a.k.a. "The Oscar Messenger"

Posts tagged ‘Kathy Bates’

Oscar Gets “Amour”

Well, this certainly is news! Austria has decided that “Amour” is going to be its’ official submission to the Best Foreign Film race this coming Oscar season. Since it’s by a German director, who I LOVE, Michael Haneke, and maybe it’s German-Austrian financed although the two octogenarian leads,  who are winning raves, act in French, this makes “Amour” kosher. And definitely eligible for a Best Foreign Film nomination and perhaps win.

This is despite Jeffrey Wells at www.hollywood-elsewhere.com not liking a whole hell of a lot.

And to top that off Sony Pictures Classics is deciding to open it in Dec. RIGHT in the heat of the Oscar season. I know, I know. It’s freezing in New York at that time of year, and this is hardly your Christmas-y picture. But SPC, as I’ll now call them, are throwing down the Oscar gauntlet(is that a mixed metaphor?) going full court press with this one.

Although Michael Haneke only gives interviews in German, and the two stars are yes-for-real are in their 80s. But have Oscar buzz will travel. So we’ll be seeing them, Jean-Louis Trintignant and Emmanuelle Riva stateside around the holidays. Or at least I will be seeing them, I hope, in their press tour.

I love SPC’s taste in movies. Last year,  they had “Midnight in Paris” and while it got a bunch of nominations in many categories and won in Best Original Screenplay, they did not move any of the many wonderful performers in that movie from the sidelines to center stage. Like for instance, Corey Stoll as Hemingway, Marion Cotillard as the Muse of many centuries and Kathy Bates as Gertrude Stein. Not to mention Owen Wilson’s, astonishing lead performance and Rachel McAdams as his blonde bitch of a fiancée.

Although Owen did get a Golden Globe nomination in the Musical or Comedy category, he lost out to Jean Dujardin for “The Artist.” And who could’ve stopped THAT express train once it left the station???

I can’t stand Wes Anderson movies, so I only go to them, if dragged so I haven’t seen “Moonrise Kingdom” yet. But I guess I’ll have to at some point. I hate when straight men try to do camp. Which is basically what his great “Style” is. Stolen from the Homosexual Handbook. I ought to know. I helped write it back in The Day.

And tomorrow I’m actually going to see “Beasts of the Southern Wild.”  I’ll let you know if I think all the who-ha at Sundance and Cannes was justified.

“Oscar Race” EW Cover w/Clooney & Viola Davis. Controversial? Accurate? Embarrassing?

I really wonder if the venerable Entertainment Weekly has jumped the shark this week with its’ “Inside the Oscar Race” cover prematurely, I think, showing George Clooney in a tux (nothing new), but at his side,, resplendent in a white ball gown, is Viola Davis! THIS is new! And the cover states “Front-runners George Clooney (The Descendants) and Viola Davis (The Help).” WHAT???

I thought Meryl Streep and Michelle Williams were the two heavyweights for Best Actress! But the usually reliable Oscar God David Karger is plunking his two cents down (and EW is presumably totally backing these choices), and inside we see V.D. depicted holding what looks like an award, or a Golden Globe, or SOMEthing, when on closer look it is seen to be a hand mirror. A bejeweled one, but a HAND MIRROR!

This is the kind of thing that INFURIATES Academy Voters, who are voting or rather nominating, right now as you read this. Many of them perhaps have not even sent their ballots in yet or filled them out, and here is EW acting like IT’S ALL OVER! BAD MOVE, EW!

I would be OK with this if it was a year where this was TRUE, but George is fighting for his life in Best Actor, (He’s got one already and “The Descendants” is depressing.) against his BFF Brad Pitt, who, BTW, just won Best Actor from the prestigious National Society of Film Critics. Take THAT, EW! They seem to be saying. And the Best Actress race is all over the place, between those three ladies. Williams, Streep & Davis.

And Viola Davis, as talented as she is, has not yet won ONE major award yet for “The Help”! A cover like this and a lay-out and an interview like that, may infuriate Academy types into NOT voting for her, when the time comes. And it IS a Supporting Performance in most peoples’ books…including mine.

