Now that’s it all over but the shouting (on Oscar night, this coming Sunday, Feb.28), I’ve been feeling a bit nostalgic about other films that have one Best Picture in the past and really won my heart. Some I’ve watched over and over and over again. Some I own. I love them so much I always want them to be with me or near at hand anyway to play at any time.
Posts tagged ‘The King’s Speech’
It was such a thrill to see “The Danish Girl” again last night after being totally enraptured and blown away by it in Toronto. And like in Toronto, at TIFF, in September, there was the same spellbound reaction from the tony audience.
You could hear a pin-drop. And at the end of this AMPAS-included screening, there was rousing applause. And cheering. And Bravos.
And I don’t usually do this, but I’m going to reprint my TIFF review in its entirety, so you won’t have to go hunting for it in the archives of this Blog.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I’m devastated. I’m in tears writing this. “The Danish Girl” is a masterpiece, so moving, so profoundly important and brilliantly acted and directed, it will win Eddie Redmayne his second Oscar in a row for this heart-wrenching performance as first transgender Lili Elbe. It has its’ slow patches, but once it gets going “The Danish Girl” is so powerful, so engaging, so beautiful, its’ ending, which I won’t reveal here, will absolutely crush you. And Eddie Redmayne is catapulted once again to the head of the Oscar race for Best Actor. As extraordinary as that sounds, it’s true.
His performance is beyond anything we’ve ever seen onscreen before. Never has this subject, transgender-ism, if there is such a word, been treated in this depth, and with such respect, and love. It’s a great love story. And not only Redmayne will be back at the top of everyone’s lists, director Tom Hooper, already an Oscar winner for “The King’s Speech”, will probably be up for every award in the book, for his sensitive, deft, beautifully handled helming of this tragic love story.
And Alicia Vikander, who has been edging towards stardom, with every role she’s essayed, since she first came to global attention with “Anna Karenina”, as the blonde, sweet ingenue to Keira Knightley’s dark, tormented Anna, Alicia Vikander will for sure be nominated, perhaps as Best Actress even, but certainly as Best Supporting, for her astounding turn as Gerda Wegener, the devoted, confounded artist wife, whose husband, Einar is transitioning right before her confused, but compassionate eyes into Lili Elbe.(“Elbe, like the River” at one point Einar/Lili clarifies)
Einar and Gerde Wegener are a happily married couple at the start of “The Danish Girl” in 1920s Copenhagen. Both are artists, and there seems to be no clouds on their sunny, loving horizons. That begins to gradually change when one day, Gerde asks Einar to try on some ballerina attire of a model who has not shown up for her posing session. He obligingly does so, and the feelings of a woman’s stockings and shoes begin to arouse something deep-seated in him.
So begins Einar’s(Redmayne’s ) journey into what today is known as “transitioning.” We see this today in the person of Caitlyn Jenner, who used to be Bruce. Like it or not, Jenner has made this topic extremely relevant and the timing is just right for “The Danish Girl”s Oscar chances. Perfect, in fact.
Redmayne’s Lili is a much more delicate, fragile creature than Caitlyn Jenner, needless to say. Redmayne gives her an ephemeral otherworldy quality. And he sensitively inhabits her every single stage of her transformation. And makes clear what drives Lili into emerging and totally obliterating Einar.
I did not know the shattered ending of this important, historic movie and I was totally enraptured, then horrified as “The Danish Girl” headed to its’ inexorable, tragic conclusion.
And Eddie Redmayne steps wholly and completely into screen history with this beyond magnificent portrayal. Another Oscar for Mr. Redmayne, please.
It seems sometimes like the entire city of Toronto is completely disrupted by having TIFF here. But of course, in a good way. The public is jubilant about it, even if the entire “Festival Village” is now closed to traffic AND trolleys.
This morning there was huge orange balls all over what was formerly a couple of blocks of King St.
And I mean HUGE!
I guess Orange is the official color of TIFF and it’s my favourite color. Always brightens a room, or a wardrobe…
And the weather? It’s been unseasonably hot here in Canada. Especially during the Montreal Film Festival which was last week. This week it’s been cooling down A LITTLE. Today was really quite balmy walking here through all those gigantic balls to the TIFF Bell Light-box. But Global TV’s Morning Show keeps forecasting rain. I don’t ever remember it raining THAT heavily during the Film Festival.
