L' Amour!

"Love is a fan club with only two fans." — Gore Vidal 

In  honour of this day set aside for love, a list and a celebration of some of the greatest and memorable depictions of love in film.

According to me anyway...

I have to start with one of my first memories of seeing love on film. Aladidn is also the first movie I remember seeing in a theatre. One of the cutest scenes  is Aladdin talking about Jasmine to Genie.

Who doesn't want someone gushing and getting all flustered and excited when their beauty is being described. 

Here we go! To get things started...Young/First love. 

Romeo and Juliet

Not my favourite Shakespeare play, but I obviously cannot write about love and film without the most famous example of first love/young love and its all consuming nature. How unforgettable it is and becomes part of us. Even if doesn't last.

Romeo & Juliet (1996)

I was OBSESSED with this movie when came out...seriously. I had the soundtrack on repeat and majority of the lines memorized. I quickly bought a copy of the play (I still have it) and pictured myself as Juliet...yeah I’ll admit to it...and most other girls did too.

Director Baz Luhrmann originally wanted Natalie Portman as Juliet, but she and her parents did not feel comfortable with her at 15 doing a love scene with an older actor. Although Juliet is 14 in the play.

This was also my first experience of a celebrity crush. The first shot of a then 22 year old Leonardo DiCaprio as Romeo gave me goosebumps. It still makes my pre-teen heart all a flutter. AND THEN HE SPEAKS SHAKESPEARE!! 

I also would have given anything to be on the other side of that fish tank!

A shout out to the also awesome 1968 Franco Zeffirelli film. Olivia Hussey is a gorgeous Juliet.           

                                      

And later this year (October in the UK, not sure about N.A.) we will be getting a new adaptation of the classic story, with Douglass Booth and Hailey Steinfeld in the titled roles, along with an impressive supporting cast (such as Paul Giamatti as Friar Lawrence.)   

Moonrise Kingdome (2012)

“What kind of bird are YOU?”

How could you watch this film and NOT route for Sam and Suzy! Two pre-teens that attempt to find solace and acceptance in their lives through each other as they feel the world close in around them. They connect right away and  understand each other as no one else can. Although they are children, the two seem to have a maturity that is lacking in the adults in their lives. The sweetness along with the awkwardness of first love with first time actors Jared Gilman and Kara Hayward is so richly depicted and fits perfectly with director Wes Anderson’s style.

And the symbolism of Suzy “getting her ears pierced” by Sam is just priceless.

In the end Suzy sums up the film and puts it simply as only a child can: “We just want to be together. What’s so wrong what that?” 

Let the Right One In (2008)

Director Tomas Alfredson’s adaptation of Let the Right One In came out the same year as Twilight and it got lost in the hoopla, also based on a book but it stands apart and delves deeper than your average vampire/ horror film.

Set in the bleak winter nights of Stockholm, Sweden adds an appropriate atmosphere and tone for a horror film, but also helps the viewer to feel as cold and isolated as the characters.

The heart of the film is the relationship between Oskar, who is bullied at school, and his new neighbour Eli, who happens to be a vampire and eternally twelve years old. They give each other companionship, comfort and safety, but more importantly, a sense of normalcy and love.  We even get a sense of the parent’s perspective (Eli’s ‘father’) along with the burden and sacrifice a parent is willing to make for their child.

Through this relationship the story explores the dilemma of being a child forever, the innocence and guilt despite possessing the fierceness and power of a vampire. The dark thoughts that come with being bullied and feeling helpless and alone. 

It is a coming of age film without a real resolution or a tremendous sense of hope at the end.  The audience is left unsure of Oskar and Eli’s future and what it holds for them. After all is said and done, they are left with only each other.

Sidenote: Check out the 2010 Hollywood remake Let Me In. Good in its own way and keeps with the spirit of the original, if a slightly unnecessary remake. 

The Princess Bride (1987)

Yes! This is completely cheesy and ridiculous, but don’t tell me that the heart and point of the film isn't a love story; a story about Buttercup and her “farm-boy” (aka Wesley.)

Despite being separated and the trials they both go through, they each never give up the belief that they will be reunited. In the end it is a fairly tale and they live happily ever after.