But to photograph her looking so RADIANT and BEAUTIFUL and AIR-BRUSHED to death, well, we’ve never seen her like this before. And acting like she’s already won! But she hasn’t!

I fear this cover is going to make AMPAS voters feel like “Wait a minute! Don’t tell US who’s won!” or who to vote for. MISTAKE! This is what the Board of Governors was actually warning people about this year.  See Scott Feinberg’s excellent analysis of this at www.hollywoodreporter.com where Scott now is writing “The Race.”

And Jean Dujardin of “The Artist” is the one who most Oscar experts are picking for Best Actor. But not to EW.

I totally agree with Dave Karger with his choice that “The Artist” has already won Best Picture and is waaay out in front in that category. He’s right about that. But I would not be a very good Oscarologist myself, if I didn’t feel it incumbent on me to say “WAIT A MINUTE! Hold your (War) horses, EW!”

What they are doing is championing or campaigning for Clooney/Davis with this glossy cover and the even glossier interview inside. Acting like it’s a done deal. That is SOOOO BAD in Oscar campaigning terms.

And I know Dave Karger is familiar with Oscar 101.

I’ve NEVER seen EW so blatantly Up a Duo from two different films, yet, who may not be pictured together ever again this awards season. How embarrassing! But EW is nothing if not BOLD.

However, their first Oscar cover of the season isn’t a NEWS issue. It never is.

Didn’t they depict “Finding Neverland” once upon a time? Oy vay.

And there was once an Oscar issue like this with three actresses shown. I think it was Jennifer Connelly and Nicole Kidman and somebody else. And that third lady did not get nominated. I can’t even remember who she was. How embarrassing was that for her? And presumably for the magazine. But guess not, cuz they’re doing it again!

But some of you will remind me who that third gal was, who didn’t get nominated.

And even though Michelle Williams is splattered all over the INSIDE of the magazine in their for real predictions section on who’s going to be nominated…that story/interview on George ‘n’ Viola’s friendship was a little grating and self-serving. And yes, both of them are acting like they’ve ALREADY WON! NO! They haven’t!

THIS IS A HUGE OSCAR “No!NO!”

George has picked up a couple of critics awards, but Viola has gotten none, separately, herself, for Best Actress. Though “The Help” has gotten kudo-ed for Ensemble in several places.

This is the kind of cover that could de-rail a campaign. SERIOUSLY. Dave, what were you thinking? Well, obviously, he thinks he’s right.

I beg to differ.

And inside, though, his predictions themselves, were pretty spot-on for who was going to be nominated for Best Picture, Actor and Actress, though he’s got Michael Fassbender in there, and I think it’s Demian Bichir. Although Demian DOES receive a cute consolation prize, a “For Your Consideration” box.

But his supporting picks were all over the place, especially in Supporting Actress.

I was shocked at how wobbly his Supporting predictions were and yes, the Supp. Actress category is historically the hardest to predict. He’s got Berenice  Bejo (yes, she’s nominated for a BFCA, Golden Globe and a SAG) Ditto Octavia Spenser. He’s got Janet McTeer pictured, and I think that’s right. And Jessica Chastain for “The Help” which seems to be what she’s inevitably nominated for, though, it’s the least of her EIGHT performances this season! And then he has Melissa McCarthy, who EW just had on another of their covers recently as “The Queen of Comedy”. This would be for the gross-out “Bridesmaids.”

He doesn’t mention Vanessa Redgrave AT ALL. NOWHERE. And I think she WILL TURN UP here. Especially after being snubbed by BAFTA!!! Can you believe it?

I’m sure it’s the ghost of her earlier-in-life, extreme left-wing policies from the ’60s still haunting her. But if the Academy, Anglophile Lefties all, (well, the majority anyway) will over look Redgrave’s policy and put her in where she belongs and she could win this for her ASTOUNDING performance in “Coriolanus.”

Karger also gives Carey Mulligan from “Shame” a “For Your Consideration” box. And that is valid. She was great, if not greater, than Michael Fassbender in “Shame.”

