Best Picture of 1994

The battle for Best Picture of 1994 included a particularly impressive selection of nominees. I realise that assessment is one that has prefaced almost every verdict I have delivered so far in this project, but this time I really mean it. In a decade and a half, four of these five films have achieved a rather prominent place within pop culture. Nothing to sneeze at.

The nominees for Best Picture of 1994 are:

• Forrest Gump
• Four Weddings and a Funeral
• Pulp Fiction
• Quiz Show
• The Shawshank Redemption

Five very accomplished films, all with bucket loads of merit. The sole romantic comedy of the bunch, Four Weddings and a Funeral, is the first one out of the running for my top honours. Partly due to the innate unfairness that labels comedies as less significant as other genres, and partly due to its saturation of slightly underdeveloped supporting characters.

The other four pictures are much harder to separate. Quiz Show, the nominee with the least success cementing its place in film history, suffers mildly from the ambivalence that is elicited by its likeable but morally questionable lead character. Nonetheless, the film is still immensely engaging. Forrest Gump, Oscar's choice for Best Picture, offers a somewhat passive lead character, yet remains emotionally impactful with plenty of charm to boot. Pulp Fiction is, on occasion, gratuitously wordy, but its humour and inventiveness far outweigh any flaws.

Thus, we are left with the film that IMDb users have voted their number one film of all time, The Shawshank Redemption. It may not necessarily take that crown in my all time list, but it certainly has my support as 1994's best. It is a masterly film that succeeds on many levels, drawing the viewer in with humour, pathos and suspense.

Best Picture of 1994
Academy's choice: Forrest Gump	Matt's choice: The Shawshank Redemption

Your choice:

Your opinion can be made by using the poll above to select your favourite 1994 nominee. Soon, we will begin our next year of review. We head to the 1960s again to take a look at the following bunch.

And the nominees for Best Picture of 1962 are:

• Lawrence of Arabia
• The Longest Day
• The Music Man
• Mutiny on the Bounty
• To Kill a Mockingbird

Stay tuned...

1994 - The Shawshank Redemption

Last chance to vote on the next year of review for Matt vs. the Academy. The poll is in the panel over to the right. Since there is currently a tie, there is rather a good chance that the next person to vote will single-handedly decide the result. Unless, of course, that person creates a three-way tie, but let's not put ideas into his head.

Last night, Kat and I sat down to watch the last of the nominees from 1994's Best Picture contest...

The Shawshank Redemption

Director:

Frank Darabont

Screenplay:

Frank Darabont

(based on the novella "Rita Hayworth and Shawshank Redemption" by Stephen King)

Starring:

Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, Mark Rolston, James Whitmore

Academy Awards:

7 nominations

0 wins

In 1947, softly-spoken banker Andy Dufresne (Robbins) is convicted of the cold-blooded murder of his cheating wife and her country club lover. Despite his adamant claims of innocence, he is given a life sentence and shipped off to Shawshank prison, where he initially has trouble with a gang of sodomising bullies. Soon, he befriends fellow inmate Red (Freeman), known for his ability to smuggle in any item from the outside. Upon request, Red acquires a rock hammer for Andy, ostensibly so he can carve chess pieces. Thanks to his financial knowledge, Andy also gets in good with the prison guards, doing their taxes each year. This eventually leads the cruel and corrupt warden (Gunton) to utilise Andy's smarts to help him launder money.

I sincerely wish there were a way to forget about the story of The Shawshank Redemption in order that I may view the film again with fresh eyes. When you know they're coming, all those wonderful little surprises have the edge taken out of them just a tiny bit. However - and here's where this picture excels - even for those who are familiar with the plot's details, the sequences are executed so impeccably that the emotional manipulation is retained. I still found myself moved by the plight of long-term inmate Brooks when he is finally released. I still found myself shocked by the warden's heinous plan to subvert Andy's chances for a new trial. And I still found myself amused by Andy's final revenge.

It's a testament to Frank Darabont's script and direction that this stands as a rare example of a film that continues to be an enjoyable experience upon multiple viewings. In fact, perhaps it is because I have seen it a few times before that I felt as though as I was in safe hands. I realise that sounds a bit arty-farty, but I don't really know how else to explain it. There is a comfortable feeling as you watch the events unfold - as if you are being guided through this journey by a protector preventing you from any personal danger ... Okay, now I sound like an idiot, so let's move on...

