1998 - Saving Private Ryan

As a waiter for a catering company, I am not usually called upon to do anything too tricky. I don't have to balance several plates along my forearm and I don't have to memorise a table full of orders. On the whole, the service is relatively simple. Occasionally, however, a client will request French service for their event, which requires a little more effort. Last night, I worked on one such event.

French service is inefficient, inconvenient and wholly unnecessary. Instead of sensibly serving plates with the food already placed on them by a professional chef, French service begins by serving empty plates to the guests. Then, the waiter carries a bulky tray of food and, while awkwardly squeezing between the seated guests, serves them individually at the table. In order to achieve this, it is necessary for the waiter to twist the fingers of one hand around two oversized serving utensils in a sort of demented chopstick fashion and scoop the food directly onto the guest's plate. It's awkward and uncomfortable for both server and guest. Just ask the lady into whose lap I placed a lamb chop.

The final nominee to review from 1998's Best Picture list is...

Saving Private Ryan
Director:
Steven Spielberg
Screenplay:
Robert Rodat
Starring:
Tom Hanks, Tom Sizemore, Edward Burns, Barry Pepper, Adam Goldberg, Vin Diesel, Giovanni Ribisi, Jeremy Davies, Matt Damon, Ted Danson, Paul Giamatti
Academy Awards:
11 nominations
5 wins, including Best Director

When three brothers in the same family are killed in action during World War II, the US Army decides to give a reprieve to the fourth brother in the family, Private James Ryan (Damon). But first they have to find him. Heading the mission to locate Ryan is Captain Miller (Hanks), fresh from helping to secure Omaha Beach on D-Day. To achieve his mission, he brings along a diverse mix of soldiers, including his second in command (Sizemore), three riflemen (Burns, Goldberg, Diesel), a sniper (Pepper), a medic (Ribisi) and a translator (Davies). As they close in on Ryan's location, they deal with other deadly skirmishes, causing them to question the rationale in risking all eight of their lives in order to save one.

After a brief prologue, Saving Private Ryan begins with some of the most riveting cinema available to experience. The D-Day scene plants the audience right in the thick of the action, and subjects it to a barrage of constant intensity that does not let up for at least twenty minutes. A genuine tour-de-force of filmmaking, all the elements are brought together to create a phenomenally gripping sequence. Historically replicated art direction, unrelenting cinematography, emphatic sound design, energetic editing and harrowing special effects. The result is simply mind-blowing.

Undeniably, the picture wears its emotions on its sleeve. Right from the start, the prologue sets a particular tone, clearly intended to elicit action from our tear ducts. Perhaps not unfairly, the film has been criticised for its sentimentality - and it is, indeed, dripping with Hollywood sentiment - but those familiar with this blog will know that sentimentality goes down well with me. Besides, it is difficult to deny Spielberg's mastery, specifically his understanding of how to present a scene. And when compared to that other World War II film in competition for Best Picture in the same year - and such comparisons are rife - there is clearly a stark difference. Whereas The Thin Red Line was a rambling tale punctuated with poetry, Saving Private Ryan has a very clear story that the audience can get behind.

Tom Hanks offers a fine performance in a role which saw him nominated for Best Actor, the film's only acting citation. The motley band of soldiers are a great mix of young talented actors, a lot of whom were relative unknowns at the time - Burns, Pepper, Goldberg, Diesel, Ribisi, Davies, Damon. The underrated Tom Sizemore is terrific in a role that could be described as the sidekick. And Paul Giamatti is a treat, showing up in a small role.

1998 - Shakespeare In Love

All too often, if given the choice, I would rather stay home and relax than go out and do something. Lazy? Probably. Hence, I'm always surprised at how much I actually enjoy going out and doing something. And living in New York City offers me many somethings to go out and do, and the more unique those somethings, the more I seem to enjoy them. On Friday afternoon, Kat and I took a trip to Lincoln Center to see the IBM Think Exhibit, an interactive multimedia presentation celebrating the way in which modern technology enriches our lives. Utterly fascinating. Later, we travelled downtown to catch a friend perform the title role in one of Shakespeare's most violent tragedies, Titus Andronicus. The following evening was spent attending another friend's performance of the wonderful O Sole Trio, a musical group offering a cabaret of opera, jazz and musical theatre with an Italian twist. Finally, on Sunday morning, we met some friends for brunch at the charming Silent Era-themed Astor Room, adjacent to the historic Kaufman-Astoria Studios. In fact, the restaurant stands on the site of the studio's former commissary. One can only imagine which stars passed through those walls.