I went to bed at 9:30pm last night! I have to get used to getting up early for the next two days, especially. Tomorrow is the HUGE first press and industry screening for “The Danish Girl” starring Eddie Redmayne, directed by Tom Hooper and aimed and timed EXACTLY as “The King’s Speech” was several years ago, aimed right at OSCAR!
Nobody here believes Donald Trump will be President. In fact, he’s not on TV here at all! Can you believe it?
I now have to head up to the Scotiabank building a couple of blocks north to stand in line to see my darling Saorise Ronan in HER Oscar bid this year “Brooklyn.” It starts unspooling at 11:45 AM. Am I late? Rush, rush, rush.
Brand-new Oscar Winner Eddie Redmayne hurried right back to London after his Best Actor win on Sunday night to continue rehearsals for his new British film called “The Danish Girl.” And guess what? He’s playing the title role! Yes!
Directed by his ole pal and the man who named me “The Oscar Messenger” Tom Hooper, I can tell you from personal knowledge that Hooper is as dazzled by the Little Golden Guy and his army of Oscars as well say Harvey Weinstein. And me, too, of course. And now, Eddie, who also seems to have captured the Oscar Buzz Bug.
Lili Elbe, who Eddie is playing in “The Danish Girl” was the first ever male-to-female transgender person in 1930. Talk about transformative roles! Eddie is making a career of this. But if ever there was a role that “ticks all the boxes” as Colin Firth said to me when I told him HE was going to win the Oscar for “The King’s Speech.”(And he DID!) It’s Lile Elbe.
And Eddie is trying to lose a massive amount of weight, three stone, which is like 36 pounds to play Lile. That ticks another Oscar box right there.
And Tom Hooper, check (he always has his bar set Oscar-high). British, check. True Life story, check. Period (1930), check. Transformative performance, check.
And Eddie Redmayne, check. Hollywood’s new Golden Boy is going to be transforming himself into a Golden Girl, and guess what, I’m so sure he’s going to be back at the Oscars again next year. Or the year after that with “The Danish Girl.” And if Harvey Weinstein,who is the producer, check. He’s the Oscar Grandmaster, picks this one up, Eddie will be on his way to Oscar Number Two! You heard it here first! He’s the new Daniel Day Lewis! So I see multiple Oscars on his horizon. And it couldn’t happen to a nicer, more down-to-earth guy.
He was so surprised when Cate Blanchett announced his name, I’m sure he thought Michael Keaton or Bradley Cooper was going to win.He won’t be THAT surprised next time around.
You’re the King of the World, Eddie! And he’s also expecting his first child. When straight actors play gay(or transgender) they win. William Hurt, “Kiss of the Spider Woman”, anyone? Phillip Seymour Hoffman in “Capote”, anyone? Sean Penn as Harvey Milk in “MIlk”….
The precedent is set and the list goes on! Go, Eddie!
“Grand Budapest Hotel” is one of the true masterpieces out there this year, and is the film I feel could upset “Boyhood”s chances of winning Best Picture. It won Best Film Musical/Comedy at the Globes over “Birdman” then again it won Best Comedy last night at Broadcast Film Critics. It scored with every single guild. It has the most nominations of any of the films(Tied with “Birdman”) at nine. It also has been nominated for Best Ensemble at SAG, and an ensemble it certainly has. It could win that.
The all important award is the Producer’s Guild. If it wins there, then watch this whole race get turned on its’ head, like it did the year “The King’s Speech” triumphed over “The Joy of Typing,” which had won every award up until then. But I never gave up hope. I knew it would change. “The Joy of Typing” better known as…I can’t even remember its name, it was so painful to sit through. “The Joy of Typing” had won everything up until that point that year. Then everything changed. I think that will happen again.
And with Marion Cotillard now in the Best Actress race, poor Julianne Moore might get passed over AGAIN. It COULD happen. Mlle. Marion is in a much better film that Moore is. People arent’ watching their “Still Alive” screeners. Oops, I meant, “Still Alice.”
The A.C.E. or the Eddies, the Editing organization that the public may not know about, but the industry sure does, just announced their nominees and this year in their two film categories there were 11(!) nominations. Six in Drama and Five in Musical/Comedy, like the Golden Globes. There was a tie in the Drama category, but they’re not saying who or which film. Including “Nightcrawler”, they were “Gone Girl,” “Boyhood”, “Imitation Game” and “Whiplash.” And the also surprising last minute, late comer to the race, Clint Eastwood’s “American Sniper.”