Shawshank becomes yet another nominee from 1994 with brilliantly provocative music. The effective score is provided by Thomas Newman in his unmistakably haunting style - soft sustained strings overlayed with intoxicating piano chords. You may also recognise the inspirational end credits theme, which has since been borrowed for numerous film trailers.

Tim Robbins leads the cast with a mostly restrained portrayal of a frustrated man waiting for his moment. The always brilliant Morgan Freeman scored the only acting Oscar nomination for the film with a superbly amiable performance. The ensemble is filled out with an array of engaging character actors, including Bob Gunton delivering an elegantly evil turn as the warden, and James Whitmore supplying a great deal of the film's pathos as Brooks, the elderly inmate who doesn't want to leave.

1994 - Forrest Gump

One of the lesser known perks of being a SAG member is that I now have the opportunity to join the SAG Film Society (for a nominal fee, of course), which allows me to attend any of their four or five screenings per month that take place at the DGA Theater. Mostly, they are films that have just hit the cinemas, but occasionally there is a preview screening of an upcoming release. At the risk of sounding elitist, I have noticed something fascinating from the couple of events that I have attended so far. Somehow, these screenings are a much more pleasant affair than watching a movie with the general public. Perhaps it's because of the near capacity attendance, so the communal atmosphere exudes excitement. Perhaps it's because of the odd rule restricting any food or drink inside the theatre, so the distracting crackling sound of candy wrappers is absent. Perhaps it's because the industry audience are more respectful of the film-going experience, so there is nary a whisper during the course of the picture. Which, I guess, means that I am an elitist.

Yesterday, Kat and I spent a lazy Sunday afternoon watching another 1994 Best Picture contender...

Forrest Gump

Director:

Robert Zemeckis

Screenplay:

Eric Roth

(based on the novel by Winston Groom)

Starring:

Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, Sally Field

Academy Awards:

13 nominations

6 wins, including Best Picture, Best Director and Best Actor (Hanks)

As Forrest Gump (Hanks) sits down on a bench to wait for his bus, he begins talking to the stranger next to him. He tells her of his childhood growing up in Alabama with his very supportive mother (Field) and his best friend Jenny (Wright). Although intellectually slow, he inadvertently becomes an influential part of U.S. history during the 60s and 70s, meeting most of the Presidents along the way. He's a college football star, a war hero, a ping pong champion, a shrimp boat captain and a distance runner. All the while, Jenny pops in and out of his life, but she always remains on his mind. As the people at the bus stop come and go, he continues his story undeterred, talking to whoever will listen to his simple tale.

It would be easy to dismiss Forrest Gump as just a mindless piece of fluff. Things just seem to happen to the main character with very little action on his behalf. Most of his major accomplishments are not achieved due to any hopes or desires that he may possess, but rather those around him shove him into the spotlight. He becomes a football star because the coach notices he can run fast, but Forrest has no clue what he is doing. He inadvertently sets the Watergate scandal in motion, not because he feels a sense of duty to report the burglary he is witnessing, but because he can't sleep with all those flashlights shining into his room. Even when he saves his entire platoon by carrying them safely out of the jungle, it is more of an act of necessity than genuine heroics.

Yet somehow, Forrest's complete lack of awareness of his influence on the world around him merely makes him more adorable. Yes, the story is fluffy and rambles on from sequence to sequence with no real direction, but Forrest's puppy dog behaviour and oddly enchanting vocal inflection more than compensate to create a sweet and funny film. Plus, the relationship between Forrest and Jenny, a subplot full of charm and poignancy, acts as the story's spine, preventing the picture from becoming totally aimless.

Alan Silvestri's music is nothing short of divine. Some may call it sappy but Kat and I didn't choose it to feature in our wedding ceremony for nothing. The entire score is touching and inspirational. Not to mention the soundtrack full of provocative hits of the era, perfectly selected to match the images on the screen, including Everybody's Talkin', a song written for another Best Picture winner, Midnight Cowboy, and heard in this film during an homage to Dustin Hoffman's famous "I'm walkin' here!" scene.