Next to review of the 1998 nominees for Best Picture is the eventual winner...

Shakespeare In Love
Director:
John Madden
Screenplay:
Marc Norman and Tom Stoppard
Starring:
Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush, Colin Firth, Ben Affleck, Judi Dench
Academy Awards:
13 nominations
7 wins, including Best Picture, Best Actress (Paltrow) and Best Supporting Actress (Dench)

As the title would suggest, Shakespeare In Love centres on the romantic exploits of the world's most famous playwright, William Shakespeare (Fiennes), and you know it's a comedy because our titular hero is referred to throughout as Will. As the story begins, he is suffering from a bad case of writer's block, struggling to develop his latest comedy, Romeo and Ethel the Pirate's Daughter. Philip Henslowe (Rush), the theatre owner who has commissioned Will's latest play, has some problems of his own, mostly financial, so he is in dire need of a big hit.

Meanwhile, the beautiful Viola de Lesseps (Paltrow) is simply itching to be an actress, thwarted by the seemingly insurmountable fact that only men are allowed on stage. Disguising herself as Thomas Kent, she auditions for and wins the role of Romeo, and when Will discovers this deceit, the two begin a forbidden love affair. Will is married, albeit estranged from his absent wife, and Viola has been promised to the stuffy Lord Wessex (Firth). Nonetheless, with his new muse, Will's creative spark returns to him and, with a much-needed title change, Romeo and Juliet begins to take shape.

Shakespeare In Love is undeniably fun. A light-hearted and romantic romp through the Elizabethan stage, it is filled with theatre humour and Shakespearean in-jokes, which, perhaps because I am an actor myself, I especially appreciated. (A particularly amusing moment occurs during a rehearsal, when the actor playing Tybalt swaggers in speaking his line with exaggerated vigour. Ned Alleyn as Mercutio breaks character, scoffs at his scene partner and says, "Are you going to do it like that?") While there are obviously many liberties taken with the story of Shakespeare's life, one can still glean a few nuggets of truth among the dramatic license. In fact, the entire tale is in effect a "what-if" story.

As expected with such period pieces, the design is sumptuous. It is interesting, however, to contrast this design to that of the other Elizabethan film in contention for Best Picture, Elizabeth, whose design is equally extravagant, yet with a dark focus that suits that film's mood. In Shakespeare In Love, the sets and costumes are bright and playful, adding an appropriate cheerfulness to the film.

Joseph Fiennes (pictured) and Gwyneth Paltrow are pleasant leads, lending the story an affable charm. Paltrow won the Best Actress Oscar which, in many people's opinion, including mine, should probably have gone to Cate Blanchett for her magnificent turn in Elizabeth. Still, Paltrow's performance here is hard to fault. She is warm and natural and altogether appropriate for the genre. With one of the shortest performances to be awarded an Oscar, Judi Dench was named Best Supporting Actress for her gleefully icy portrayal of Queen Elizabeth I. The only other acting nominee was Geoffrey Rush, delivering my favourite performance of the film as the sublimely goofy Philip Henslowe. The rest of the cast is filled with delightfully whimsical performers delivering delightfully whimsical performances - Colin Firth, Simon Callow, Tom Wilkinson, Rupert Everett, Imelda Staunton, Martin Clunes, Mark Williams. Even Ben Affleck successfully joins in the fun.

1998 - Life Is Beautiful

Another name-dropping story: I once again had the simultaneously exciting and humbling experience of rubbing shoulders with celebrities while serving them dinner. At a charity event last night, I presented plates to both Matthew Broderick and Sarah Jessica Parker, who very politely offered a simple, "Thank you." See, kids? Fame doesn't mean you have to dispense with manners.

This past weekend, Kat and I sat down to watch another Best Picture contender from 1998...

Life Is Beautiful
Director:
Roberto Benigni
Screenplay:
Roberto Benigni
Starring:
Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini, Giustino Durano, Sergio Bustric, Madre di Dora, Horst Buchholz
Academy Awards:
7 nominations
3 wins, including Best Actor (Benigni) and Best Foreign Language Film

Fun-loving Italian Guido Orefice (Benigni) and his good buddy Ferruccio (Bustric) arrive in Arezzo to try their luck in a big city ... well, biggish city. Almost immediately, Guido has a chance meeting with the beautiful schoolteacher Dora (Braschi), bumping into her (literally) a few more times before falling head over heels (literally) for her. Unperturbed by her engagement to a jerk, he rides in on a painted horse and sweeps her off her feet (literally).

