Screen Musings

Hi again! It’s been too long. Since my last post I had a baby so have been a bit busy. But I am very excited about this year’s Oscars ceremony. I’ve had the chance to see many of the nominated films (still some to go!) and have read most of the predictions and analyses. Recently, I was captivated by Rami Malek’s performance as the singular Freddie Mercury in “Bohemian Rhapsody.” Not only was his physical appearance an astonishing transformation, but his gait, speech, singing voice, and mannerisms were exceptionally accurate. More than this character study, though, I was swayed by the deeply sensitive and nuanced portrayal of a larger than life artist, born too early, who died too young. The depiction of an immigrant family, the AIDS epidemic, and 1970s British rock and roll came together in a slightly melodramatic Hollywoodized biopic, but Malek’s performance (with a hilarious cameo by Mike Myers) led the film and kept it focused on the story of Mercury. Another standout for me was Mahershala Ali’s performance in Green Book. Ali has hit home runs repeatedly in the last few years with his scene-stealing role in House of Cards, followed by the poignant portrayal of a soft-hearted drug dealer in Moonlight, and most recently his (I would say) best performance to date as a dementia battling detective in the South in the latest rendition of HBO’s “True Detective.” In Green Book, Ali plays a genius pianist traveling in the most racist Southern states while he unwittingly befriends his rough and tumble body man/driver played by Viggo Mortenson. The movie is well done, and stays pace with the simple but effective story of a changing time and a friendship that transcends some of the most obvious barriers. But Ali rises above even Mortenson’s solid portrayal of Tony Lip with his multilayered depiction of a man skilled at presenting a facade that masks a gutting torment.

As an annual tradition, I saw the Oscar Nominated Live Action Shorts and my prediction (shared with the NY Times) is that the American made “Skin” will take home the award. All five films were disturbing in their mostly horrific stories centered around violence and young boys (with the exception of one film about an aging woman living in nostalgia and regret). I thought that “Mother” (Madre) was a better film than the others, and began the showing of the five with a punch — albeit one that created anxiety and fear at an increasingly heightened level.

A film that I was disappointed didn’t get as much recognition included “A Quiet Place.” We know that the Academy will honor horror films, and this was a breakout in terms of style, storytelling, and riveting performances by unknown child actors. While it has been recognized in technical categories, I think it was shortchanged, especially since non-traditional Oscar films (e.g. “Black Panther”) have been rightfully considered.

Other final thoughts: I think Spike Lee should take the award for Best Director for “BlakKklansman.” He’s one of the most prolific and longstanding members of the cinematic community and has created some of the most memorable and historic contributions to film (including a very relevant “Bamboozled,” the classic “Malcom X” and the whipsmart “25th Hour”). I thought that “BlakKlansman” was so well done that I saw it twice — and especially appreciated the thoughtful score and the surprising supporting role of Adam Driver (a long way from his Girls anti-social hipster). I saw “The Favourite” a few months ago and while I was sincerely impressed with Rachel Weiz (though not surprised as I think she’s always good), as well as Emma Stone (great British accent!), the true standout was Olivia Colman who I had mostly only seen in the BBC’s “Broadchurch.” This film was raunchy but witty, and has brought a more light-hearted and ironic offering to the Oscars table. In “A Star is Born” I thought Lady Gaga was talented in her role as Ally, and of course her singing was spot on (that song will win, I’m guessing), but overall this newest remake was just what the Academy typically honors but that we all hope they won’t and will instead favo(u)r something more on point with the times — including stories about women/people of color, poverty, war, loss, dictators. (“Vice”, anyone? Sam Rockwell was superb).

The Oscars can be predictable, which is why everyone bets on ballots before the fateful unsealing of the golden envelope (and hopefully accurate reading of its contents). But I always hope that this year will surprise us just a little, and I don’t mean a La La Land/Moonlight snafu. Many are rooting for the groundbreaking “Roma” (which I need to finish!), and likely accurately predicting that Glenn Close will take the statuette for Best Actress in her highly praised performance in “The Wife.” I still need to see “If Beale Street Could Talk” (I’m afraid it will break my heart but hopefully put it back together), and really hope that “Can You Ever Forgive Me?” gets some recognition — especially Richard E. Grant as the fast talking, homeless sidekick to Melissa McCarthy’s perfectly painful/comedic Lee Israel. But I’m not sure he can get past Ali’s unequaled Don Shirley.

In fact, the thing I’m least concerned about is the lack of a host.

Enjoy!

Until next time..

*Writer’s Note: With Green Book’s Best Picture win I’ve read more about the controversy surrounding its story and over-simplistic and perhaps condescending telling of Don Shirley’s life (or at least the part in the film). I still think Ali’s performance was noteworthy. But a discussion about how racism is depicted in stories/films is important.

