from “Les Miz” that always pulls heart-strings, if it’s done right.

This is the song that made Susan Boyle an over-night sensation on “Britain’s Got Talent” a few years back. And Musical Comedys are NOT at all a sure-fire, can’t-miss genre these days. No matter how well they may be done. They released this that early to build buzz. And it has succeeded in that respect. And Anne Hathaway also scored as Catwoman in TDKR, too, this year.

Oscar Winner for Best Director for “The King’s Speech” is back again with “Les Miz” and he directs period pieces soooo well…just check out the Multi-Emmy-Award Winning TV series “John Adams.” That was one of the greatest TV series I’ve ever seen, and it could have been as dry as dust, instead it was riveting. And it won its two leads Paul Giamatti and Laura Linney Best Actor and Best Actress Emmys, too. As John and Abigail Adams respectively.

And Laura is back in the Best Actress hunt again this year. Her FOURTH nomination, if she gets one for “Hyde Park on the Hudson” which I already discussed in the previous post just below this one.

Which is to say that Hooper’s actors win awards, see Colin Firth in “The King’s Speech.”

Anne Hathaway’s part in “Les Miz” is the doomed prostitute Fantine, which also won Patti LuPone an Olivier Award, when she played that part in the original London production. So it’s an awards-magnet role. And Hathaway totally aces it in the trailer’s Oscar-y moment par excellence when she, sobbing and dirty, gets all her real hair cut off.  It’s a horrifying, but award-worthy moment. The song is MUCH longer than that,too And there is much more to her role in “Les Miz” although she does die early on.  But who’s to say if they might run her as Best Actress instead of Supporting?

They might. But then again the Academy’s Actor’s Branch voters are the ones who ultimately decide which category an actress, or an actor, is going to be in. The Studios and distributors can campaign all they want…but it’s Hathaway’s peers who will decide where to put her.

The many For Your Consideration ads are run by the Studios as a means of clue-ing the Actor’s Branch especially for who goes where.  They decided for instance that Kate Winslet should be considered for Best Actress for “The Reader” when no less an Oscar personage than Harvey Weinstein was running her as Supporting for that film. Which she did eventually win a Golden Globe for. And also, for Best Actress that year for “Revolutionary Road.” Her “I got TWO!” picture with a Golden Globe in each hand, flashed around the world.

I think this instance shows that the Academy doesn’t ALWAYS do as Harvey tells them.Or suggests to them, I should say.

Opposite Hathaway, it’s looking like Harvey’s main gal this season is going to be Amy Adams for “The Master”, but evidently some already say the part is too small, only three scenes.

Will Qu’venzhane Wallis the 8 year old in “Beasts of the Southern Wild”  get run in Supporting, instead of lead, where she belongs? However, the Academy is notoriously not partial to putting child actors in the lead category. Look what they did with that girl with the braids from “True Grit.” She ended up in Supporting, though she arguably, also had the lead female role in the Coen Bros. western. What was her name anyway? I’ve completely forgotten! Hallie something? That nomination was the beginning and end of her career.

There’s also the great female Brits in the runaway smash of the Indies this year “Best Exotic Marigold Hotel.” It boasts THREE great performances, Dame Judi Dench, Dame Maggie Smith and Penelope Wilton. Again Dame Judi is the lead here, but again, Fox Searchlight has got her down for Supporting, where she really shouldn’t be. The Academy could put her in lead, if they so deem fit…As I said in the last post, Best Actress is once again Back Up For Grabs this year…

Fox Searchlight has its’ hands full this year! Should Judi Dench go lead? Should Qu’venszhane? Decisions! Decisions!

And then there’s Viola Davis and Maggie Gyllenhaal in “Won’t Back Down”, another Indie. But who is lead and who is Supporting? I don’t think that film is even at Toronto. Which says something.

And though after last year’s debacle with Davis predicted to win all over the place, she lost to Meryl Streep. The Academy was again accused of racism. And it is. Although they did give the Best Supporting Actress Oscar to Octavia Spenser for the controversial “The Help.” Could they try to make it up to her with ANOTHER nomination? If they did, she would then be the first African-American actress to get the most Oscar nominations ever. A total of three.

Or is “Don’t Back Down” even Oscar worthy? We don’t know yet. But its lack of Festival presence says something, I think.

To go back to “Hyde Park on Hudson” there are two British Olivias in Supporting roles. Olivia Williams as Eleanor Rossevelt and Olivia Coleman as the Queen of England, who is visiting the Roosevelts at Hyde Park, with her husband the stuttering King Edward VII.

AND there’s the Oscar perennial Bridesmaid multiple-timed nominee, Annette Bening playing against type as a gambling-obsessed Mom of Kristen Wiig in “Imogene.”  You can never count Bening out.

But judging by the competition she’s up against, IMHO, this category is Anne Hathaway’s to lose.

