Lisa’s Oscar Predictions for November


selma

Well, here we are in November and the Oscar race is looking a lot more clear.  Early front runners have faded and new contenders have emerged and even some of the new contenders have subsequently faded.  The Oscar race is starting to look a lot more clear and it will look even clearer once December arrives and the critic groups start to chime in.

Here are my Oscar predictions for November!

And, if you want some clues about how this year’s Oscar race has developed over the past few months, be sure to check out my predictions for March, April, May, June, July, August, and October!

Best Picture

Birdman

Boyhood

Foxcatcher

The Imitation Game

A Most Violent Year

Selma

The Theory of Everything

Unbroken

Whiplash

Wild

Best Actor

Steve Carell in Foxcatcher

Benedict Cumberbatch in The Imitation Game

Michael Keaton in Birdman

David Oyelowo in Selma

Eddie Redmayne in The Theory of Everything

Best Actress

Jessica Chastain in A Most Violent Year

Felecity Jones in The Theory of Everything

Julianne Moore in Still Alice

Rosamund Pike in Gone Girl

Reese Whitherspoon in Wild

Best Supporting Actor

Ethan Hawke in Boyhood

Miyavi in Unbroken

Edward Norton in Birdman

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Best Supporting Actress

Patricia Arquette in Boyhood

Laura Dern in Wild

Kiera Knightley in The Imitation Game

Emma Stone in Birdman

Meryl Streep in Into The Woods

Best Director

Ava DuVernay for Selma

Alejandro Inarritu for Birdman

Angelina Jolie for Unbroken

Richard Linklater for Boyhood

Morten Tyldum for The Imitation Game

a-most-violent-year

Here Are The Gotham Nominations!


Under the Skin

Under the Skin

Here are the nominations for the Gotham Independent Film Awards!  It’s debatable just how reliable the Gothams are as an Oscar precursor.  For one thing, the majority of the big studio productions are not eligible for the Gothams.  However, when you’re an indie film trying to win mainstream awards, any recognition is good recognition.

As far as the nominees go, Birdman and Boyhood are already Oscar front runners.  However, the Gotham nominations will perhaps remind some people that The Grand Budapest Hotel is eligible for Oscar consideration as well.

Here are the Gotham nominations!

Best Feature

  • Birdman or (The Unexpected Virtue of Ignorance) – Alejandro G. Iñárritu, director; Alejandro G. Iñárritu, John Lesher, Arnon Milchan, James W. Skotchdopole, producers (Fox Searchlight Pictures)
  • Boyhood – Richard Linklater, director; Richard Linklater, Cathleen Sutherland, Jonathan Sehring, John Sloss, producers (IFC Films)
  • The Grand Budapest Hotel – Wes Anderson, director; Wes Anderson, Scott Rudin, Steven Rales, Jeremy Dawson, producers (Fox Searchlight Pictures)
  • Love Is Strange – Ira Sachs, director; Lucas Joaquin, Jay Van Hoy, Lars Knudsen, Ira Sachs, Jayne Baron Sherman, producers (Sony Pictures Classics)
  • Under the Skin – Jonathan Glazer, director; Nick Wechsler, James Wilson, producers (A24 Films)

Best Documentary

  • Actress – Robert Greene, director; Douglas Tirola, Susan Bedusa, Robert Greene, producers (The Cinema Guild)
  • CITIZENFOUR – Laura Poitras, director; Laura Poitras, Mathilde Bonnefoy, Dirk Wilutzky, producers (RADiUS, Participant Media, and HBO Documentary Films)
  • Life Itself – Steve James, director; Zak Piper, Steve James, Garrett Basch, producers (Magnolia Pictures and CNN Films)
  • Manakamana – Stephanie Spray & Pacho Velez, directors; Lucien Castaing-Taylor, Véréna Paravel, producers (The Cinema Guild)
  • Point and Shoot – Marshall Curry, director; Marshall Curry, Elizabeth Martin, Matthew Van Dyke, producers (The Orchard and American Documentary / POV)