We all know Christopher Plummer is going to win his career award in Supp. for “Beginners” and Dave Karger duly notes this. The other nominees, in this category, though, except for Kenneth Branagh are all up in the air. ESPECIALLY, his pick of Max Von Sydow for “Extremely Late and Incredibly Distasteful”! I don’t think so.

He’s got Jonah Hill and Albert Brooks in there but they were overlooked by SAG, and Nick Nolte and Armie Hammer WERE SAG-nominated, which he notes, but doesn’t see them getting in.

Who could pop up here, unexpectedly, is Corey Stoll for his finely etched portrait of Ernest Hemingway in “Midnight in Paris.”

And Kathy Bates and/or Marion Cotillard could be two last-minute  pop-ups from “Midnight in Paris.” They both just were named on the BAFTA long list…So they’ve been noted there.

Oh, and that BAFTA long list!…well, let’s just say it’s TOO LONG to even bother with at this point. But as always you can check out www.awardsdaily.com for a much closer look at that ENDLESS list, on which nearly everybody who made a film this year, is on. Wait for the BAFTA nominations themselves. But Beth Stevens, at Awardsdaily does a really good job at parsing them, especially in the comment section.

Woody Allen’s Masterpiece “Midnight in Paris” Sublime! Sublime! Sublime!

I cannot remember dear cineastes, dear readers, dear theater lovers of literature, when I have been so completely, so  madly, so deliciously transported by a new film. And that film is the much hyped Cannes opener “Midnight in Paris” by Woody Allen, 77 and now at the absolute height of his immense creative powers. “Midnight in Paris” left me gasping with delight. It’s his latest masterpiece and may simply be the best film he’s ever made.

It’s so delicious, so delightful, so funny, so superbly acted, and brilliantly written and directed. It’s the first film that I’ve seen since “The King’s Speech” that transports you to an absolute height of cinematic euphoria. And Oscar’s gonna go there, too.

I am so sure that the little Golden Guy is going to be happily boarding that magic carpet ride in the form of a 1920’s roadster that whisks our hapless hero, a frustrated screenwriter and Woody stand-in(natch), Owen Wilson, who turns out to be at the height of HIS career as an actor,  in this film, too. Oscar will clamour aboard that flying flivver and happily take it right to the Kodak Pavillion next February, which is where this film is surely going to end up.

With nominations galore. A comedy winning anything from the Academy is always going to be a fight.

However, the Academy has always loved Woody and they’re going to REALLLLY love “Midnight in Paris”. Woody is such Oscar catnip, it’s almost ridiculous.Oscar considers Woody in a class by himself, so many of his films have been nominated and won! Well, no, that’s not true. I think the only time he won Best Picture was for “Annie Hall” decades ago.

But his actors have continued to wrack up Oscar after Oscar, most notably and most recently Penelope Cruz, in “Vicky Cristina Barcelona” which this film resembles. “Midnight in Paris” is shot entirely and beautifully in Paris in the daytime and at night, and France and specifically Paris has seemed to have had the same wondrous effect on Allen’s creativity that Barcelona and Spain did with “Vicky Cristina”

“Midnight in Paris” is just suffused with the golden glow of romance that is true love  (in this case, the love of France and all things French) that is so palpable, it seems like it was shot through a lens covered with honey. And written in a Proustian fever dream. But a reverie only of all things light and sweet.

It’s such a charming  love poem to the City of Lights, it’s irresistible. It sends you into a Rapture.

And what a cast! And How many Oscar winners are there in this one film! ? It’s like the word went out and Allen got the dream cast of his career!

Oscar winner Marion Cotillard has never been lovelier or sexier or more captivating. She plays the love object, the muse of Picasso, Modigliani and nearly every other artist of the past two hundred years, and Mlle. Cotillard, so so sensual and intriguing,completely vulnerable, effortlessly enchanting, but so mysterious, you can see that, yes, she could easily have inspired all these great artists that the film claims she has.

Her incredible character named Adriana is one of Allen’s greatest creations. And in writing a love poem to Paris, he’s embodied that romance in one woman, Adrianna, and Cotillard is so delightful, and endearing and sublime, you just can’t wait til her character comes back onscreen and into the story once again.

