Scenes That I Love: “That’s Bird Seed!” from The Oscar


Have you ever wondered what it takes to win an Oscar?  The 1966 film, The Oscar, revealed to audiences just how sleazy a world Hollywood can be.  Frankie Fane (Stephen Boyd) does everything he can to win an Oscar and he doesn’t care who he hurts!  But fear not — Hollywood may not be perfect but it has no room for someone like Frankie Fane!  At the end of the movie, a man named Frank does win the Oscar but his last name is Sinatra and Frankie Fane is left humiliated.  That’ll teach him to try to pull one over on the Academy!

The Oscar is an incredibly silly film but it’s also a lot of fun.  In this scene that I love, Frankie’s best friend — played by Tony Bennett, in both his first and final film — confronts Frankie about the type of star that he’s become.

“That’s birdseed!”

4 Shots From 4 Films: Special Also-Ran Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Since today is Oscar nomination day, today’s edition of 4 Shots From 4 Films is dedicated to films that were nominated for Best Picture but which did not win.

4 Shots From 4 Best Picture Nominees

Citizen Kane (1941, dir by Orson Welles, DP: Gregg Toland)

High Noon (1952, dir by Fred Zinnemann, DP: Floyd Crosby)

Goodfellas (1990, dir by Martin Scorsese, DP: Michael Ballhaus)

Lost In Translation (2003, dir by Sofia Coppola, DP: Lance Acord)

Song of the Day: Ramblin’ Man (The Allman Brothers Band)


The Allman Brothers Band, as accomplished and acclaimed as they were, seem to not have the garnered the same attention with the younger generations like their contemporaries such as Lynyrd Skynyrd, Kansas, Creedence Clearwater Revival, etc. It’s a shame really since they were probably the greatest band to come out of the southern rock scene.

Led by frontman Gregg Allman with the mythical Duane Allman and Dickey Betts bookending him as duo lead guitarists, The Allman Brothers Band came onto the scene with their mixture of blues-inspired rock and that southern flavor (almost a touch of the bluegrass and country) that left such a huge with rock listeners during the late 60’s and throughout the 1970’s. Their signature song will always be the ever-present “Whipping Post” where anyone wanting to take up the guitar will hear the genius slide-guitar playing of Duane Allman (dying at the age of 24 and cementing his spot in rock legend lore).

Yet, Dickey Betts also had his time to shine as Duane’s partner-in-crime and this is more than evident on his work in the band’s track “Ramblin’ Man” released in 1973 which in itself inspired by the Hank Williams song of the same name. “Ramblin’ Man” is one of the band’s more country-sounding song, but it’s blues rock foundation comes to the forefront with Dickey Betts performing the outro guitar solo to finish off the song.

While Duane Allman’s death in 1971 could’ve been the death knell to this rising band, it powered through this tragedy and more than a little help from Duane’s guitar-mate Dickey Betts.

Ramblin’ Man

Lord, I was born a ramblin’ man,
Tryin’ to make a livin’ and doin’ the best I can.
And when it’s time for leavin’,
I hope you’ll understand,
That I was born a ramblin’ man.

My father was a gambler down in Georgia,
And he wound up on the wrong end of a gun.
And I was born in the back seat of a Greyhound bus
Rollin’ down highway 41.

Lord, I was born a ramblin’ man,
Tryin’ to make a livin’ and doin’ the best I can.
And when it’s time for leavin’,
I hope you’ll understand,
That I was born a ramblin’ man.

[Interlude]

I’m on my way to New Orleans this mornin’,
Leaving out of Nashville, Tennessee,
They’re always having a good time down on the bayou, Lord
Them Delta women think the world of me.

Lord, I was born a ramblin’ man,
Tryin’ to make a livin’ and doin’ the best I can.
And when it’s time for leavin’,
I hope you’ll understand,
That I was born a ramblin’ man.

[Repeat and Fade]
Lord, I was born a ramblin’ man…

[Guitar Solo]

Great Guitar Solos Series

Here Are The 2024 Oscar Nominations


Here they are!  The 2024 Oscar nominations!