Tom Hanks earned the second of his back-to-back Best Actor Oscars for the title role. He plays the simpleton with heart, delivering a very moving final speech. Robin Wright's performance as the troubled Jenny is intelligent, never slipping into cliché. Gary Sinise offers a touchingly raw portrayal of Lieutenant Dan, and with the help of some incredible visual effects, he is utterly convincing as an amputee. And before he saw dead people, Haley Joel Osment appears briefly here as Forrest Junior.

1994 - Four Weddings and a Funeral

As we jump headlong into October, the smell of awards season is wafting in the not-too-distant air. I've been trying to catch up on some lost cinema time, taking in a few movies this week, each of which could possibly hear their titles announced come nomination day. The American, a gripping thriller full of paranoid tension; The Town, a gripping thriller full of heart-pounding excitement; and Inception, a gripping thriller full of mind-bending twists. Three very different pictures, each satisfying my need for being gripped and thrilled.

Today, I viewed a film of a rare genre for a Best Picture nominee, the 1994 romantic comedy...

Four Weddings and a Funeral

Director:

Mike Newell

Screenplay:

Richard Curtis

Starring:

Hugh Grant, Andie MacDowell, Kristin Scott Thomas, Simon Callow, James Fleet, John Hannah, Charlotte Coleman, David Bower, Corin Redgrave, Rowan Atkinson

Academy Awards:

2 nominations

0 wins

Before the world had even heard of Harry Potter, this quirky comedy was the biggest British box-office sensation. Charles (Grant) is an awkward bachelor with a tight-knit bunch of equally awkward friends. The group, all apparently single, seem to be constantly watching those around them getting married. At one such wedding, Charles very briefly meets Carrie (MacDowell), an American in town for the occasion. The two spend an intimate night together, but Carrie is back to the States the next morning. Over the course of the next several months, they keep running into each other at various nuptials, never seeming to be able to get their timing right.

Four Weddings and a Funeral is a charmingly witty piece from a rather successful writer/star pairing. Hugh Grant has appeared in several films penned by Richard Curtis and it's clear to see why. Curtis writes such endearingly bumbling dialogue, playing right into Grant's forte. Grant and the rest of the cast are given such exquisitely constructed comedy bits, some of which might even seem at home on a TV sitcom (Curtis co-wrote Blackadder, after all). Nonetheless, they work equally well here without removing the viewer from the story at large despite the punch lines occasionally sounding very ... well, punchy.

The plot itself is rather simple. In fact, the title says it all, really. The vast majority of the action takes place almost exclusively within the five ceremonies. The film's appeal is in its characters and its relationships, and in true Curtis style (he wrote and directed Love Actually, after all), there is a multitude of minor characters filling in every nook and cranny. However, it is this excess of characters that inadvertently prevents total satisfaction. Several of the major supporting characters, despite having well-written distinct personalities, have largely underwritten journeys. Understandable, I suppose, when you consider that there are no less than half a dozen principal characters, each with stories requiring resolutions. The main storyline also suffers slightly with Charles' and Carrie's relationship seeming a tad too intermittent to be truly as deep as it is portrayed. I mean, they only see each other for one day at a time every few months. But perhaps I'm just being unromantic...

Hugh Grant plays Charles to sheepish perfection with constantly furrowed brow. For a rather unapologetically promiscuous character, Andie MacDowell plays Carrie inexplicably sweetly. The entire supporting cast are all impeccable, capturing the humour and pathos brilliantly. Standouts are: Kristin Scott Thomas, strong as the rich bitch, despite her unrequited love story being one of the more glossed over subplots; John Fleet, adorable as the clumsy, happy-go-lucky buffoon; and Rowan Atkinson, in superb comic form as the inept vicar.

1994 - Pulp Fiction

This post marks the 100th film to be reviewed for Matt vs. the Academy, a milestone that took a lot longer to reach than I first expected. If nothing else, it is pleasing to know that I haven't yet thrown in the towel. So, thank you for following along as I journey through Academy history and here's to the next 100!

Yesterday, I watched a modern classic from the 1994 Best Picture shortlist...

