1981 - Reds

Today, I experienced my first New York blizzard. Snow, snow and more snow. There is now a blanket of white over just about everything - trees, houses, cars, pedestrians. Yes, pedestrians. I witnessed two young men throwing snowballs from the rooftop of the building next door on to unsuspecting passersby. Really? Do you have to? Thankfully, they had moved on when I eventually left the apartment to go to work. I also discovered the one benefit of a blizzard - there are plenty of seats on the subway.

It was also the perfect day to watch a movie, as I did with the next Best Picture nominee from 1981's contest...

Reds

Director:

Warren Beatty

Screenplay:

Warren Beatty and Trevor Griffiths

Starring:

Warren Beatty, Diane Keaton, Edward Hermann, Jerzy Kosinski, Jack Nicholson, Paul Sorvino, Maureen Stapleton, Gene Hackman

Academy Awards:

12 nominations

3 wins, including Best Director and Best Supporting Actress (Stapleton)

As relevant today as it was almost thirty years ago when it was released, Reds dares to feature a communist as its protagonist. Jack Reed is a writer and political activist who shacks up with fellow radical Louise Bryant. Their relationship is rocky, however, mostly because Jack's attempts to change the world result in neglect of his lover. Nonetheless, they travel to Russia together to write about and take part in the Revolution of 1917 that saw the communists take over the government. In an attempt to bring these socialist ideals to America, Jack finds himself torn between his love of Louise and his desire to bring about political change.

In an interview for the special edition DVD, Warren Beatty indicates that, with Reds, he wanted to address the "mistaken paranoia about communism" that pervaded American society. Communism, whether you agree with its philosophy or not, is a legitimate political movement. However, through some clever marketing, the words communism and socialism somehow became synonymous with evil. Of course, like any political ideal, it has its flaws and the idealistic and passionate Jack Reed tried his darnedest to make it work, seemingly misunderstood from all sides. The right wing hated him for obvious reasons, but even his own comrades took issue with him occasionally, as he watched the party lose sight of its initial intentions.

At its heart, though, Reds is a love story. For all their decrying of the culture of marriage, Jack and Louise quite obviously can't live without each other. They may advocate sexual freedom and denounce any sense that either belongs to the other, yet when push comes to shove, they need each other like a flower needs a bee.

Scattered throughout the unfolding drama are excerpts from interviews with some contemporaries of the real Jack and Louise. On paper, a bunch of elderly people reminiscing about old times seems more appropriate for a retirement home than a serious motion picture, but these fascinating characters are anything but old farts. Their insights and anecdotes, seamlessly integrated into the story, are utterly engaging. There's something about a wrinkled face that screams, "I've lived!"

Wearing four different hats, Warren Beatty is clearly the mastermind behind Reds. Along with Orson Welles, he holds the rare distinction of receiving Oscar nominations for acting, directing, writing and producing the same film. Unlike the Citizen Kane helmer, though, Beatty has done it twice - first for Heaven Can Wait, and three years later for Reds. And all four nominations are certainly well deserved here. His script with co-writer Trevor Griffiths is nothing short of superb. Witty and, if you can believe it, economical. Despite its almost three and a half hour running time, the story - the first half in particular - unfolds in a whirlwind of short scenes that deliver exactly the necessary information - no more, no less. Its wit is evident in such exchanges as the one in which Reed is asked his occupation by a threatening foe. After hearing the response, the man quips, "You write? Uh-uh. You wrong."

Beatty's direction, too, is a brilliant achievement, lending the film a real fly-on-the-wall feel, an attribute enhanced by the improvisational quality of the performances. Beatty, Keaton, Nicholson, Hackman - could you ask for more? Maureen Stapleton rightfully earned her Best Supporting Actress award for her fine portrayal of activist Emma Goldman. And 80s sitcom fans should keep an eye out for ALF patriarch, Max Wright, as one of Jack's bohemian colleagues.

1981 - Chariots of Fire

The poll for Matt vs. the Academy's next year of review is ready, itching for your input. There it is just to the right.

An amusing anecdote: Tonight, in my capacity as an usher for an off-Broadway theatre, I was compelled to inform a chocolate-eating patron that we do not allow food or drink inside the theatre. Evidently, she was aware of this policy since she didn't dispute it. Her response, rather, was that she didn't think that chocolate was considered food. If only...