The importance of editing as the central or key aspect in film-making today and in the awards season race, can not be underestimated. And also, no Best Picture has won without at least an Eddie nomination, Which is bad news for “Selma”.
If I had it to do over again, I’d study film-editing myself. Sometimes you feel like you’ve missed your calling and I think about trying to start to learn how to edit everyday. But I digress…
The guilds are the first REAL sample of how the industry is feeling this year about the Oscars. All the other awards so far are mainly voted on by CRITICS! And there are NO critics or press in the Academy.
There ARE press agents, but they only are allowed to nominate five pictures for Best Film, as one small for instance. When the nominations are announced they THEN get to vote in all the categories, but this is Phase I, the nomination phase. In fact, Academy members are nominating right now as we speak.
And next to the VAST Actor’s Branch, the second branch that really has a say, I think, is the Editor’s Branch. Not all the members of A.C.E. are IN the editors branch, by the way, but it’s a pretty good indicator.
And what’s surprising about today’s announcements, is what was left in that wasn’t expected, like for instance “Nightcrawler” (on my year’s 10 Best List for sure) and also the late opening Clint Eastwood “American Sniper” starring Bradley Cooper.
Nobody expected either of them to make it and that means they may make it into the Best Picture race at the Oscars. Left out was “Selma”. Which is kind of shocking, with all the supposed momentum that is building for it. But maybe it’s not. Also left out, I’m sorry to say was my fave “The Theory of Everything.” Watch for the Oscar nominations to correct that in two weeks.
But Jake Gyllenhaal has started really picking up nomination speed with nods from the Golden Globes, SAG, and the Broadcast Film Critics. And now this.”Nightcrawler” has LEGS! As many legs as a centipede, it seems.
http://www.hitfix.com has the rest with spirited analysis by their great Kris Tapley and Gregory Ellwood. The complete list is there.
And on Monday, the Producer’s Guild is set to announced its’ list of ten nominees for Best Picture. The PGA as it’s called was the first group to vote for “The King’s Speech,” when they voted for their winner that year when everyone else up to that point was going “The Social Network,” a film that I STILL intensely dislike. I still think of it as “The Joy of Typing.”
The PGA even more than the A.C.E. Eddies are ALLLL mostly Academy Members. They have ten slots and use a preferential ballot, like the Oscars do.
So films that are on the edge of the Oscar bubble, like for instance “Gone Girl,” “Nightcrawler”, “American Sniper,” “Unbroken,” “Into the Woods”, “A Most Violent Year” or “Whiplash” will find their hopes either raised or dashed on Monday.
I think frontrunners like “Boyhood”, “Birdman”, “Imitation Game” and “The Theory of Everything” will all be on the Producer’s List. And “Selma”, too, even though it was left off the A.C.E. Eddie’s today.
Never underestimate the importance of film editors. They silently run the show, and year after year do great unsung work that is respected and admired by the industry. These are the first voters we’ve heard from who REALLY count.
So who do these Eddie Nods help? For sure, Jake Gyllenhaal’s bid to get in to the extremely tight Best Actor Oscar race. It could help give “Nightcrawler” Best Picture cred, too. And don’t forget the wonderful 60-year-old-but-still-glamourous Rene Russo, who could get swept into the Supporting Actress race. Why not? She certainly deserves it.
And what of Bradley Cooper and “American Sniper”? Well, we shall see what we shall see.
One of the wackiest things I’ve heard in ages is Meryl Streep being announced as going Supporting for “August:Osage County.” Her character Violet Westin is an award-magnet bravura tour-de-force kind of role.It’s clearly the lead. It won Deanna Dunagan, a Chicago actress who debuted the part on Broadway a Tony Award.
Her co-star Amy Morton was nominated for the role of Violet’s confrontational daughter, but lost to Dunagan at the Tonys. Julia Roberts is playing this difficult part in the movie version, and we all wish her well. And hope she outdoes and confounds expectations, as I think she will.