Pulp Fiction

Director:

Quentin Tarantino

Screenplay:

Quentin Tarantino & Roger Avary

Starring:

John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Maria de Madeiros, Ving Rhames, Eric Stoltz, Rosanna Arquette, Christopher Walken, Bruce Willis, Quentin Tarantino

Academy Awards:

7 nominations

1 win, for Best Original Screenplay

Essentially three episodes cleverly interwoven, Pulp Fiction jumps around in its chronology as it follows a few days in the lives of some less than savoury characters. In the first episode, Vincent Vega (Travolta), a well-dressed henchman of gangster Marcellus Wallace (Rhames), spends an evening with Wallace's wife Mia (Thurman) at his request. Vega is supposed to entertain her while Wallace is out of town, but her narcotic habit causes a few issues when she carelessly snorts some heroin. Episode two sees boxer Butch Coolidge (Willis) on the run after winning a fight in which Wallace had paid him to take a dive. He meets his girlfriend Fabienne (de Medeiros) in a motel, but is later forced to return to his apartment at great risk to fetch a forgotten family heirloom. Vega returns in the final episode with partner Jules Winnfield (Jackson), who vows to retire from his life of crime after the two miraculously survive a barrage of bullets from an unfriendly shooter. Before he gets the chance, though, Vega accidentally shoots their informant in the face while they are driving away. They hide the car in the garage of a friend (Tarantino) while waiting for assistance from the Wolf (Keitel), a clean-up expert.

A cult classic, Pulp Fiction features Tarantino's signature conversational dialogue. The conversations are often irrelevant to the plot and some lengthy scenes are unnecessarily wordy, but it's all so downright entertaining. And it's entertaining for different reasons at different times. Sometimes, it's gripping as when Jules intimidates his prey by babbling about tasty burgers. Other times, it's endearing as Mia and Vincent flirt over dinner. But mostly, it's just plain funny. (Do I even need to mention the discussion about the names of French McDonald's burgers?) Besides, this loquaciousness is not at the expense of the action. In fact, a great deal of Butch's story is told visually and there are plenty of tension-filled moments throughout.

Being a Tarantino film, you can also expect some eclectic music. Devoid of orchestral underscoring, the Pulp Fiction soundtrack is replete with provocative tunes, each perfectly appropriate in its placement. Most of the songs were once obscure but, thanks to the success of the film, they are now pleasingly familiar. The mood of the picture is set almost immediately when the sounds of Dick Dale's Miserlou warble over the opening credits.

Pulp Fiction sports another superb cast. John Travolta's (pictured) career was given a new direction after a smooth performance as the simple and nonchalant Vincent Vega, earning him a Best Actor nomination. In the supporting categories, Samuel L. Jackson received a much-deserved nod for his steely-eyed portrayal of the no-nonsense Jules, as did Uma Thurman for her alluring turn as the boss's wife. The great Christopher Walken appears in just one scene delivering a monologue that is intensely moving before suddenly turning absurd, the perfect vehicle for Walken. D-lister Kathy Griffin shows up in a very minor role as a passerby and is curiously credited as "Herself".

Now, if you'll indulge me for just one second, I'll relate my dubious connection to the film. Susan Griffiths, one of the world's foremost Marilyn Monroe impersonators, appears as the sultry star in Pulp Fiction's diner scene. About a year prior to the film's release, she was flown to Australia to star in a McDonald's commercial in which yours truly was an extra. To my great surprise, a Youtube search produced a fuzzy version of the spot, which is missing the first ten seconds or so. Rather unfortunately, it is these first few seconds that I could be seen. Still, I think one of those blurry bodies walking behind her is me. Just squint and imagine a younger version of me with more hair.

1994 - Quiz Show

The next year of review is finally under way, which means the new poll to decide the year of review after this one is ready for your votes. Just shift your eyes over to the right.

Yesterday, I began the task of sorting out the Best Picture nominees from 1994 by watching...

Quiz Show

Director:

Robert Redford

Screenplay:

Paul Attanasio

(based on the novel "Remembering America" by Richard Goodwin)

Starring:

John Turturro, Rob Morrow, Ralph Fiennes, Paul Scofield, David Paymer, Hank Azaria, Christopher McDonald

Academy Awards:

4 nominations

0 wins

Based on the real events surrounding the game show scandal of the late 1950s, Quiz Show follows the charming and intelligent Charles Van Doren (Fiennes) as he decides to take a shot at being a game show contestant. The producers at Twenty One (Paymer & Azaria) love his all-American vibe and the fact that his father (Scofield) is a Pulitzer prize-winning poet. Not to mention he would be a far more ratings-friendly champion than the current schlub Herb Stempel (Turturro). So, in order to make sure Van Doren ousts Stempel, they offer to ask Van Doren questions to which he already knows the answers. On moral grounds, he declines, preferring to beat Stempel fair and square, but the producers ignore him and go ahead with the deceitful plan anyway.