Yesterday, I had the chance to view a classic sports-themed Best Picture nominee from 1981...

Chariots of Fire

Director:

Hugh Hudson

Screenplay:

Colin Welland

Starring:

Ben Cross, Ian Charleson, Nigel Havers, Ian Holm, John Gielgud

Academy Awards:

7 nominations

4 wins, including Best Picture

The film that launched a thousand running-in-slow-motion parodies, Chariots of Fire follows the career progression of a bunch of young British runners, culminating in their performance at the 1924 Paris Olympic Games. The story mainly focuses on two rival British athletes - Eric Liddell (Charleson), a devout Christian, and Harold Abrahams (Cross), the son of a Jewish immigrant. Liddell, an ex-Rugby star and naturally talented runner, struggles to balance his love of athletics with his commitment to his family's mission, while Abrahams, the star of Cambridge university's track team, deals with his intense fear of losing.

If Chariots of Fire were an ice cream flavour, I imagine it would most likely be vanilla. Not French Vanilla, either. Just vanilla. Not the most exciting or innovative flavour, but a safe, solid choice to satisfy the large majority of taste buds. There is no particular aspect of this film that is specifically poorly realised and yet I am nonetheless disinclined to pronounce any great love of it. Nor do I wish to criticise it, either, unless, of course, labeling it plain is a criticism. Which I suppose it is. Which is unfortunate because I don't mean it to be.

The script, based loosely on real events, is well-crafted. It's almost inspiring. Everything is in place for an incredibly inspiring story - passion, ambition, tests of character. Perhaps its greatest flaw, however, is that there lacks a true antagonist. Liddell and Abrahams are initially pitted as rivals, yet when they finally reach the Olympics, not only do they compete for the same team, but they don't even run the same race.

At just over two hours long, Chariots of Fire is by no means a lengthy film but neither does it seem short, possibly due to its healthy use of slow motion. The oft-used effect is spellbinding, made all the more so by Vangelis' evocative and memorable score. Plus, there is the added bonus of witnessing in fine detail the humorous action of Liddell's running style - head back, mouth open, arms flailing about (pictured).

The cast are strong, led by Cross and Charleson. I particularly enjoyed Nigel Havers' portrayal of the cheeky Lord Andrew Lindsay. Also delivering an impressive performance as Abrahams' idiosyncratic trainer is Ian Holm, better known to modern audiences as Bilbo Baggins. And from that other epic fantasy franchise from the '00s, Richard Griffiths, before he was Harry Potter's uncle, appears here as Harry Abrahams' head porter.

1981 - Atlantic City

The Oscar nominations have finally been announced without any major surprises. I suppose The Blind Side's nod for Best Picture was not expected by most (except for Roger Ebert), but other than that, only a few minor upsets. My predictions stood up fairly well, especially the ones I discussed in detail here. 9 out of 10 Pictures, all the lead Actors and Actresses, and 4 out of 5 for the Supporting, Director, Screenplay and Animated Film categories. A total of 44 out of 50 correct. I should have stopped there and held off from linking to my complete predictions because my performance in the minor categories was a little shameful. Although, I pegged all three Visual Effects nominees.

A few trivia tid-bits about this year's nominees: Lee Daniels becomes only the second black director to be nominated, with Kathryn Bigelow the fourth woman acknowledged in the same category. Up is just the second animated film to be cited for Best Picture after 1990's Beauty and the Beast.

Meanwhile, today I began my review of the Best Picture contest from 1981 with a viewing of...

Atlantic City

Director:

Louis Malle

Screenplay:

John Guare

Starring:

Burt Lancaster, Susan Sarandon, Kate Reid, Robert Joy, Hollis McLaren

Academy Awards:

5 nominations

0 wins

Trying to make a life for herself in Atlantic City's up and coming gambling scene, Sally Matthews (Sarandon) takes croupier classes while working in the seafood section of the casino's eatery. When her deadbeat husband Dave (Joy) shows up to sell drugs he stole from some mobsters, he manages to persuade Sally's next-door neighbour, Lou (Lancaster), to make some deliveries. Past his prime, Lou imagines he was once a gangster to be reckoned with, although he now seems to be little more than an errand boy. Sally and Lou strike up an unlikely relationship, both dreaming of success.