Putting Meryl in Supporting leaves Julia as a Best Actress likely nominee, as we’re talking about her chances, too, at this moment. And then Julia on her own could get all the “August:Osage” votes, the thinking most be. She and Meryl could split the vote were they BOTH put in this category, both in Best Actress.
Putting Meryl in Supporting then pits her AGAINST Oprah Winfrey for “Lee Daniels’The Butler”. Both are Weinstein films? WHAT is Harvey Weinstein thinking? He’s also got a pretty good shot with Octavia Spencer for “Fruitvale Station.” Sharon Stone is also a likely nominee as Linda Lovelace’s straight-laced mother in “Lovelace.” Those are ALLLLLL Harvey’s films!
Now, the Academy of Motion Pictures Arts and Sciences allows its’ members to nominate actors and actresses in whichever category it chooses to put them into. So like the year Kate Winslet won Best Actress for “The Reader” even though Harvey campaigned her in Supporting for that movie.
If you may remember, that year Kate W. won BOTH Best Actress and Best Supporting Actress at the Golden Globes, who do follow the studios dictates.
So I think this is all just publicity palaver to get people to talk about “August:Osage” and ALLLL the wonderful performances by women I’m sure it contains. I can’t wait to see it at the Toronto Film Festival in a few weeks.
I think the Academy will put Meryl in the lead, and Julia, too, if they both deserve to be their.
And WHY is this all happening? Fear of Cate Blanchett’s great “Blue Jasmine.”
“August: Osage” after Toronto is going underground and will not be seen again or screened until Thanksgiving. Harvey’s release plan EXACTLY for “The King’s Speech.” But this ploy is so outlandish, it may lead Academy voters to vote for none of the “Osage” actresses and is just handing the win over to Cate Blanchett. Or is it?
Stay tuned. Drama ensues.
For those of you who MUST know what’s going on Oscarwise Pre-TIFF, it’s pretty clear to me. TIFF is absolutely essential to next year’s Oscar Winner. It is THEEE premiere Oscar launch pad, no question.
Last year, I remember being told there were TWO films I absolutely could not get into if I missed their Press & Industry or P&I screenings, which I
did. Those are the screenings, I, as an accredited journalist, are SUPPOSED to legitmately attend, and didn’t. I missed them both. They were “Argo” and “The Master” and of course, “Argo” won the Oscar.
That’s a pretty good indicator to me. And in recent years past, “The Artist” started there. And the year before that “The King’s Speech” which ended up winning the Audience Award there. That’s a pretty damn good average…and it continues to hold, I’m thinking.
All the major Oscar contenders are heading there “August:Osage County” main among them. And yes, it’s the Weinstein Co.AGAIN. It’s being shown there and only there before Thanksgiving screenings begin around its’ release date.
This is the classic pattern that both Weinstein winners TKS and TA followed exactly. To a “T” Why fix something that isn’t broken, thinks Harvey Weinstein, I’m so sure.
Sasha Stone posits at the always excellent www.awardsdaily.com that Telluride figures into this, too, but never having been there, I can’t say as surely as she can, who goes there every year now.
But she’s right in that even “The King’s Speech” started there. Not Toronto. It only preceeded it by a few days, but still.
I’ll never forget future Oscar winning director Tom Hooper telling me the excitement he, Colin Firth and Geoffrey Rush all felt sitting together in the dark at Telluride and they’re sensing the audience’s excitement. By Toronto, it was totally clear to me that it had already won the race. And it did.
New York has had the dubious distinction of recent years in invariably opening the film that comes in SECOND.
“The Life of Pi”, “The Social Network”, “Lincoln”, “Hugo” and with Tom Hanks’ new vehcile “Capt. Phillips,” it looks like that my happen again. In fact, I think you can count on it.
The Industry Poo-Bahs have all decided that Toronto and TIFF are IT as far as Oscar is concerned and I bet every Oscar strategist out there will agree. Of course, Toronto is very risky. It can also sink a film’s chances, too. It’s a risk you run, and it’s a brutal, competitive, bloody race, this Oscar dash to the finish line.
Which this year isn’t until MARCH btw. So it’s a long race this year too.
Having seen “August:Osage County” on the Broadway stage THREE times, I would place my bet on this pony, as Tom O’Neil, my idol, at www.goldderby.com would say.