Years later, the two are married with an adorable young son named Joshua (Cantarini). But their happy life is soon turned upside down by the horrific realities of World War II. Because they are Jewish, Guido, Joshua and Guido's uncle Eliseo (Durano) are taken away to a concentration camp. Dora, although not Jewish, demands to be sent with them so that she can be with her family. While at the camp, Guido insists to Joshua that the entire experience is one large game with a tank as the first prize. Through imaginative, and often brave, acts of quick-thinking, Guido attempts to shield his son from the tragic truth of their situation.

In a way, Life is Beautiful is two films in one - a slapstick romantic comedy with a drama as its companion piece. Both are equally captivating and they are perfectly matched, seamlessly switching from one to the other. The first half is unabashedly silly and romantically sweet. Roberto Benigni's old-fashioned style of slapstick is starkly Chaplinesque, as if the Holocaust-themed comedy needed another reason to be reminiscent of The Great Dictator.

At the midway point, the film takes a surprisingly smooth turn to the serious. Cleverly, though, the comedy is not entirely pushed aside. Quite the contrary. The improvisational nature of Benigni's character, that was so delightfully set up during the opening scenes, pays off dividends in the film's latter half. In fact, the entire premise succeeds precisely because of Guido's personality. He is essentially the glue that sticks the two potentially incongruous genres together.

Any film in a language that is foreign to me - which, embarrassingly, is every language other than English - has the unavoidable setback of requiring me to read the dialogue. In this instance, it is particularly unfortunate due to the loquaciousness of the main character. I'd much rather be looking at Benigni's face than at the bottom of the screen. It is, then, a testament to the power of the film that it is still so remarkably effective on an emotional level.

Benigni won the Academy's Best Actor prize for his buffoonish performance (delivering an equally buffoonish speech when he accepted the film's Foreign Language Film win). But his buffoonery is just so ridiculously charming, and he is extremely adept at recognising when to turn it off. His face when he realises Dr. Lessing's nervous discomfort is only due to a particularly hard-to-solve riddle is nothing short of heartbreaking. Benigni's real-life wife Braschi serves well as his foil in the comedic moments of the first half, even if she is mostly relegated to longing looks in the second. And what a find is Giorgio Cantarini, the adorable young boy who plays Joshua. Praise clearly needs to be given to Benigni yet again for directing such a young child to such an amicable performance.

1998 - Elizabeth

Since I last wrote, two rather major (and hopefully, fruitful) career accomplishments have occurred. I joined Actor's Equity, the prestigious performer's union with jurisdiction over theatre. Plus, I have finally signed with my first American talent agent. I'm pretty sure this now means I'll be on Broadway next month. That's how it works, right?

The next on 1998's list of Best Picture nominees is...

Elizabeth
Director:
Shekhar Kapur
Screenplay:
Michael Hirst
Starring:
Cate Blanchett, Geoffrey Rush, Christopher Eccleston, Joseph Fiennes, Richard Attenborough, Kathy Burke, John Gielgud, Fanny Ardant, Vincent Cassel
Academy Awards:
7 nominations
1 win, for Best Makeup

Queen Mary I (Burke) is reigning over a religiously divided England in the 16th century. She's Catholic and she's dying. Her advisers urge her to order the execution of her half-sister Elizabeth (Blanchett), the next in line to the throne, because of her Protestant sympathies. Fortunately, Mary saves her head and Princess Elizabeth becomes Queen Elizabeth I, much to the annoyance of the Duke of Norfolk (Eccleston), who remains staunchly opposed to her. Once on the throne, Elizabeth takes the ruthless Francis Walsingham (Rush) as her main adviser and the only person she truly trusts. But her troubles are far from over. She contends with assassination attempts and disrespectful counsellors. She carries on a secret love affair with Lord Robert Dudley (Fiennes) while rejecting the French Duc d'Anjou (Cassel). All the while, she is determined to unite England.

Elizabeth is a private look at a very public figure. While the production is a grand one, it maintains an intimacy as it explores the life of a powerful woman in a man's world. But it is, by no means, one of those quiet, upper-class, tea-and-scones types of period piece. In fact, all the elements of an intense drama are present - passion and lust, power struggles and corruption, violence and murder. And what use is a story about British royalty without a good beheading or two ... or three.

Undeniably, the film is very artistic. Not only are the sets and costumes extravagant and the cinematography exquisite, as you would expect for a film set in Elizabethan England, but also director Shekhar Kapur has composed each shot like a painting - interesting angles, candles in the foreground, half-hidden faces. It is genuinely a feast for the eyes.