It’s one of the most challenging roles that Allen has ever written for a woman and the most complex, and Cotillard meets every challenge stupendously. She has to, for the romance of the film to work. She is Paris. Paris is love. So therefore the glowing Cotillard is Paris personified.

She is WOMAN. All the women who have inspired the greatest of artists, and Cotillard shows you quite simply and quite beautifully that yes, she is all that. She’s certainly inspired Allen to heights he’s never really hit before. A great film maker meets the great screen actress in the best role he’s ever written for a woman. Will Oscar take note? I think so. I hope so.

You come out of the film raving about Cotillard as if she were the essence of all the best in French art and culture, and in this film, she is!

Her only petite problem is that she’s won so recently for “La Vie En Rose” playing an indelible Edith Piaf.

Acting in her own language, it seemed impossible that she, an unknown French actress, would win the Oscar for Best Actress. But I predicted she would. Could her Adriana do the magic hat trick of another win? Depends upon whom she’s up against, but I would be shocked if she wasn’t in the running, dismissed as simply a great beauty playing a great beauty.

Wilson, too.

Owen Wilson is so good in this film that you can’t believe it’s Owen Wilson.

But he is and he’s just terrific, and perfectly cast as a WASP neurotic from Pasadena. Wilson’s West Coast-ness takes away any of the memories of the many previous iterations Allen has wrung upon the character of the hung-up writer. This time a dissatisfied, but commercially successful screenwriter, with an even blonder fiancee, who’s a bit of an hysterical bitch, played by of all people, Rachel MacAdams, also at the top of HER game. She, too, is a revelation.

Oh, and did I forget to mention how funny all these characters are? And yes, they are. Very, very funny. You’ll be quoting the laugh lines for the rest of the season.

Academy Award Winner Adrian Brody does this best work since “The Pianist” as of all people Salvatore Dali! In a very brief cameo, he keeps repeating. “Dali! I’m Dali!” and when Wilson’s Gil explains his time-traveling problems, Brody as Dali quips, “It’s perfectly normal. You are from another century, yet you live in this century.” And Luis Bunuel, who’s sitting with them, mais oui, says to Dali, “Of course you think it’s normal, you’re a Surrealist!”

And Marion’s Adrianna is restless, perpetually bored with Paris in the 1920’s. “There are too many Americans here!” or exasperated with Pablo, “Picasso is impossible! He will never have a successful relationship with a woman!”

Hallucinating Wilson keeps having his big blue eyes popping out of his head, like some great silent screen comedian, as he channels, Chaplin, Oliver Hardy, Harold Lloyd…amazingly…yes, it’s the VERY unlikely Owen Wilson, making us laugh and moving us so magically. He’s playing straight man as it were to Cotillard’s muse, MacAdams’ bitchy fiancee and a supporting cast of unparalleled splendor.

Main among them, as I’ve noted in a previous post, newcomer Corey Stoll as Ernest Hemingway, who just about walks off with the film, and probably an Oscar nomination. And so to may Kathy Bates as a marvelously sensible, warm-hearted Gertrude Stein. “Our house is open to every artist! All are welcome here!” she intones with such bonhommie, you want to move right in to 23 Rue de Fleurus and never leave, which clearly Allen wants to do.

Who but Woody Allen would make Gertrude Stein the most reasonable and warm center of a filmic masterpiece. Which is what “Midnight in Paris” is.

I see Nominations for Best Picture. In a field of ten, a sure bet. Best Director, possibly, for Allen. FOR SURE a Best Original Screenplay and this is it’s almost sure WIN. Yes, I’m saying it now.

They’ll nominate the living daylights out of this magnificent cinematic achievement. Starting with Darius Khondji’s marvelously seductive, luminous cinemtography of the City of Lights, the stunning production design by Annie Seibel that is literally out of this world (and several others) and the sumptuous costumes by Sonia Grande, who makes Mlle. Cotillard comme il faut tous le temps, but it’s the hilarious, moving, beautifully written screenplay that really does leave you gasping with astonishment and delight. Woody Allen redeems himself mightily in “Midnight in Paris” and the many, many Oscars it will get nominated for, this astoundingly simple, but complicated and FUNNY screenplay is the most likely place it will be rewarded.

