Best Picture of 1984

One more collection of nominees out of the way and, as I've come to expect from this project, not a dud among them. However, this decision proved to be a little easier than recent verdicts, for which my tired brain is grateful.

The nominees for Best Picture of 1984 are:

• Amadeus
• The Killing Fields
• A Passage to India
• Places in the Heart
• A Soldier's Story

Contrary to the diversity of some of the previous years I've examined, these five films can almost be similarly categorised ... well, perhaps with a little manipulation. Each deals at some level with the dastardly deeds to which human beings can subject one another. Racism features prominently in four of the pictures, the fifth being a more personal account of hatred. Consequently, 1984 was a powerful year for the Best Picture award.

To be completely ruthless, A Soldier's Story left the smallest impact on me, which is more a credit to the other four films than a criticism of the Norman Jewison picture, for it is undoubtedly a poignant film. Nonetheless, it will be the first casualty of my selection. Next to go is A Passage to India which, although gripping in its latter half, suffered slightly from a slow start.

The final three all seem capable of claiming my top honour. But one of the trio was clearly the primary tickler of my fancy. So, I'll say goodbye to The Killing Fields and Places in the Heart, through no faults of their own. Both are extremely moving films. Coincidentally, the only non-racism themed picture is the sole survivor. Although, perhaps it is Amadeus' intimacy that touched me most. Whatever the reason, I now officially declare Amadeus to be my favourite 1984 Best Picture nominee, thereby agreeing once more with the Academy's decision.

Best Picture of 1984
Academy's choice: Amadeus	Matt's choice: Amadeus

Your choice:

Vote for your own favourite using the poll above. Some very fascinating results from previous verdicts. At last count, the 2001 race is almost a five-way tie. And Gone With the Wind has perhaps unsurprisingly swept all but one vote from the 1939 election. The next round of nominees belongs to 1944, containing a host of classic Hollywood fare...

And the nominees for Best Picture of 1944 are:

• Double Indemnity
• Gaslight
• Going My Way
• Since You Went Away
• Wilson

See you again soon...

1984 - A Soldier's Story

As I write this, the sun is almost below the horizon and it's only a quarter past four in the afternoon. Having lived my whole life, save the last six months, in Sydney, I'm used to daylight until at least well after five, even in the dead of winter. Here in New York City, however, I'm beginning to think, come January, it'll be dark by noon. I've never quite understood why Daylight Savings time isn't simply employed the whole year round. I mean, if it's okay to screw around with the time zones for the summer, why not for the rest of the year as well? In fact, why don't we just adjust the time zones themselves? Then we could dispense with Daylight Savings altogether... One day, I'll change the world.

Just before the city was drawn into darkness, I viewed the final entry in the 1984 Best Picture race...

A Soldier's Story

Director:

Norman Jewison

Screenplay:

Charles Fuller

(based on his play "A Soldier's Play")

Starring:

Howard Rollins, Jr., Adolph Caesar, Art Evans, David Alan Grier, Denzel Washington

Academy Awards:

3 nominations

0 wins

Louisiana, 1944. A black sergeant has been killed and black army lawyer Capt. Davenport is sent to uncover the truth. Being the first black officer that most of the white soldiers have ever encountered, Davenport is a little less than welcome, given only three days to bring the murderer to justice. As he interviews the victim's troops, a picture is painted of an unpopular and despicable man with a long list of enemies. But Davenport's job is made all the more difficult by the lack of cooperation from the local chain of command.

A Soldier's Story is a somewhat formulaic film that almost seems more suitable for television. It has a very episodic nature about it. Think JAG. There are suspects and motives and the pertinent information is revealed gradually until the murder is solved. Now that I think about it, though, I'm not quite sure why that style of storytelling should be exclusive to the broadcast industry. Perhaps it's simply because that's what we're accustomed to.

On the other hand, I highly regard A Few Good Men, which is built with a similar structure. So, I guess it's more to do with how cleverly that whodunit formula is employed. A Soldier's Story just seemed a tad straightforward. Which is not to say it is predictable or badly written. I don't claim to have known from the beginning who the culprit was nor do I think it was a boring film. I suppose it just didn't grab me in the same way that other films of the genre have.

Just like the other Best Picture nominees from 1984, this film is heavily steeped in gravely important themes. The racial tensions are certainly well depicted, despite the pat ending. It definitely holds its own amongst its competition as far as that is concerned.