There’s a few surprises, like I’m Still Here getting nominated for Best Picture.  I will say that if Kamala Harris had won in November, Sebastian Stan and Jeremy Strong would not have been nominated for The Apprentice.  The same impulse that causes the Academy to honor the films of Adam McKay is responsible for the nominations of Stan and Strong.  Pamela Anderson getting a nomination for The Last Showgirl would have made for a great story but it didn’t happen.

After all the hype, the actual announcement of the nominations is always a bit of a let down.

Best Picture
“Anora”
“The Brutalist”
“A Complete Unknown”
“Conclave”
“Dune: Part Two”
“Emilia Pérez”
“I’m Still Here”
“Nickel Boys”
“The Substance”
“Wicked”

Best Director
Jacques Audiard, “Emilia Pérez”
Sean Baker, “Anora”
Brady Corbet, “The Brutalist”
James Mangold, “A Complete Unknown”
Coralie Fargeat, “The Substance”

Best Actress
Mikey Madison, “Anora”
Karla Sofía Gascón, “Emilia Pérez”
Cynthia Erivo, “Wicked”
Demi Moore, “The Substance”
Fernanda Torres, “I’m Still Here”

Best Supporting Actress
Monica Barbaro, “A Complete Unknown”
Ariana Grande, “Wicked”
Felicity Jones, “The Brutalist”
Isabella Rossellini, “Conclave”
Zoe Saldaña, “Emilia Pérez”

Best Actor

Adrien Brody, “The Brutalist”

Timothee Chalament, “A Complete Unknown”

Colman Domingo, “Sing Sing”

Ralph Fiennes, “Conclave”

Sebastian Stan, “The Apprentice”

Best Supporting Actor
Yura Borisov, “Anora”
Kieran Culkin, “A Real Pain”
Edward Norton, “A Complete Unknown”
Guy Pearce, “The Brutalist”
Jeremy Strong, “The Apprentice”

Original Screenplay:
“Anora”
“The Brutalist”
“A Real Pain”
“The Substance”
“September 5”

Adapted Screenplay
“A Complete Unknown”
“Conclave”
“Emilia Pérez”
“Nickel Boys”
“Sing Sing”

International Feature
“I’m Still Here”
“The Girl with the Needle”
“Emilia Pérez”
“The Seed of the Sacred Fig”
“Flow”

Animated Feature
“Flow”
“Inside Out 2”
“Memoir of a Snail”
“Wallace & Gromit: Vengeance Most Fowl”
“The Wild Robot”

Documentary Feature
“Black Box Diaries”
“No Other Land”
“Porcelain War”
“Soundtrack to a Coup d’Etat”
“Sugarcane”

Best Editing
“Anora”
“Conclave”
“Emilia Pérez”
“Wicked”
“The Brutalist”

Best Original Score in a Motion Picture
“The Brutalist”
“Emilia Pérez”
“Conclave”
“Wicked”
“The Wild Robot”

Production Design
“The Brutalist”
“Conclave”
“Dune: Part Two”
“Nosferatu”
“Wicked”

Best Costume Design
“A Complete Unknown”
“Conclave”
“Gladiator II”
“Nosferatu”
“Wicked”

Best Sound
“A Complete Unknown”
“Dune: Part Two”
“Wicked”
“Emilia Perez”
“The Wild Robot”

Best Makeup and Hairstyling
“A Different Man”
“Emilia Pérez”
“Nosferatu”
“The Substance”
“Wicked”

Animated Short
“In the Shadow of Cypress”
“Wander to Wonder”
“Yuck”
“Magic Candies”
“Beautiful Men”

Live Action Short
“Anuja”
“The Last Ranger”
“A Lien”
“The Man Who Could Not Remain Silent”
“I’m Not a Robot”

Documentary Short
“Death by Numbers”
“I Am Ready, Warden”
“Incident”
“The Only Girl in the Orchestra”
“Instruments of a Beating Heart”

Best Original Song, Motion Picture
“Mi Camino” from “Emilia Pérez”
“El Mal” from “Emilia Pérez”
“Never Too Late” from “Elton John: Never Too Late”
“The Journey” from “The Six Triple Eight”
“Like a Bird” from “Sing Sing”

 

Happy Birthday in heaven to RUTGER HAUER – a personal reflection.


Quite simply, Rutger Hauer has been one of the most important actors in my life. I write about his movies every Sunday here on The Shattered Lens.