Also both Owen Wilson and Marion Cotillard might be nominated for Best Actor and Actress. It depends on who they are up against. And if they are not dismissed ~ for being in a comedy.

And as I said previously the one with the most buzz out of  the Cannes Film Festival, which it opened, was Corey Stall as Hemingway. That would be in Supporting. And previous Oscar winner Kathy Bates could score ANOTHER Supp. Actress nomination for her lovable lesbian Gertrude Stein.

Gertrude Stein, lovable? Only in Woody Allen’s wild world!

Mesdames and monsieurs, les envelopes, s’il vous plait!

Oscar’s Eyes glimmering and gleaming at Cannes at Corey Stall & Tilda Swinton!

The new Oscar season starts at Cannes. Yes. It does. It’s earlier every year, but this year Cannes seems particularly poised to kick off a few, or more than a few Oscar hopefuls, LONNNNNNNNNNNNNNNG race, or stroll, I guess at this distance, to the 2012 podium.

First off, I’m starting with the film that opened Cannes to such tumultuous acclaim, Woody Allen’s new film, yes, ANOTHER one, set and shot entirely in Paris, called, of course “Midnight in Paris.” And Woody, who avoids all such hype, usually, in the US, does turn up in personi and walks the red carpet in Cannes whenever he’s got a film in competition.

And the French are going crazy for “Midnight in Paris” picked up for distribution by Sony Pictures Classics already and on its way to a theater NEAR YOU! Maybe as soon as next week in major cities.

Now I haven’t seen it yet, but people are acclaiming it as one of his best. Although some bloggers like David Poland of www.moviecitynews.com thought it was just “Okay.” Which is it?

Well, one thing is ALWAYS true of a Woody Allen film…it’s a VERY Oscar friendly cinematic situation, especially in the Supporting categories. And the ONE person coming out of Cannes with a bucketful of kudos is unknown Corey Stall, who plays Ernest Hemingway. EVERY review singled him out. And so did Oscar Goddess Sasha Stone, who, yes, is there in person, covering every thing on and off La Croisette in fine form at www.awardsdaily.com and also at Steve Pond’s www.thewrap.com

I’m not surprised because I know Corey from his days at NYU Grad Acting, where I saw him ace a WIDE variety of roles, including Big Daddy in a memorable “Cat on a Hot Tin Roof”. He must’ve been 24 or 25, and he’s not fat. Maybe he was in a fat suit, but he shaved his head and was virtually unrecognizable to me as one of Tennessee Williams most indelibe characters, and Corey made it HIS OWN.  He was transformative, mature-for-his-age and memorable. I can still see him to this day, grumbling out that key word to Big Daddy’s character “MENDACITY!” And you could swear that it was a man in his ’50s or ’60s doing it! And it was young Corey Stall! No wonder his Ernest Hemingway as a young man in “Midnight in Paris” is resonating so strongly with critics at Cannes. It sounds like a perfect meeting of actor and character to me.

C0rey may not win, but he is the one who is being singled out in a star-studded cast that includes Owen Wilson, Kathy Bates and Marion Cotillard, and that usually means OSCAR NOMINATION! I’m calling it now!

There may be many more nominations coming this scrumptious-sounding film’s way, and I’ll let you know when I see it ASAP.

And then there’s Tilda Swinton, evidently, by all reports, doing her career best in a film called “We’ve Got to Talk About Kevin.” Actually, we’ve got to talk about Tilda…Who just doesn’t stop topping herself. I can’t wait to see this film, too.

And coming up at Cannes, or winding up to the Big Finish,  the Grand Finale is Pedro Almodovar’s new film, “El Piel Que Habito” (The Skin I Live In) which is the Closing Night Film. His first film in ages without Penelope Cruz ,but WITH his first break-out International Star, Antonio Banderas.

Lots of Oscar potential here.

But will they go the distance or fade, unfortunately, as the year wears on, like Mike Leigh’s “Another Year” did last year and “Bright Star” did the year before?

But it seems like Woody and Tilda have started their Oscar ball rolling in fine French fettle. Let the games begin!

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