Atlantic City opens with the rather strange image of Susan Sarandon rubbing lemon juice over her breasts while Burt Lancaster spies on her from across the way, and that's just the beginning of a bucketload of strange. I recently pointed out the incomprehensibility of Zorba the Greek, which I now see has competition from Atlantic City in the incoherency stakes. It reaches its surreal heights in a scene in which singer Robert Goulet croons a song to an oblivious Sally while in a phone booth in the middle of a hospital.

The story loses some of its vagueness halfway through the picture as the narrative comes together. Even the lemon juice incident receives an explanation - Sally was just trying to wash off the fishy smell from work. A totally normal thing to do ... in front of the kitchen window.

The characters in this film are dysfunctional, to say the least. But even so, I just didn't connect with them on any real emotional level. They all behave in such a stiflingly staged manner, with little semblance to actual human behaviour. I understand that this is a different world but I ought to still relate to the characters in some vaguely meaningful way, and these characters just felt so foreign to me. Lou almost seems mentally disturbed by the end of the film, proudly confessing his criminal activity to all who will listen.

It doesn't help that the script and direction are somewhat reminiscent of soap opera. For instance, in one scene, while Lou is packing a small suitcase, he picks up a gun and decides not to pack it, throwing it on the bed. He heads for the door, stops dramatically, walks back to the bed, flings the suitcase down, picks up the gun and walks out the door with determination. Then, there are the contrivances, including one sequence which sees Sally inexplicably shove a tape player into her handbag, allowing her to conveniently pull it out when she is later offered a cassette on the boardwalk.

Most of the performances, too, are a little plastic. However, Burt Lancaster manages to retain his casual charm considering the words he is asked to deliver. In fact, the entire cast could easily be forgiven for a script that contains such enigmatic lines as the one Dave utters when Lou explains that Atlantic City used to be called the lungs of Philadelphia: "If we stay here long enough, we could be the nose of Philadelphia." What the...?

Best Picture of 1964

Tomorrow morning, bright and early, the Oscar nominations will be announced. Over the last few posts, I've offered my thoughts on who will be recognised in the major categories. I have also toiled away behind the scenes to predict all the other categories as well (except for the Short Film awards), so for those who are interested in that sort of thing, I present to you my complete 2009 Oscar nominations prediction list. The most sure thing of all the categories: Best Visual Effects will be won by Avatar.

As a new year of titles vie for the top award, I am delivering a verdict on the 1964 race. I have previously commented on the absurdity of comparing family films to period dramas, so it boils down to personal preference, which made this decision relatively easy.

The nominees for Best Picture of 1964 are:

• Becket
• Dr. Strangelove
• Mary Poppins
• My Fair Lady
• Zorba the Greek

Two family friendly musicals, a biting political satire, an intense period drama and one film that defies genre categorisation. If I were my wife, there is no doubt that I would be choosing between Mary Poppins and My Fair Lady, both superb examples of the musical genre that she adores. As it happens, though, I am unsurprisingly not my wife, and therefore, my appreciation of their worth notwithstanding, my affections lie in another direction.

Zorba the Greek, though gripping in sections, suffers from a lack of cohesion, so it is easy for me to strike that from the list, which leaves us with two films that I enjoyed immensely: the provocative Becket and the incisive Dr. Strangelove. Again, two films of incredible merit, yet clearly with different approaches. The intimately emotional exploration in Becket is extremely engaging (no alliteration intended), but I find it difficult to go past a well-made satire. It is that mixture of humour and depth that gets me every time, especially when its treated with such subtle precision as in Dr. Strangelove. So, the Academy may have lauded My Fair Lady but I will be giving my honours to Stanley Kubrick's cold-war black comedy Dr. Strangelove.

Best Picture of 1964
Academy's choice: My Fair Lady	Matt's choice: Dr. Strangelove

Your choice:

Vote for your own favourite with the poll above. For the next year of focus in Matt vs. the Academy, you have made your voice clear, by choosing 1981, another eclectic year of nominees. (But, really, is there a year that isn't eclectic?) I will honour that collective decision and so we shall tackle the following films over the next couple of weeks.

And the nominees for Best Picture of 1981 are:

• Atlantic City
• Chariots of Fire
• On Golden Pond
• Raiders of the Lost Ark
• Reds

And I will again let you decide on the next year of review, so look out for that poll coming soon.