I first saw him in THE HITCHER when I was around 13 years old or so. I spent the night at a friend’s house where we watched the movie, and it scared the crap out of me. I will never, ever, ever pick up a hitchhiker I do not know because of this movie. Although I kept up with him after that fateful night, my next real meaningful memory of Hauer was from 1990 when, as an incoming senior in High School, I attended a six week summer program called Arkansas Governor’s School. We would watch movies every Sunday evening, and one of those movies was BLADE RUNNER (1982). After the movie, we would get together with an instructor to discuss the film. We all thought that Hauer had stolen the film from Harrison Ford, and we had a good time sharing theories about the doves and his character sticking the nail through his hand. I believe this was the first time I ever analyzed a film with a group of film lovers. None of my friends or family members in my “real life” cared about movies like I did.

I think it’s fair to say that I’ve been somewhat obsessed with Rutger Hauer from that point forward. I searched out his history of Dutch films and discovered important works like TURKISH DELIGHT (1973 -not one of my favorites) and SOLDIER OF ORANGE (1977 – one of my very favorites). I always wished Hauer would have worked with Director Paul Verhoeven again after 1985’s FLESH AND BLOOD. How cool would it have been to see Hauer as Robocop?! I delighted in seeing him steal the film NIGHTHAWKS (1981), his American debut, from Sylvester Stallone. After 1990, any time Rutger Hauer had a movie playing in a theater near me, I would be there. This included his early 90’s movies like SPLIT SECOND (1992 – where I was the only person in the theater), BUFFY THE VAMPIRE SLAYER (1992), and SURVIVING THE GAME (1994), to his character roles in the 2000’s in movies like CONFESSIONS OF A DANGEROUS MIND (2002), SIN CITY (2005), and BATMAN BEGINS (2005). The last time I saw him on the big screen was in THE RITE (2011), where he co-starred with Anthony Hopkins.

Rutger Hauer has so many credits. Aside from his big screen credits, he worked on so many low budget direct to video features, made-for-TV films, as well as quite a few TV series. And I tried to watch them all. I saw some good films and some not so good films, but I always found Hauer interesting no matter what the material was. I remember being excited when it was announced that he would be joining the cast of the hit HBO series TRUE BLOOD (2008-2014), a series that I watched faithfully. The last two films of his that I was truly excited about were HOBO WITH A SHOTGUN (2010) and DRACULA 3-D (2012). It was satisfying to see him getting a lot of attention that late in his career.

I was sitting on the beach in Perdido Key, FL in 2019, when I got a notification on my phone that Hauer had passed away. It made me sad, as I had no idea he had been sick. It was also fitting that I was sitting in such a beautiful place, because Rutger Hauer had brought such joy to my life for over 30 years. Rest in peace, Mr. Hauer!

Music Video of the Day: Head Down by Cher Lloyd (2025, dir by Raja Virdi)


Hey, you know what would be fun?  How about a music video shot in the middle of a really depressing city?  For whatever reason, depressing music videos have been an important component of more than a few music videos.  In this one, it adds a layer of meaning to the song, a layer that probably was not there before.

Enjoy!

Late Night Retro Television Review: Monsters 3.6 “The Hole”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing Monsters, which aired in syndication from 1988 to 1991. The entire series is streaming on YouTube.

This week, Monsters goes to Vietnam.

Episode 3.6 “The Hole”

(Dir by David Severeid, originally aired on November 4th, 1990)

At the height of the Vietnam War, two U.S. Marines and their guide stumble upon a hole in the middle of a deserted village.  Lowering themselves into the hole, they find a complex maze of tunnels.  The Viet Cong dug the tunnels so that they could move and smuggle weapons without being seen by their enemies.  But as the guide (played by Glenn Kubota) explains it, they dug their tunnels so deep that they awakened a far more evil power.

More evil than communism?  This is a scary episode!

Soon, Sgt. Kenner (Ahmad Rashad) and Corporal Torres (Antone Pagan) find themselves being pursued through the tunnels by zombies.  Kenner is determined to fight and destroy as many of the undead as possible.  Torres just wants to get out of the tunnels.  But it turns out that finding their way out is not as easy as Kenner and Torres assumed it would be.  And the men are definitely at a disadvantage because the zombies know the maze.  The maze is their home.