I can tell you with surety though, that Harvey Weinstein will schedule an 8:45am press & industry screening at Toronto and that I will line up an hour early to get in. For “The King’s Speech” I remember getting up at 5:30AM to get to the inconveniently located theater on time. AND I was FIRST ON LINE! And the first one in It was thrilling. And I’m betting I do it all over again for “August:Osage County.”
It’s raining/sleeting/snowing in NYC, but to continue with my train of thought since the last post… Who will Harvey Weinstein pick of his threesome of Best Supporting Actors to push, push, push to Oscar gold?
I guess it was noticed that Phillip Seymour Hoffman was MIA to pick up, or even show up, for the Awards shows this past week. I think he’s rather furious that he’s been relegated to Supporting Actor, for what clearly was a co-lead in the flop “The Master.” So he’s not being super-co-operative. Or PSH is seeing the handwriting on the wall and it’s not spelling HIS name.
I think it’s spelling Robert Deniro’s. Yes, for the audience-friendly “Silver Linings Playbook,” which is only now going wide.The box-office for “SLP” has not being overwhelming to say the least. It’s a difficult, quirky comedy. Or dramedy. And it’s a small, domestic-arguement kind of film. It doesn’t have the range or scope of the epics of this year, “Les Miserables”, or “Argo” or “Zero Dark Thirty” or “Lincoln.”
The “Lincoln” camp is quaking in their boots. Getting “Hilary Clinton’s husband,”to quote the super sharp Amy Poehler, the evening’s resoundingly successful co-host (along with Tina Fey), to introduce the “Lincoln” clip was the act of a desperate group of people. In this case, Disney. They NEVER have run a successful Oscar campaign. Look at how they botched “The Help” last year.
Their sledge-hammer approach cost Viola Davis her Oscar bid last year. They got Best Supporting Actress for “The Help”s Octavia Spenser, but Best Supp. ANYthing is always considered by the Academy as a consolation prize. It’s just not as important as Best ACTOR and Best ACTRESS and now, this year, Best Director.
Liked Anne Hathaway’s seeming slam-dunk lock for “Les Miserables” That category is effectively closed. Give it up, Sally Field.
But back to Harvey. HE KNOWS how to run an Oscar campaign, and he’s relentless in its’ pursuit. Only this year’s ponies, as my idol Tom O’Neil would say over at http://www.goldderby.com, are not the thoroughbreds he was pushing in the past two historic years when he had “The Artist” and “The King’s Speech.” “SLP” is just NOT as good a film as the two recent Oscar winners, who were both Weinstein Co. productions.
Personally, I think he’s going to go after “Silver Linings Playbook” anyway for the win. Or as many wins as he can get for it. Main among them, Jennifer Lawrence for Best Actress. She already just won Best Actress Comedy at the Globes, but that was ALLLL “SLP” won, no matter how hard Harvey & Co. were campaigning for it. Next up, the SAG Awards, for which Robert Deniro IS nominated, in Supp.
And that means the twice-Oscared, but never SAGed DeNiro could be looking at HIS third Oscar and HE’S campaigning! Something he NEVER does.IOW, he’s co-operating with Harvey’s Oscar vision for “SLP”.
HW COULD prevail for DeNiro, who, let’s face it is a bona fide Oscar legend, and we’ll just see who out of the current Weinstein Co. stable DOES win Best Supporting Actor.
The co-operative Christophe Waltz won his second Golden Globe in two years, thanks to Harvey, for “Django Unchained.” And who gives the Best Performance out of Hoffman, DeNiro and Waltz. I’d say it was Waltz. And that may happen at the Oscars, too. He may duplicate his win as will, I think Quentin Tarantino in Best Original Screenplay.
Harvey Weinstein KNOWS how to run an Oscar campaign. Disney does not. And Neither does Fox, who has “Life of Pi” and also neither does Universal, who has “Les Miserables” which SHOULD be the winner IMHO. But alllll these majors, the studios, just aren’t USED to winning Oscars anymore. It’s like they were all born yesterday and only Harvey and the Weinstein Co. know what they are doing….And that’s just the way it is this year, ladies and gente-persons, dear readers, dear cineastes.
Except for the fly in the ointment, “Argo”.
You can’t have TWO Davids v. one Goliath. Like “SLP” AND “Argo” v. Goliath “Lincoln.” So which of “Argo” and “SLP” is the “Little Film That Could”? The Oscar question of the morning.