Bingham Ray Breakthrough Director Award

  • Ana Lily Amirpour for A Girl Walks Home Alone at Night (Kino Lorber)
  • James Ward Byrkit for Coherence (Oscilloscope Laboratories)
  • Dan Gilroy for Nightcrawler (Open Road Films)
  • Eliza Hittman for It Felt Like Love (Variance Films)
  • Justin Simien for Dear White People (Lionsgate and Roadside Attractions)

Best Actor*

  • Bill Hader in The Skeleton Twins (Lionsgate and Roadside Attractions)
  • Ethan Hawke in Boyhood (IFC Films)
  • Oscar Isaac in A Most Violent Year (A24 Films)
  • Michael Keaton in Birdman or (The Unexpected Virtue of Ignorance) (Fox Searchlight Pictures)
  • Miles Teller in Whiplash (Sony Pictures Classics)

* The 2014 Best Actor nominating panel also voted to award a special Gotham Jury Award jointly to Steve Carell, Mark Ruffalo, and Channing Tatum for their ensemble performance in Foxcatcher (Sony Pictures Classics).

Best Actress

  • Patricia Arquette in Boyhood (IFC Films)
  • Gugu Mbatha-Raw in Beyond the Lights (Relativity Media)
  • Julianne Moore in Still Alice (Sony Pictures Classics)
  • Scarlett Johansson in Under the Skin (A24 Films)
  • Mia Wasikowska in Tracks (The Weinstein Company)

Breakthrough Actor

  • Riz Ahmed in Nightcrawler (Open Road Films)
  • Macon Blair in Blue Ruin (RADiUS)
  • Ellar Coltrane in Boyhood (IFC Films)
  • Joey King in Wish I Was Here (Focus Features)
  • Jenny Slate in Obvious Child (A24 Films)
  • Tessa Thompson in Dear White People (Lionsgate and Roadside Attractions)
Boyhood

Boyhood

Lisa’s Oscar Predictions For October


Julianne Moore in Still Alice

Julianne Moore in Still Alice

Ever since March, I have been posting my monthly Oscar predictions.  Because I was so busy with my Back To School series, I missed my chance to post an update in September.  (And, before you say that missing one month is no big deal, you should take into my consideration my OCD…)  However, it is now October and, as the Oscar picture starts to become a little bit more clear, here are my current predictions!

(Interested in seeing my past predictions?  Check out March, April, May, June, July, and August.)

Best Picture

American Sniper

Birdman

Boyhood

Foxcatcher

The Imitation Game

Interstellar

Still Alice

Unbroken

Whiplash

Wild

(Before anyone asks why I haven’t included Gone Girl or Inherent Vice on the list, I ask them to consider the Oscar fate of both The Master and Fincher’s Girl With The Dragon Tattoo.)

Best Actor

Steve Carell in Foxcatcher

Bradley Cooper in American Sniper

Benedict Cumberbatch in The Imitation Game

Michael Keaton in Birdman

Eddie Redmayne in The Theory of Everything

Best Actress

Amy Adams in Big Eyes

Felecity Jones in The Theory of Everything

Julianne Moore in Still Alice

Rosamund Pike in Gone Girl

Reese Whitherspoon in Wild

Best Supporting Actor

John Brolin in Inherent Vice

Edward Norton in Birdman

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Tom Wilkinson in Selma

Best Supporting Actress

Patricia Arquette in Boyhood

Laura Dern in Wild

Kiera Knightley in The Imitation Game

Rene Russo in Nightcrawler

Emma Stone in Birdman

Best Director

Clint Eastwood for American Sniper

Alejandro Inarritu for Birdman

Richard Linklater for Boyhood

Bennett Miller for Foxcatcher

Morten Tyldum for The Imitation Game

American Sniper

American Sniper

 

 

Finally — Some Oscar News!