This episode is surprisingly straight-forward.  There aren’t any huge twists or anything of that sort.  Three men enter a tunnel system and find themselves being pursued by zombies.  The underground maze of tunnels is properly atmospheric location and I did jump a few times when the zombies suddenly appeared coming around a corner.  The zombie makeup was well-done and this episode was a bit gorier than the average episode of Monsters.  The special effects brought to mind the grotesque imagery of the Italian zombie films.  This episode owed quite a bit to the legacy of Lucio Fulci.

That said, I do wish the episode had been a bit more surprising.  It was so straight-forward that it actually become a bit predictable.  I’ve seen enough George Romero films to know exactly what was going to happen to each person who entered the maze.  The episode was brutally effective but it’s still hard not to feel that the plot needed an unexpected twist that just didn’t come.  In fact, as I watched the episode, I found myself thinking about how a film like Cannibal Apocalypse managed to make a powerful statement about the horror of war by portraying Vietnam vets who had been infected by the cannibal virus while serving in the conflict.  I also thought about how Fulci, at his best, crafted zombie films that reminded us of just how fragile the human body actually is.  There wasn’t much subtext to found in The Hole and that’s a shame because often the most interesting thing about a zombie story is the subtext.

Still, the episode worked in its own crude way.  The undead are frightening, no matter where they appear.

Lisa Marie’s Final 2024 Oscar Predictions


The Oscar nominations are due to be announced tomorrow so I guess I should post my final predictions.  2024 has been a rough year for me and my sisters.  Our Dad was in a car accident in May and, after two months of physical rehab, passed away in August while in home hospice care.  Needless to say, going to the movies was the last thing on my mind for much of 2024.

(I’m very thankful that my fellow contributors who kept the site going during our frequent absences.  Their hard work not only kept TSL alive but it also rekindled my own passion for the Shattered Lens.  I am still very much in mourning but writing for this site and sharing my thoughts with our readers has definitely helped me to regain some semblance of stability.)

So, there’s a lot of Oscar hopefuls that I have not seen.  That’s one reason why I haven’t done a best of 2024 list this year or my usual “If Lisa Marie Had All The Power” posts because there’s still a lot that I need to watch.  (I may publish them at some point in February, by which point everyone will have moved on but it will make me feel happy.)  I’m flying blind here with a lot of the potential nominees.  But I’ve been following the guilds and the critic awards and I feel reasonably confident about the predictions below.

Tomorrow morning, we’ll find out how right or wrong I am.

Best Picture

Anora

The Brutalist

A Complete Unknown

Conclave

Dune Part II

The Brutalist

A Real Pain

September 5

The Substance

Wicked

Best Director

Jacques Audiard for Emilia Perez

Sean Baker for Anora

Edward Berger for Conclave

Brady Corbet for The Brutalist

Coralie Fargeat for The Substance

Best Actress

Pamela Anderson in The Last Showgirl

Cynthia Erivo in Wicked

Karla Sofia Gascon in Emilia Perez

Mikey Madison in Anora

Demi Moore for in Substance

Best Actor

Adrien Brody in The Brutalist

Timothee Chalamet in A Compete Unknown

Domingo Colman in Sing Sing

Daniel Craig in Queer

Ralph Fiennes in Conclave

Best Supporting Actress

Jamie Lee Curtis in The Last Showgirl

Ariana Grande in Wicked

Margaret Qualley in The Substance

Isabella Rossellini in Conclave

Zoe Saldana in Emilia Perez

Best Supporting Actor

Yura Borisov in Anora

Kieran Culkin in A Real Pain

Edward Norton in A Complete Unknown

Guy Pearce in The Brutalist

Jeremy Strong in The Apprentice

Jim Jarmusch in SLING BLADE (1996) – a scene that I love!


Way back in 1995, Jim Jarmusch gave Billy Bob Thornton a part in his film DEAD MAN. Well the next year, Billy Bob Thornton directed his own movie, SLING BLADE. He asked Jarmusch if he would do a small part in his movie. The resulting scene would be one of my favorites in the entire film. I still mention “French fried potaters” to this day, especially the “big ‘uns!” And I just love the fact that Jarmusch was right here in Benton, Arkansas.

The Frosty Cream is a McDonald’s now, but I love seeing the area how it was 30 years ago! Watch and enjoy!