Speaking of eyes, many of the cast engage in a great deal of steely-eyed acting, particularly Eccleston and James Frain. French footballer turned actor Eric Cantona seems somehow out of place. And there are an inordinate number of scenes in which Rush creepily sneaks into shot from behind a pillar and stares at something. However, in the role that introduced her to international audiences, Australian Cate Blanchett (pictured) is divine, carrying the film superbly and earning a well-deserved Best Actress nomination.

1998 - The Thin Red Line

Perhaps I should have reconsidered attending a screening of Contagion while suffering from a cold. My coughs and sneezes may have offered those in my vicinity a whole new level of interactive experience.

Though I enjoyed the topically fascinating film, I was not entirely taken by the script. However, the fantastic cast and impressive direction did well to suppress those niggling doubts.

But what I really want to discuss is Jude Law's attempt at an Australian accent. It's disastrous. Perhaps non-Australians won't appreciate the full extent of its disastrousness, but trust me, disastrous it is. What's interesting, though, is that there doesn't seem to be any reference whatsoever to his character's nationality, which begs the question: why bother? I'm hesitant to suggest that a naturally Australian-accented actor should have been cast in the role. After all, my own opportunity for work in this country would be severely limited if actors were never allowed to play characters with accents that differed from their own. However, if the otherwise talented Mr. Law was incapable of perfecting an Australian cadence, then surely it would have been more prudent to simply make his character English.

In Law's defense, the Aussie drawl does seem to be one of those accents that is simply too difficult for a foreign actor to master. Robert Downey, Jr. came close, and Meryl Streep was moderately successful, but even those two accomplished performers didn't quite nail it. Unfortunately, though, Jude Law's effort has to rank as one of the worst.

Beginning our tour of the Best Picture nominees from 1998, we take a look at...

The Thin Red Line
Director:
Terrence Malick
Screenplay:
Terrence Malick
(based on the novel by James Jones)
Starring:
Sean Penn, Adrien Brody, Jim Caviezel, Ben Chaplin, George Clooney, John Cusack, Woody Harrelson, Elias Koteas, Nick Nolte, John C. Reilly, John Travolta
Academy Awards:
7 nominations
0 wins

As Edwin Starr asked and then immediately answered: War. What is it good for? Absolutely nothing. That seems to be the message in Terrence Malick's meandering The Thin Red Line, a World War II story whose primary focus is the Battle of Guadalcanal. Brigadier General Quintard (Travolta) orders C Company to seize a hill on which the Japanese have set up a bunker. Lt. Colonel Tall (Nolte) is the bad-tempered commanding officer determined to succeed. Captain Staros (Koteas) is the disobedient captain looking out for his men. Private Witt (Caviezel) is the unenthusiastic soldier recently put back into service after going AWOL. Private Bell (Chaplin) is the depressed soldier, only surviving by daydreaming about his wife back home. And that's not even half of the characters we meet and follow. They each have their own back stories and perspectives, but one thing is common to them all - the recognition and disdain of the unpredictability of war.

The artistry within The Thin Red Line is difficult to deny. Assisted by some breathtaking locations - many of which are to be found in Australia, I might add - the cinematography is exquisite. Nature plays a big role in the film and it is captured beautifully. Juxtaposing that beauty are the plentiful components of a bloody war. A violent explosion in the middle of a reedy hill is a gruesomely fascinating image. The stunt team are also to be congratulated for creating incredibly convincing effects. There are moments when it appears the stunt performer is literally in the middle of the explosion. Along with these aesthetically pleasing aspects of the film, there is a cerebral element that gives the picture a sense of poetry. In fact, the voice over narration, which is shared by several characters, is undeniably poetic, complementing the film's prettiest images.

However, if you're anything like me, your response to all this beauty and poetry may be limited to mild appreciation. Perhaps it is the unfair bias many of us have towards the mainstream, but sincere voices expounding on their emotions can easily come across as pretentious. (And yes, I'm aware of the irony of decrying pretentiousness with such pretentious language - just deal with it.) Nonetheless, The Thin Red Line still contains many traditionally narrative sequences amid its mostly rambling plot. In fact, the film is at its most captivating during the section devoted to the actual mission. The butting of heads between Tall and Staros is particularly gripping.

While featuring numerous characters mainly contributes to the film's tangentiality, it does offer the opportunity for a plethora of cameos. In fact, there were many more famous faces that were left out of the final cut. Suffice it to say, the picture features several powerful performances, and due to the nature of the film, many of those performances are far too brief, particularly those of Adrien Brody and John C. Reilly, both of whom I wanted to see more. Also worth individual mention is Jim Caviezel for his pensively touching portrayal.