Finally, I have some concrete, nonspeculative, 100% verified Oscar news to share with y’all!

Yesterday, it was announced that the host of next year’s ceremony will be …. Neil Patrick Harris!

Now, that news isn’t really shocking or surprising.  Neil Patrick Harris has been hosting everything lately.  He’s hosted the Tonys.  He’s hosted the Emmys.  It’s about time that he got a chance to host the Oscars.

I have to admit that I think it’s a little bit silly the amount of importance that some commentators put on who exactly is going to host the ceremony.  Usually, it really doesn’t make that much of a difference.  Seth McFarlane was criticized when he hosted.  Ellen DeGeneres was acclaimed.  But ultimately, did either one of them really make a difference?  It all comes down to what the winners are wearing, what they say in their speeches, and whether or not there are any surprises or upsets.  The host is just kind of there.

(I mean, Ellen did a good job and all but oh my God, did I ever get sick of every group on the planet trying to do their own version of the Oscar selfie….)

I know some of my friends were hoping that Tina Fey and Amy Poehler would host the Oscars.  Honestly, though, both Tina and Amy have lately started to remind me of the type of girls in high school who would judge you for wearing a short skirt.  There’s a certain tyranny of thought right now that says we have to love everything that Tina and Amy do but I personally think I’ll be much happier with Neil Patrick Harris.

And who knows?  Gone Girl could be an Oscar contender this year and, depending on how much the Academy actually embraces it, Harris could be both the host and a nominee, an accomplishment most recently achieved by James Franco.

Anyway, the main reason I’m happy about this news is because it means that Oscar season is here!  Soon, all of the Oscar films will have been seen and reviewed.  The critics groups will be voting.  The campaigns will be starting.

And it will officially be a good time to be alive…

"Take me to the Oscars!"

“Take me to the Oscars!”

 

It’s Time For Lisa Marie’s Early Oscar Predictions for August!


theory-of-everything-new

Every month, around this time, I post my early Oscar predictions.  These predictions are based on random guesses, early buzz, and gut instinct.  Originally, I referred to these as being my way too early Oscar predictions but, now that we’re in August, they are merely early.

Below you can find my latest set of predictions.  The main change for this month is that I’ve factored in the fact that, based on the trailer, it looks like The Theory of Everything will be a definite contender.

And feel free to check out my predictions for March, April, May, June, and July!

 

Best Picture

Birdman

Boyhood

Foxcatcher

The Imitation Game

Interstellar

The Theory of Everything

Unbroken

Whiplash

Wild

 

Best Director

Alejandro Gonzalez Inarritu for Birdman

Richard Linklater for Boyhood

James Marsh for The Theory of Everything

Bennett Miller for Foxcatcher

Morten Tyldum for The Imitation Game

 

Best Actor

Steve Carell in Foxcatcher

Benedict Cumberbatch in The Imitation Game

Michael Keaton in Birdman

Eddie Redmayne in The Theory of Everything

Timothy Spall in Mr. Turner

 

Best Actress

Amy Adams in Big Eyes

Jessica Chastain in The Disappearance of Eleanor Rigby

Rosamund Pike in Gone Girl

Reese Whitherspoon in Wild

Shailene Woodley in The Fault In Our Stars

 

Best Supporting Actor

Ethan Hawke in Boyhood

John Lithgow in Love is Strange

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Tom Wilkinson in Selma

 

Best Supporting Actress

Patricia Arquette in Boyhood

Felicity Jones in The Theory of Everything

Julianne Moore in Map To The Stars

Kristen Stewart in The Clouds of Sils Maria

Emma Stone in Birdman

theory-of-everything-felicity-redmayne

Lisa’s Early Oscar Predictions For July


Foxcatcher

Foxcatcher

It’s time for me to update my early Oscar predictions!  Every month, based on a combination of buzz, reviews, gut feelings, and random guesses, I attempt to predict which films, directors, and performers will receive nominations in 2015!  Originally, I referred to these as being my “way too early Oscar predictions.”  However, we are now halfway through the year and the picture is no longer quite as hazy as before.  Therefore, these are now simply my “early” predictions.