Denzel Washington (pictured) is fiercely impressive in his first major screen role as one of the Privates with a personal vendetta against his Sergeant. Adolph Caesar, who portrays the murdered man in various flashbacks, is perhaps playing a caricature, but it may just seem like that because of his cartoon-sounding voice. And Howard Rollins, Jr. is powerful as the attorney with an uphill battle. On the whole, not a standout film, in my opinion, but a worthy contender, nonetheless.

So, that concludes the nominees from 1984. Next up is the verdict...

1984 - The Killing Fields

One of the many benefits of living in New York City is that you can discover a new eatery every night (if you were so inclined) without ever having to dine at the same place twice. And there are restaurants specialising in just about everything. Yesterday, after a quick Google search for a place to eat near the location of our later plans that evening, Kat and I dined at S'MAC, a quaint little establishment whose menu consists entirely of variations of macaroni and cheese. Artery clogging, I'm sure, but delicious nonetheless.

Before that culinary delight, I watched another nominee from 1984's Best Picture line-up...

The Killing Fields

Director:

Roland Joffé

Screenplay:

Bruce Robinson

(based on the New York Times Magazine article 'The Death and Life of Dith Pran' by Sydney Schanberg)

Starring:

Sam Waterston, Haing S. Ngor, John Malkovich, Julian Sands, Craig T. Nelson

Academy Awards:

7 nominations

3 wins, including Best Supporting Actor

The Killing Fields relates the true story of New York Times journalist Sydney Schanberg as he covers the effects of the Vietnam War on neighbouring Cambodia. By his side is Dith Pran, his interpreter, guide, co-reporter and friend all rolled into one. As the situation in the war-torn country progressively deteriorates and Pran's life becomes more and more endangered, Schanberg and his other journo buddies desperately attempt to keep him safe in the midst of their evacuation.

As you can probably tell by that brief description, this is one hell of a serious film, made all the more sombre when considering its basis on reality. It takes a short while to become engaged with the story but once you're hooked, it's like a roller-coaster ride ... that is, if the roller-coaster was continually screaming further and further downwards. Every time you think there's rising track ahead, it seems to just sink deeper into the ground. Not that the film is completely depressing. I mean, it is, but not completely. There's plenty of hope and friendship and moments of courage. But the tension as Pran's dire circumstances become direr consistently deliver genuine "What's going to happen now?" moments. All the way to the end.

The Oscar-winning cinematography is simultaneously gorgeous and gritty. Mike Oldfield's score is a strange blend of electronica and choral music, but it somehow works. And the decision not to include subtitles for any of the foreign language dialogue cleverly adds to the tension. Plus, when you consider that Haing S. Ngor, who portrayed Pran, essentially suffered through the same experience in his own life, it makes for a truly harrowing film. His moving performance earned him the Best Supporting Actor Oscar. Not bad for a guy who had never acted before.

A pre-Law and Order Sam Waterston provides humanity to Schanberg, the journalist with integrity. John Malkovich is at his outbursting best as Schanberg's photographer. The token Aussie reporter on the scene is played by the King of Australian television, Graham Kennedy. It was especially gratifying to hear him use some Strine. The word "bung" is not a word I've heard since leaving Down Under, and I didn't realise how much I missed it.

1984 - Amadeus

I know I'm a week late to be discussing baseball, but has it not occurred to anyone in upper management at the MLB that it's possibly a bit of a misnomer to be calling the league's final battle the World Series. With only one team in the league that hails from outside the United States (and they're in nearby Toronto), it seems somewhat farcical to acclaim the winning team as the world champions. I guess when the MLB began, no other country was playing baseball, but even so, a bit of humility wouldn't go astray. World Series. I mean, really.

Right, now that I've insulted America's pastime, which, incidentally, I enjoy watching in lieu of my beloved cricket, let's move on now to the latest Best Picture nominee from 1984 to be viewed, which was...