I’ve waited too long to post again on this film blog, but given the dearth of quality movies released between each Oscar season, it may be timely. I wanted to focus on women and violence in film, and when the Weinstein and other accusations started to roll out, it felt even more relevant. Earlier this year I saw the excellent “Elle” starring Isabelle Huppert and was floored by its raw, spellbinding, twisty, thrilling, and jaw-dropping story, as well as by a riveting performance by Huppert. It made me think a lot about violence and women in film, and how we either skirt or address the issue head on. Later in the year I saw the ghost-themed indie “Personal Shopper” starring Kristen Stewart (in an excellent non-Twilight-esque appearance) and thought about these issues again. How women live in fear of being assaulted/attacked, the role that men play in keeping women “safe” (or not) and of course the other themes explored in the film around reality versus fiction and how we define sanity. Finally, the latest in Hollywood scandal. As I learn about the overwhelming number of assaults, I find myself simultaneously surprised and cynical in response to the scale and breadth of the trauma suffered by the victims at the hands of Weinstein, Spacey and others. Disturbing would be an understatement. The broader conversation that these incidents have unveiled has allowed many of us to feel more comfortable talking about our own experiences of assault, harassment and violence.

The question is: what next? How do we change the conversation, our reaction to assault, and how do feminists (which I consider myself) address this?

Two other films I saw recently involving this theme were “Battle of the Sexes” and “The Florida Project” though highlighted in very different ways. “Battle of the Sexes” deals with sexuality, misogyny, fair pay issues and widespread sexism in professional sports. Emma Stone nailed her performance as Billie Jean King and was convincing in her depiction of the athlete’s laser focused drive. The end felt bittersweet given last year’s election result and begged the question: the match had a great outcome, but how far have we really come since 1973? “The Florida Project” was jarring, blunt, exposing and melancholy. It was also an expertly executed examination of poverty in America. Hard to watch but ultimately tinted with a welcome and ambiguous silver lining. Violence was more subliminal in this movie, but present nonetheless. How its used by people who are desperate, the both harsh and subtle ways that women are forced into objectification and exploitation, how easy it is to resort to self-destruction when trying to survive on the brink of homelessness and social isolation.

I look forward to Frances McDormand’s unstoppable performance in “Three Billboards Outside Ebbing, MO” – a tour de force which is already being hailed as one of her best. Her character’s masculine persona contrasts with the story of a mother’s revenge and the all-male police force she takes on in an effort to find her daughter’s killer. I’m intrigued by her physical transformation in this role – the overalls uniform, partially shaved head, and brash voice.

In conclusion, violence is pervasive for both women and men all over the world, so it would make sense that Hollywood is a microcosm of this. We need to continue to think about and discuss the role of women in film, while honestly reconstructing the narrative so that our daughters aren’t expected to accept the overt and latent aggression we’ve allowed.

Welcome to my first blog post! This is so fun — something I’ve been wanting to do for awhile but, alas, had writer’s block. How to start writing about something that I’ve spent my whole life thinking about? I will begin with this Oscar season since it’s arguably the most anticipated time of year for movie lovers. The 2017 Academy Awards will take place on Sunday February 26th, and we will get a glimpse of the red carpet, listen to impromptu celebrity-political thoughts, and absorb emotional, totally “unprepared” speeches over schmaltzy orchestra music. The most important question, you may ask yourself, is: what are they wearing? I’m here to tell you that, quite simply, it doesn’t matter (I know, groundbreaking insight). Unlike some predictions, I think Natalie Portman deserves Best Actress for “Jackie,” but it’s likely that Casey Affleck will win for “Manchester by the Sea,” and while “La La Land” is expected for Best Picture, I could see “Moonlight” being a surprise contender. There was more diversity this year in the nominees and films that were recognized (in stark contrast to the Grammys). Many of the highlighted films deal with death, loss, disappointment, faded dreams, and personal struggle. Some are uplifting. Post-November 9th, seeking out film became an even more important endeavor for me. I inhaled the screenings at the local independent theater, and traded notes with friends about style, technique, and underlying meaning, read the articles that documented the controversies surrounding films like “Birth of a Nation,” and “Manchester by the Sea,” and was delighted to learn that more women were given lead roles in successful films. With friends and family, I also took in “Star Wars,” “Office Christmas Party,” “Ghostbusters,” and other fun movies to help distract from the disturbingly “real” news.

While studying abroad in Barcelona, I took a memorable Spanish film course, where we learned about Almodovar, who I had always loved, and other noteworthy directors. We studied cinema during the Franco era, and discovered the hidden messages in films like “La Caza,” which used a creative script and subversive imagery to protest the dictatorship. I believe that in the darkest times, when we are tested, the most powerful and impactful art is born. Film is, simply, magic. Through a symbiotic melding of talent & hard work, a story is woven, which has the ability, in a mere 2 hours, to transport us across borders, through homes, into the past and future, up through space, underground, on water, in the air. Our minds fly into a realm where anything is possible, and where the very best and worst of ourselves is revealed. Animals can talk, women are Presidents, trees are saved. One can dream, right?

So in this post 11/9 world, where leaders toss around blatant hate & bigotry like reality show contestants, and the powerful prey on the weak, let’s incubate the will to fight. And one way to do this is by supporting the truth teller artists — dancers, filmmakers, musicians, writers, creative geniuses — and, also, by watching as many movies as possible. Maybe there is a chance to find some clarity amidst the chaos — in a young gay boy growing up in Liberty City, a failing jazz musician on a quest for true love, hidden African-American women pioneers at NASA, a grieving working class mother, and a very famous widow. Because their stories conjure our own human frailty, defeat, and against all odds, hope.

Enjoy the show — I know I will. Until next time..