Click on the links to check out my predictions for March, April,  May, and June!

And below you’ll find my predictions for July.

As you may notice, my predictions have remained pretty stable over the past month.  The advance word on Big Eyes has been mixed but, unlike a lot of Oscar watchers, I was never expecting Big Eyes to be a major contender for any award other than best actress.  Meanwhile, Boyhood continues to be one of the most acclaimed films of the year, which makes me even more certain that Boyhood will be a contender in several categories.  Advanced word on Foxcatcher has also been so strong that I can now imagine both Mark Ruffalo and Channing Tatum scoring nominations for best supporting actor.

The big question right now is whether or not the acclaim that’s been given to summer films like Edge of Tomorrow and Dawn of the Planet of the Apes will also translate into major Oscar nominations or will those films simply have to be satisfied with getting all of the usual technical nominations.  Personally, I would love to see Andy Serkis get some love from the Academy but, sadly, I doubt it’s going to happen.

Best Picture

Birdman

Boyhood

Foxcatcher

The Imitation Game

Interstellar

Mr. Turner

Unbroken

Wild

 

Best Director

Alejandro Gonzalez Inarritu for Birdman

Mike Leigh for Mr. Turner

Richard Linklater for Boyhood

Bennett Miller for Foxcatcher

Jean-Marc Vallee for Wild

 

Best Actor

Steve Carell in Foxcatcher

Benedict Cumberbatch in The Imitation Game

Ralph Fiennes in The Grand Budapest Hotel

Michael Keaton in Birdman

Timothy Spall in Mr. Turner

 

Best Actress

Amy Adams in Big Eyes

Jessica Chastain in The Disappearance of Eleanor Rigby

Rosamund Pike in Gone Girl

Reese Whitherspoon in Wild

Shailene Woodley in The Fault In Our Stars

 

Best Supporting Actor

Ethan Hawke in Boyhood

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Channing Tatum in Foxcatcher

Tom Wilkinson in Selma

 

Best Supporting Actress

Patricia Arquette in Boyhood

Julianne Moore in Map To The Stars

Kristen Scott Thomas in Suite francaise

Kristen Stewart in The Clouds of Sils Maria

Emma Stone in Birdman

Boyhood

Boyhood

Embracing the Melodrama #53: Crash (dir by Paul Haggis)


crash-2004-poster

For the past two weeks, I’ve been reviewing, in chronological order, some of the most and least memorable melodramas ever filmed.   We started way back in 1916 and now, after 52 reviews, we’ve finally reached the year 2004.  And that can only mean that it is time to review the worst film to ever win an Oscar for best picture of the year.  I am, of course, talking about Crash.

Crash is an ensemble piece that follows a multi-racial cast of characters as they deal with issues of race, crime, and — well, that’s about it.  In Crash, everyone’s life revolves around race and crime.  Well, I take that back,  There is at least one character whose life revolves around being a good maid to the white woman who employs her.  But otherwise, it’s all about race and crime.  The film is set in Los Angeles which, from what I’ve read, is actually a pretty big city but you really wouldn’t know that from watching Crash.  All of the characters in Crash are constantly and randomly running into each other.  I think director/screenwriter Paul Haggis is trying to make a statement about the power that coincidence plays in the world but, often times, it just feels like lazy plotting.

Anyway, here are the characters who are meant to bring Los Angeles to vivid cinematic life:

Brendan Fraser and Sandra Bullock play rich white people Rick and Jean Cabot.  Rick Cabot has just been elected District Attorney of Los Angeles County.  (Because when I think of a successful urban politician, I automatically think of Brendan Fraser…)  Jean is his materialistic wife.  At the start of the film, they’re carjacked by two young black men, which leads to Jean suspecting that every non-white she sees is secretly a gang member.  Later, Jean falls down a flight of stairs but she’s helped by her maid, who happens to be — surprise, surprise — not white!  Apparently, this teaches Jean an important lesson about tolerance.  The message, I guess, is that white people can be redeemed by interacting with their minority servants.