Amadeus

Director:

Milos Forman

Screenplay:

Peter Shaffer

(based on his play)

Starring:

F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Roy Dotrice, Simon Callow, Christine Ebersole, Jeffrey Jones

Academy Awards:

11 nominations

8 wins, including Best Picture, Best Director and Best Actor

One of the greatest essays on jealousy ever written, Amadeus is the tale of 18th century Austrian Court Composer Antonio Salieri and his bitterness at being outshone by a younger composer with the manners and graces of a nine-year-old. The younger composer is, of course, Wolfgang Amadeus Mozart, and as soon as he enters Salieri's world, Salieri is consumed with jealousy of his musical genius. However, Salieri has a more pressing rivalry - that with God. Convinced that God is mocking him through Mozart, Salieri vows to destroy the famed composer in a treacherous attempt to show the Almighty who's boss.

Amadeus falls into that genre of film in which the protagonist essentially doubles as the antagonist. Salieri is the audience's main point of contact and, indeed, the story is told in flashback by Salieri himself. Just as he is conflicted by his genuine awe of Mozart's innate talent and his utter disgust at Mozart's buffoonery, we, too, are conflicted in our perception of Salieri. On the one hand, he elicits great sympathy by his desperate and unfulfilled longing to create memorable compositions. However, his diabolical plot to bring down Mozart at every turn tests the limits of our empathy. The result is an absolutely delicious portrayal of jealousy at its most primal, an emotion to which I'm sure we all can relate, no matter how much we are disinclined to admit it.

Most of this captivating deliciousness occurs in the first half of the film with jealous discovery after jealous discovery yanking our emotional strings. There is an unfortunate lull during the latter half of the film, but, in spite of that, all the other elements of this fine picture guarantee its entertainment value. For instance, the extravagant design is exactly as spectacular as you would expect from a period piece of this calibre. And then there's the music. Granted, you can hardly go wrong using Mozart's emotive compositions, but to make each selection perfectly appropriate for the images it is supporting, as is the case here, is a fine skill indeed.

F. Murray Abraham claimed the Best Actor Oscar for his sublime portrayal of Salieri, perfecting the many subtle crestfallen expressions of insecurity required of him. His co-star Tom Hulce received a nomination, too, supplying Mozart with a combination of irreverence and passion. Although etched in my mind as Ferris Bueller's principal, Jeffrey Jones is utterly delightful as the Austrian Emperor. Keep an eye out for Sex and the City's Cynthia Nixon as the Mozarts' maid. And keep the other eye out for the man inside R2D2, Kenny Baker, appearing in an operatic parody.

1984 - A Passage to India

After a frustrating experience with the frustrating New York City transport system which left me waiting, frustrated, on a platform for thirty frustrating minutes before being told the train would never arrive, I was forced to call my director to explain why I was absent from today's rehearsal. Frustrating. The subway system here is usually more than satisfactory, especially in comparison to Sydney's equivalent, but then something frustrating like this happens and I lose all faith in it. Anyway, the frustration was alleviated when Kat and I walked to the nearby Bohemian Hall & Beer Garden for a bite to eat. Too cold for the impressive outdoor beer garden, we dined inside on the scrumptious Czech and Slovak food. As a schnitzel aficionado, I simply couldn't go past the Bohemian Schnitzel, a breast of breaded chicken stuffed with ham, cheese, egg and garlic. Simply heaven. Although, my arteries may have something to say about that.

After a quick stroll through Astoria park, we arrived back home to watch another 1984 Best Picture nominee...

A Passage to India

Director:

David Lean

Screenplay:

David Lean

(based on the novel by E.M. Forster and the play by Santha Rama Rau)

Starring:

Judy Davis, Victor Banerjee, Peggy Ashcroft, James Fox, Alec Guinness, Nigel Havers

Academy Awards:

11 nominations

2 wins, for Best Supporting Actress and Best Original Score

A Passage to India is one of those films that I've always been meaning to see because of its pedigree, but never quite got around to because ... well, honestly, it just seemed like it would be boring. The subject matter simply didn't appeal to me. Then again, I really didn't know much about its content, so I'm not sure why I came to that conclusion. The lesson? Don't judge a book by its cover ... or a film by its poster, as the case may be.

Miss Quested and Mrs. Moore head to British colonial India in the 1920s to visit city magistrate Mr. Heaslop, both Miss Quested's fiancé and Mrs. Moore's son. Dismayed by the local Britons' lack of interest in Indian culture and their disrespect of Indian people, the two women accept an invitation by Dr. Aziz to take a somewhat gruelling journey to some legendary caves. The elderly Mrs. Moore soon becomes exhausted and decides to remain with the main group while Miss Quested and Dr. Aziz continue with a local guide. After a short time, however, Miss Quested scampers away from the caves in clear distress. Once back in town, Dr. Aziz is charged with attempted rape, resulting in a controversial trial that incites hostility between the Indians and the British.