It's show time and host Jack Barry (McDonald) asks Van Doren a familiar question. In the heat of the moment, he pretends to contemplate the question and eventually answers correctly. And so begins a moral slippery slope as he agrees to be fed the answers prior to each show. A bitter Stempel attempts to blow the whistle on the scandal but he is all but ignored. His crowing, however, is enough to gain the attention of Harvard lawyer Dick Goodwin (Morrow) who then begins a Congressional investigation into the matter. Van Doren's fraudulent success on Twenty One eats away at him, but he continues to deny any allegations of corruption, a state of affairs that is further complicated by the cordial friendship he and Goodwin establish.

Quiz Show is one of those internal dramas that seems to defy the rules of dramatic tension. All the good screenwriting books will tell you to break up your story into action scenes and dialogue scenes to keep the pace of the narrative ebbing and flowing. Sometimes it's rapid-paced, then there's a breather. But before the audience falls asleep, you wake them up again with an exciting action scene. Put simply, when your characters have been talking for a while, throw in a car chase. However, Quiz Show contains almost no physical action whatsoever. In fact, major turning points in the film occur with just about every character on screen in a seated position. Almost paradoxically, though, there is a genuine sense of swift forward motion. The film is intensely gripping due to the internal struggles of its characters.

Robert Redford's exquisite direction creates a deliciously intriguing atmosphere. The morally ambiguous producers of the game show are introduced in darkly lit rooms and most of the back-room dealings are treated similarly. Redford makes clever use of the dolly zoom (as referenced in my musings on Jaws). But, whereas Spielberg caught Brody front on to accentuate the horror of what he saw, Van Doren's big moment is internal and hence, Redford places the camera behind him. But enough with the film-making lesson...

Redford also manages to maintain a very amiable tone despite the picture's intensity. Although, much of the credit for that belongs to screenwriter Paul Attanasio, whose script embodies another paradox: the funny drama. Consider Stempel's response to his wife when she craves more attention from him: "You want to be worshipped? Go to India and moo."

Ralph Fiennes (pictured) delivers a terrific performance as the conflicted Van Doren. But here's the film's (possibly only) flaw. Even though Fiennes succeeds in making Van Doren so incredibly likable, the character is a liar and a cheat. Yes, he feels guilty about the whole thing but he still tried to cover it up. The result was that I was torn about what I should feel about this guy. I could see he was troubled and ashamed by what he had done but I still felt icky about liking him. Don't get me wrong, it's a spectacularly fascinating study of a complicated man, but there was something slightly dissatisfying about the fact that he was the lead character. Of course, one could argue that Goodwin is the conscience of the film, but despite a superb portrayal by Rob Morrow, it's hard for an audience to fully get behind what is essentially an underwritten character. Goodwin is, in some ways, a mere observer. Mind you, none of that really matters considering how engrossing the picture is as a whole.

Adding to the film's intrigue is its curiously innovative casting, so I'll now spend a little more space than usual commenting on it. I've already mentioned the talented turns from Fiennes and Morrow. Rounding out the central characters is Herb Stempel, brilliantly portrayed with innocent volatility by John Turturro. Supporting that trio with comically sincere performances are David Paymer and Hank Azaria as the reprehensible producers. Then, in a delightfully ironic twist, Redford, who is far better known as an actor, fills two roles with actors who are far better known as directors. Martin Scorsese ably plays the slimy sales-focussed sponsor of the show and Barry Levinson is casually off-beat as NBC Today host Dave Garroway. To top it all off, the film is peppered with several familiar faces in minor roles, some of them unknown at the time, including Calista Flockhart as an adoring fan. The most curious cameo of all is an uncredited Ethan Hawke, whose twenty seconds of screen time is mostly spent off camera talking to Van Doren, Sr. Which brings us to the only performance in the film to be nominated for an Oscar, that of Paul Scofield, whose portrayal of the elder Van Doren is refreshingly simple yet immensely effective.