1964 - My Fair Lady

Okay, let's get down to the nitty-gritty. My predictions for the Best Actor and Best Actress categories, followed by the big one, Best Picture.

Up In The Air's George Clooney had the edge up until recently, but now it seems that the Best Actor Oscar will probably end up in the hands of Jeff Bridges for Crazy Heart. I expect Colin Firth to also receive a nomination for his role in A Single Man, and Morgan Freeman should pick up a nod for portraying Nelson Mandela in Invictus. Barring any upsets, the fifth spot will most likely go to The Hurt Locker's Jeremy Renner.

Best Actress was almost wide open until a couple of weeks ago when Sandra Bullock seemed to take the edge for The Blind Side. The woman with the most acting nominations of all time, Meryl Streep, is looking fairly certain to add to her collection for Julie & Julia. Two newcomers should also pick up nominations, Gabourey Sidibe for Precious and Carey Mulligan for An Education, leaving one oldcomer to take the final slot, Helen Mirren for The Last Station.

Despite a fair amount of discontent with the Academy's decision to raise the number of Best Picture nominees to ten, I actually like the idea. For one thing, it certainly makes this predicting game a lot more interesting. If there were only five nominees, this year would be quite simple. Avatar, The Hurt Locker and Up In The Air (one of which will win), joined by Precious and Inglourious Basterds. Up will now have the chance to become the second animated film to be nominated for the top prize. The last four positions are a little vague, but let's go with Invictus, An Education, A Serious Man and District 9. As with most of the other categories, I have several alternatives, but I'll stand by these predictions for now.

In a rather exciting coincidence, I was notified this week of my success at being cast as Col. Pickering in My Fair Lady, one of two productions in which I will be performing at the Allenberry Playhouse for their summer season. How I'm going to keep up this project while I'm in Pennsylvania for two and a half months, I'm not sure. But that's another story. Last night, I completed the list of Best Picture nominees from 1964 by watching My Fair Lady with a slightly different perspective...

My Fair Lady

Director:

George Cukor

Screenplay:

Alan Jay Lerner

(based on the stage musical by Lerner & Loewe, and the play "Pygmalion" by George Bernard Shaw)

Starring:

Audrey Hepburn, Rex Harrison, Stanley Holloway, Wilfrid Hyde-White

Academy Awards:

12 nominations

8 wins, including Best Picture, Best Director and Best Actor (Harrison)

A classic film adapted from a classic stage musical adapted from a classic play, My Fair Lady is indeed a classic tale. Professor Henry Higgins (Harrison) is a pompous and elitist phonetics expert, able to pinpoint a speaker's geographical background based on their dialect. Disgusted by the way in which Eliza Doolittle (Hepburn), a Cockney flower girl, butchers the English language, Higgins makes a bet with fellow linguist Colonel Pickering (Hyde-White) that he can transform her into a refined lady with an eloquent upper-class accent within six months.

My Fair Lady is jam packed with oodles of familiar songs to get your toes tapping - Wouldn't It Be Loverly?, The Rain in Spain, Get Me To The Church on Time - to name a few. And although these numbers are a lot less gratuitous than those from Mary Poppins, the story is still a little slow to progress, the whole film coming in at a tad under three hours. Most of the drag is near the beginning, giving way to a more entertaining latter half.

As with any musical, the contrived convention of characters bursting into song for no apparent reason is taken for granted, but there a few instances in My Fair Lady that seem to take that practice one step further. The opening of the Ascot scene is particularly surreal. And in more than one scene, the extras freeze mid-motion in unison, a pretension that probably looks fabulous on stage, but seemed somehow odd here.

Nonetheless, both cast and script combine to create some wonderfully witty moments. Rex Harrison, despite his renowned speaking style of singing, is charmingly cheeky as Higgins. Such a perfectly dry sense of comic timing. And the lyrics he gets to deliver are sublimely clever. Who thinks to rhyme 'Budapest' with 'ruder pest'? The exquisite Audrey Hepburn is quite simply a delight as Eliza, even if her singing voice is dubbed. She's so magnificently annoying before her transformation, eliciting from me an involuntary cringe each time she screeched, "I'm a good girl, I am!" And even though I know less than nothing about fashion, her gown at the Ascot (pictured) is absolutely stunning. And that hat! Later, in the ball scene, her hair seems to defy gravity. The hair and make-up and costume departments really went to town on Ms. Hepburn.