And then there’s Cameron (Terrence Howard) and his wife Christine (Thandie Newton) who are upper class and black.  Cameron directs sitcoms for a living and, at work, he has to deal with Fred (Tony Danza) constantly double guessing him and demanding that he reshoot scenes.  One night, as they leave an awards ceremony, Cameron and Christine are pulled over by two white cops — the racist Ryan (Matt Dillon) and his idealistic partner Hansen (Ryan Phillippe).  Ryan proceeds to molest Christine while giving her a pat down.  The next day, Christine is involved in a car accident on the freeway and is pulled from the burning car by none other than Officer Ryan.  The point here, I suppose, is that the same pervert who finger rapes you one night is just as likely to be the same guy who comes across your overturned car on the freeway.  For that scene alone, Crash deserves the title of worst best picture winner ever.

crash-2004 4

But that’s not all!

There’s also Detective Graham Waters (Don Cheadle), who has been assigned to investigate a police corruption case that would not be out of place in an episode of … well, just insert your own generic cop show title here.  Graham also visits his mentally unstable mother who demands that Graham find his younger brother.  Now, of course, as soon as we hear this, we know that Graham’s brother is going to have to turn out to be one of the other characters in the film.  Since there are only three other black males in this film (and since Cameron appears to be the same age as Graham), it’s not difficult to figure out who it’s going to be.

It’s either going to be Anthony (Ludacris) or Peter (Larenz Tate), who also happen to be the same two men who carjacked the Cabots’ car at the start of the film.  Larenz Tate probably gives the best performance in this whole sorry mess of a film, even if his role is ultimately a thankless one.

There’s also a locksmith named Daniel (Michael Pena), who finds himself being stalked by an angry Middle Eastern man.  Daniel’s story contains a hint of magic realism, presumably because Paul Haggis was reading something by Gabriel Garcia Marquez while writing the script.

Crash

You can fault Crash for many things but you also can’t deny that it’s far more ambitious than the typical bad film.  In the space of 112 minutes, Paul Haggis attempts to say everything that needs to be said about race and class in America.  Unfortunately, while watching the film, it quickly becomes obvious that Haggis really doesn’t know much about race and class in America.  Hence, the film becomes a collection of scenes that think they mean something while actually meaning nothing.  Crash is less about race in America and more about how other movies have traditionally portrayed race in America.  Unfortunately, director Haggis does not have the self-awareness to truly bring the subtext of screenwriter Haggis’s script to life.

The main theme of Crash seems to be that everyone has a good side and a bad side and that you can the hero of one story while being the villain of another.  That’s not a bad theme, it’s just an incredibly mundane one.  The film illustrates this theme by continually having a character say something racially offensive just to then have him do something heroic in the very next scene.  As a result, the characters don’t come across as being so much complex as just incredibly inconsistent.  Crash is never as deep as it thinks it is.

Reportedly, Crash was inspired by Paul Haggis’s own experience of getting carjacked.  Haggis has said that being a victim of crime led to some intense soul searching on his part.  Hopefully, Haggis got something better than just Crash out of the whole experience.

still-of-terrence-howard-in-crash-(2004)-large-picture

Embracing the Melodrama #40: Bugsy (dir by Barry Levinson)


Bugsy5lrg

Let’s continue to embrace the melodrama with the 1991 best picture nominee Bugsy.