With David Lean as the director, you know to expect some beautiful sweeping landscapes and this film does not disappoint in that regard. There are some truly majestic scenes to which a humble TV screen hardly does justice. The first half of the story unfolds in a relatively leisurely pace but there is gratification in meeting the vivid characters, especially the excitable Aziz, who delivers some of the film's most amusing lines. For instance, upon describing his late wife, he proclaims, "She was not a highly educated woman ... or even beautiful."

At approximately the halfway point, things become much more engaging. The events in the caves are deftly treated with plenty of mystery and the trial is just as engrossing. The characters become a tad black and white, though, as it is painfully clear as to which side of the proceedings each person is leaning. There is simply no middle ground.

Despite the occasional melodramatic moments in performance, the cast are all superb. Aussie Judy Davis delivers a captivating portrayal as Miss Quested, and Alec Guinness is almost unrecognisable as an Indian religious scholar. All in all, a very pleasant film.

1984 - Places in the Heart

Celebrity sighting #34: Whilst performing my ushering duties, Isabella Rossellini entered the theatre to be seated in the second row, which unfortunately meant I could only see the back of her fairly distant head owing to the fact that I was positioned in the back row. My colleagues assured me over the walkie that it was indeed the daughter of Ingrid Bergman, so I took their word for it.

(For the record, the number 34 is entirely fabricated. I am not, in fact, keeping a tally of my star-struckedness.)

Moving on...

The epic movie marathon that was the 1956 Best Picture race is now over and I must admit that, when I sat down to watch the next film for Matt vs. the Academy, it was nice to know that I wouldn't be spending over three hours in front of the television screen. The first of 1984's nominees was...

Places in the Heart

Director:

Robert Benton

Screenplay:

Robert Benton

Starring:

Sally Field, Lindsay Crouse, Ed Harris, Amy Madigan, John Malkovich, Danny Glover

Academy Awards:

7 nominations

2 wins, for Best Actress and Best Original Screenplay

In Waxahachie, Texas, during the Great Depression, Edna Spalding is attempting to recover from the devastating loss of her husband. In order to keep her two children housed and fed, she desperately needs to earn some cash. Since she is unable to afford the mortgage repayments, the bank manager urges her to sell the house. But Edna has a better idea. On the advice of a friendly unemployed black man named Moses, she plants cotton on her farm. The bank manager is unconvinced of this solution, so he persuades her to take on his blind brother-in-law as a tenant to help with the repayments. Battling a tornado, a slump in the cotton market and all sorts of prejudices - racism, sexism and blindism - this unlikely group must work together to bring in the crop.

Places in the Heart begins with a very slow pace. It's the deep South. It's the Depression. Understandably, things are slow. Even the accidental death of Edna's husband only heightens the film's energy briefly. However, the characters are so intriguing that it's enjoyable to spend time with this unlikely collection of acquaintances. I was definitely hooked by the story's powerful intensity. The tornado sequence, in particular, was genuinely heart-stopping, as was the tension created when Mr. Will, the blind man, attempts to rescue Moses from a Ku Klux Klan gang.

Speaking of the blind man, perhaps I've been spoiled by Al Pacino, but John Malkovich's eyes were not quite convincingly sightless. Maybe that's being picky, though. Sally Field (pictured) is affecting in the role that won her a second Oscar, prompting her famous acceptance speech, "You like me!" Also noteworthy is Danny Glover as Moses. Plus, for Lost fans, Terry O'Quinn, a.k.a. John Locke, appears in a supporting role.

As if the themes of death, the Depression and racism were not serious enough, writer-director Robert Benton also includes a major subplot involving the infidelity of Edna's brother-in-law. Heavy. It all works perfectly, though, without slipping into melodrama. One of the most moving scenes in the entire film is the very final shot. I'm not entirely sure I understood the exact meaning behind it, but it was powerful, nonetheless. That's precisely what I love about the art of film. It can make you feel all sorts of unexpected things without having the foggiest clue as to why you're feeling them.