“The Greater Journey” ~ A Great Achievement & Great Read

Pulitzer Prize winning biographer David McCullough has created a biography to end all biographies. He has attempted the stupefying feat of tracing the journey, the Greater Journey of the title, of several generations of American art students, medical students, politicians and others from 1830-1900 to Paris, which at that time was the undisputed cultural capital of all the arts and sciences. Or so McCullough maintains in “The Greater Journey.”

The problem with this tremendously readable, lavishly illustrated book, is that it really is too much of a muchness. There are too many biographies attempted in too small a space. a mere 456 pages. But it is a great attempt. And a great story. And in the end a great book. One to treasure and to re-read. Once, in this case, is not enough.

There’s just soooo much to it!

It’s a biography like no other, tracing the seemingly evanescent, but actually earth-shaking impact of one highly developed culture on another completely under-developed one.

But the problem with “The Greater Journey” is that so many biographies are thrown at one so quickly that it takes quite a  time to sort out just who is who and what is what, but the one thing that unites them all is their unstoppable need to make this Greater Journey, the journey to Paris. Their thirst, their need for a great gulp of a great culture is unquenchable, and once there, most never leave, or do so reluctantly, and always wish they were back there…

And for certainly most Americans at the time, Paris and indeed France itself was the most enlightened,most enriching place to be. America, still young, did not have the tradition in the arts or in medicine that Paris did and McCullough floats the interesting hypothesis that withOUT these virtually uncountable Parisian trips, by impressionable, but talented young Americans, this country would not have prospered and flourished as it did, during this time and in the century that followed.

And Paris seemed affordable then, believe it or not. And what “The Greater Journey” affords is a marvelously concise entertaining bird’s-eye view of all these cultural astonishments.

In 1900, when the book ends, the Eiffel Tower is built for the Great Paris Exposition of that year, and it’s a fitting symbol and emblem of what all the lives detailed in “The Greater Journey” have been building towards for the whole of the 19th century.

The Statue of Liberty itself is being built and looming large over the Parisian rooftops as the book ends. It seems perfectly fitting that it does so, for McCullough posits, this is symbolic of how French culture has affected Americans.

One forgets that it was a gift from the French.

There are sooo many amazing and untold American stories that McCullough tells for the first time here, that is impossible to list them all.

One sees McCullough in his exhaustive research for his greatest book “John Adams” coming across the many, many American stories of unsung heroes in war and in peace, in science and in art, and McCullough attempts to sing their praises here.

I guess the strongest figure to emerge from “The Greater Journey” for me was the sculptor Augustus Saint-Gaudens, who really is the father of American classical sculpture. His massive figures of Civil War heroes Farragut and Sherman adorning parks that one passes through in NY on a daily basis. These statues are a part of all our lives here, even if we don’t really pay attention to them or notice them. They are part of New York’s cultural landscape, and after reading about Augustus Saint-Gaudens in the compelling, almost breathtakingly urgent way that McCullough writes about his building these behemoths, you’ll never pass them by again.

The construction of the Farragut statue, which resides to this day in Madison Square Park between W.23 and W.26th St at the juncture of Fifth and Madison is given a whole chapter in this crowded book. And it is by far the best.

The red-headed, obsessed son of French shoemaker and an Irish mother, I became very interested in Augustus Saint-Gaudens because of this book and actually watched an excellent PBS documentary on him, whilst I was in the midst of reading it. It enriched my understanding of Saint-Gaudens, and also the audaucity of McCullough’s “Greater Journey” achievement immensely, Both Saint-Gaudens and McCullough are attempting monuments and both succeed magnificently, one complementing the other.

“The Greater Journey” makes you hungry for a more complete picture of those pivotal, historical figures that  we only catch glimpses of here.

Like Harriet Beecher Stowe, who fled to Paris to escape the acclaim that her incendiary book “Uncle Tom’s Cabin” caused. A case can be made that it actually caused the Civil War. No wonder she wanted to escape to Paris.

Henry James, the most formidable American expatriate writer of the time the book deals with(1830-1900) is only dealt with glancingly here. I guess McCullough chose to just mention the most known and dwell on the little-known or forgotten like Saint-Gaudens or the only woman Impressionist painter Mary Cassatt.

She and Saint-Gaudens really do stay in one’s mind as the book ends with them, and their passings. Ditto the painter John Singer Sargent, who is the only personage  here whom McCullough HINTS might be gay. But he concludes that it is something unknowable. I wish we knew more.

But there are many, many more wonderful American and French characters to be encountered in “The Greater Journey, ” an invaluable and original book for all it attempts to be and for the many Americans who emerge as brand new heroes and heroines in their chosen fields here.

Read it now! And then re-read it! It’s the perfect Christmas gift for all Francophiles! Of which I admit I am one.

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