Gangster Benjamin Siegel (Warren Beatty) may be known as Bugsy but nobody dares call him that to his face.  Siegel may be best known for his quick temper and his willingness to murder anyone who gets in his way, but Ben insists that he’s not as crazy as everyone considers him to be.  Instead, Ben knows that he’s a very special person, a visionary businessman whose business just happens to be organized crime.  Along with his childhood friends Lucky Luciano (Bill Graham) and Meyer Lansky (Ben Kingsley), Siegel is one of the founders of the modern American crime syndicate.  Unlike his more practical-minded partners, Siegel revels in being a public figure.  Bugsy examines how Siegel became a celebrity gangster and how that celebrity eventually led to his downfall.

As the film opens, Luciano and Lansky send Siegel out to Los Angeles, specifically to look after their west coast business operations.  Before Siegel leaves, he is specifically told to keep a low profile.  So, of course, as soon as Siegel arrives in Los Angeles, he starts hanging out with actor George Raft (Joe Mantegna) and having a very public affair with actress Virginia Hill (Annette Bening).  Siegel quickly falls in love with the glamour and glitz of Hollywood and starts to think of himself as being a movie star.  When he’s not working with violent gangster Mickey Cohen (Harvey Keitel) to control the Los Angeles underworld, Siegel is attending film premieres and even shooting a Hollywood screen test.  Back in New York, Luciano and Lansky can only watch as their childhood friend goes out of his way to defy their instructions and become the most famous gangster in America.

Eventually, Siegel goes on a gambling trip to Nevada and comes up with an idea that is destined to change America forever.  With funding from Lansky and Luciano, Siegel begins construction on the Flamingo Hotel and Casino in Las Vegas, Nevada.  However, Siegel’s plans are so extravagant and, in many ways, impractical that the budget soon soars out of control.  Not helping matters is the fact that Virginia is embezzling money from the casino’s budget.  Even after Siegel finds out, he can’t bring himself to be angry at her.  He understand that he and Virginia are essentially cut from the same cloth.

However, back in New York, Luciano grows more and more frustrated with Siegel’s wasteful ways and Lansky comes to realize that he can only protect his friend for so long…

Bugsy is a big, extravagant movie that tries to be a few too many things at once.  Over the course of two and a half hours, it attempts to be a love story, a biopic, a classic gangster film, an allegory for the American dream, a history lesson, a period piece, and finally, a metaphor for the act of filmmaking itself.  (When Siegel complains that Luciano and Lansky don’t understand why the Flamingo has to be huge, it’s hard not to feel that he’s meant to be a stand in for every director who has ever had his budget cut by a meddling studio executive.)  When a film tries to be so many different things all at once, you can’t be surprised when the end result is a little uneven.  Bugsy starts out slowly but gradually picks up speed and the final part of the movie is everything that one could hope for from an epic gangster film.

The film works best as a character study of a man who, in the best American tradition, attempts to reinvent himself by moving out west.  Back in New York, Ben is known as a cold-blooded and dangerous killer.  However, once he arrives in Los Angeles, Ben attempts to recreate himself as a celebrity and then as a visionary.  For him, the Flamingo is about more than money.  The Flamingo is about being remembered for something other than his nickname.  The Flamingo is his way to escape from his past.  However, as Bugsy makes clear, the past can be ignored but it never goes away.

bugsy-1991-09-g

Embracing the Melodrama #28: The Towering Inferno (dir by John Guillermin)


The_Towering_Inferno_1974-500x300

I have a weakness for the old, all-star disaster movies of the 1970s.  It could be because those movies remind me of how fragile life really is and encourage me to make the most of every minute.  Or maybe it’s because I have my phobias and, by watching those movies, I can confront my fears without having to deal with a real-life tornado, hurricane, tidal wave, avalanche, or fire.

Or maybe I just have a weakness of glitz, glamour, and melodrama — especially when it involves a huge cast of stars and character actors.  Yes that’s probably the reason right there.

Case in point: the 1974 best picture nominee, The Towering Inferno. 

As is the case with most of the classic disaster films, The Towering Inferno is a long and big movie but it has a very simple plot.  The world’s tallest building — known as the Glass Tower — has been built in San Francisco.  On the night of the grand opening, a fire breaks out, trapping all the rich and famous guests on the 135th floor.  Now, it’s up to the fire department to put out the fire while the trapped guests simply try to survive long enough to be rescued.  Some will live, some will die but one thing is certain — every member of the all-star cast will get at least 15 minutes of screen time and at least one chance to scream in the face of the film’s still effective special effects.

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As for the people trapped by the towering inferno, we don’t really get to know them or their motivations.  (Add to that, once the fire breaks out, everyone pretty much only has one motivation and that’s to not die.)  As a result, we don’t so much react to them as characters as we do to personas of the actors who are playing them.

Steve-McQueen-in-The-Towe-001

For instance, we know that Fire Chief O’Halloran is a fearless badass and a natural leader because he’s played by Steve McQueen.  McQueen brings a certain blue collar arrogance to this role and it’s a lot of fun to watch as he gets progressively more and more annoyed with the rich people that he’s been tasked with rescuing.

We know that architect Doug Roberts is a good guy because he’s played by Paul Newman.  Reportedly, Newman and McQueen were very competitive and, in this movie, we literally get to see them go-head-to-head.  And, as charismatic as Newman is, McQueen pretty much wins the movie.  That’s because there’s never a moment that O’Halloran isn’t in charge.  Doug, meanwhile, spends most of the movie begging everyone else in the tower to exercise the common sense necessary to not die.  (Unfortunately, despite the fact that he looks and sounds just like Paul Newman, nobody in the tower feels like listening to Doug.  If Towering Inferno proves anything, it’s that most people are too stupid to survive a disaster.)

paul-newman-inferno1

The tower’s owner, James Duncan, is played by William Holden so we know that Duncan may be a ruthless businessman but that ultimately he’s one of the good guys.  Holden gets one of the best scenes in the film when, after being told that people in the building are catching on fire, he replies, “I think you’re overreacting.”

Roger Simmons is Duncan’s son-in-law and we know that he’s ultimately to blame for the fire because he’s played by Richard Chamberlain.  Roger might as well have a sign on his back that reads “Doomed.”  The same can be said of publicity executive Dan (Robert Wagner) and his girlfriend, Lorrie (Susan Flannery).

The_Towering_Inferno_1974_Faye_Dunaway_Mike_Lookinland

Faye Dunway is Susan.  She is Doug’s fiancée and she really doesn’t do much but she does get to wear a really pretty dress.  The same can be said of Susan Blakely, who plays Roger’s dissatisfied wife, and Jennifer Jones, who plays a recluse.  And good for them because if you’re going to be stuck in an inferno without much to do, you can at least take some comfort in looking good.

Then there’s Fred Astaire, who does not dance in this film.  Instead, he plays a kind-hearted con artist who ends up falling in love with Jennifer Jones.  Fred Astaire received his only Oscar nomination for his brief but likable performance in The Towering Inferno.

And finally, there’s the building’s head of security, Jernigan.  We know that he’s a murderer because he’s played by O.J. Simpson and … oh wait.  Jernigan is actually probably the second nicest guy in the whole film.  The only person nicer than Jernigan is Carlos, the bartender played by Gregory Sierra.

OJ

The real star of the film, of course, is the fire.  In the 40 years since The Towering Inferno was produced, there’s been a lot of advances in CGI and I imagine that if the film was made today, we’d be watching the fire in 3D and it would be so realistic that we’d probably feel the heat in the theater.  That said, the fire effects in The Towering Inferno are still pretty effective.  Now, I have to admit that I have a phobia (and frequent nightmares) about being trapped in a fire so, obviously, this is a film that’s specifically designed to work itself into my subconscious.  But that said, the scenes with various extras thrashing about in the flames are still difficult to watch.  There’s a scene where Robert Wagner and Susan Flannery find themselves trapped in a blazing reception area and it is pure nightmare fuel.

The Towering Inferno 9

The Towering Inferno is an undeniably effective disaster film.  At the same time, when one looks at the 1974 Oscar nominees, it’s odd to see The Towering Inferno nominated for best picture along with The Godfather Part II, Chinatown, and The Conversation.  Unlike those three, The Towering Inferno is hardly a great film.

But it is definitely an entertaining one.

toweringinferno2

Embracing the Melodrama #11: All About Eve (dir by Joseph L. Mankiewicz)


Bette Davis

“Fasten your seat belts, it’s gonna be a bumpy night!” — Margo Channing (Bette Davis) in All About Eve (1950)

If you’re a lover of classic films or even if you’re just someone who occasionally watches TCM, chances are that you already know All About Eve.  It’s one of those films that is endlessly quoted and it features at least two performances — Bette Davis’s turn as aging Broadway diva Margo Channing and George Sanders’ acidic theater critic Addison DeWitt — that serve as frequent inspiration for professional impersonators.  It’s the film that was named best picture of 1950 and it continues to hold the record for both the most Oscar nominations overall and it’s the only film in Oscar history to receive four female acting nominations.

Even more importantly, it’s a film that everyone already knows it great.

So, that brings up the question that every film blogger dreads: how do you review a classic film that everyone already knows about?  I’ve often said that it’s easier to review a bad film than a great one.  It’s easy to pinpoint why a film fails but when it comes time to explain why a film is great, it’s often difficult to put to words the intangible qualities that elevate it.

Eve and Margo

For instance, I could tell you that the film has a fascinating plot but that barely only begins to scratch the surface of everything that’s going on underneath the glossy and melodramatic surface of All About Eve.  The movie tells the story of how scheming young actress Eve Harrington (Anne Baxter) becomes a star with the help of Addison DeWitt and at the expense of the talented but aging Margo Channing.  In telling Eve and Margo’s stories, All About Eve explores issues of female friendship and competition, sexuality, and why older men are celebrated while older women are constantly at risk of being pushed to the side for a newer model.  The complexity and power of All About Eve’s storyline can be summed up by the fact that right now, when I watch the film, I relate to Eve but I imagine that  twenty years from now, I’ll rewatch and I’ll relate to Margo.

I could tell you that this is a film that is full of bigger-than-life characters and iconic performances but that doesn’t even begin to scratch at the surface of how well-acted and perfectly cast this film is.  Even boring old Hugh Marlowe is a perfect choice for playing boring old playwright Lloyd Richards.  (His wife is played by Celeste Holm.  Reportedly Bette Davis hated working with Celeste Holm but onscreen, their friendship feels very real and poignant and leads to some of the best scenes in the entire film.)  Gary Merrill, who later married Bette Davis, is likable as Margo’s boyfriend and Thelma Ritter is great as Margo’s outspoken assistant, largely because she’s Thelma Ritter and she was always great.  Marilyn Monroe famously makes the most of her minor role in All About Eve, playing an aspiring actress who has a very good reason for calling the butler a waiter.  And then there’s Bette Davis and George Sanders, both of whom are simply brilliant.

My favorite scene from All About Eve

My favorite scene from All About Eve

But to me, the best performance in All About Eve comes from Anne Baxter.  Baxter plays Eve as a perpetually smiling schemer and one of the great pleasures of the film is watching as Eve wrecks passive-aggressive havoc through Margo’s circle of friends.  Just watch the scenes where she deftly manipulates Celeste Holm.  All About Eve is usually referred to as being a vehicle for Bette Davis but if you actually watch the film, you see that the title is absolutely appropriate.  The film really is all about Eve.

And I could always tell you about how wonderfully sardonic the dialogue is but you already know that.  There’s a reason why even people who have never seen the film still quote Margo’s suggestion that everyone fasten their seat belts!

Bette Davis 2

So, in the end, what can I tell you about All About Eve?  Well, all I can really tell you is that it’s a great film and, if you haven’t seen it, you need to make time to learn all about Eve.

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