“My Wesley will come for me”

Benny & Joon (1993)

“And I would walk 500 hundred miles, and I would walk 500 hundred more. Just to be the man, who walked a thousand miles to fall down at your door.”

Okay, that is not an actual line from the film, but the soundtrack...still.

Everyone is deserving of love, and before Silver Linings Playbook made mental illness fun and quirky there was Sam, a shy, awkward and simple guy, with a gift for re-enacting Buster Keaton’s signature physical comedy. Joon is suffering from a mental/emotional illness and has a artistic and creative side. They meet and find a way of communicating, understanding and taking care of one another in a way that her over protective brother Benny has trouble understanding and accepting. The film is also about the love between a brother and a sister who must let go of their past in order to move on to a healthy future.

*sigh* Johnny Deep in his prime before Jack Sparrow and Disney got to him.

Jane Eyre (2010)

I’m one of the few that prefers Jane Eyre over Pride and Prejudice (not that I don’t like Pride and Prejudice.) I like the darker tone and angst (hence my bias to the 2010 adaptation) that is part of the story. Although this is more a story about Jane Eyre and her life, the romance is what tends to be remembered the most.

I like my male characters brooding, wounded and mysterious with an egotistical side as well, so I’ll take Mr. Rochester over Mr. Darcy any day.

And yes, I'm fully aware he lies. 

I love the chemistry and intensity between Mia Wasikowska and Michael Fassbender as seen in this clip, after Jane saves Rochester from a fire in his room. 

 Casablanca (1942)

The story of Rick and Ilsa and how they can’t be together is a classic. The memory of their brief time in Paris before the war keeps them going yet torments them at the same time, in particular Rick. He manages to bury his feelings for Ilsa (with drink) until one day “of all the gin joints” she walks in with her husband Victor, a key figure in the war and wanted by the Nazi’s.  Rick ironically is also their only hope to escape.

Personal happiness collides with the greater good. As the famous saying goes, “if you love someone, set them free.”

I also love the way Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman.) look at one another throughout the film. 

Legends of the Fall (1994)

I’m not going to lie that one of the reasons I love the name Tristan (played buy a young Brad Pitt)  is because of this movie. 

It is a sweeping epic of a film that spans years and focuses on the lives of three brothers, Alfred, Tristan, and Samuel Ludlow. They are all different yet fall for Susannah who is originally engaged to Samuel. War, death, prohibition, politics and family ties are all explored in this melodrama.  The romance between the troubled Tristan and Susannah is a huge focus and the push and pull between them and the repercussions. It may be a little over the top with the drama of the Ludlow family, but you can’t help but get all wrapped up in it.  

                                           

Love Story (1970)

It says it right there in the title. This is more for my mother, who has told me numerous times this is one of her favourite movies and still hums the famous theme song to this day. I’m sure many women of her generation feel the same as well. She even wore black turtle necks and long dark hair-a la Ali MacGraw.

 They story about Jenny Cavilleri and Oliver Barrett IV is your classic story of class and ethnic backgrounds colliding, and follows their life together in what is considered one of the great tear tearjerkers.

Bring kleenex and remember that “love means never having to say you’re sorry.”

City of Lights (1931)

If you have never watched a Charlie Chaplin film (shame on you!) this is a good one to start with. Not as comedic as Modern Times or The Gold Rush for example, but you get a sense of Chaplin’s style and his famous Tramp character.

It is a sweet story of how the Tramp is mistaken by a blind girl for a millionaire (the Tramp’s friend.) A romance starts between the two and when her rent is due, and an opportunity for an operation to cure her blindness comes up, he sets out to find the money and a series of unfortunate events unfold. Does he come up with the money and how will see react if she finds out he’s not a millionaire?

Only one way to find out is to watch. It is a very sweet story.

Brokeback Mountain (2005)

I don’t care that this involves two gay men, in the end it is a heartbreaking love story done with an honest and brave attempt to be sincere by Jake Gyllenhaal and Heath Ledger; with better chemistry and realism than any Jennifer Aniston or Kate Hudson romantic-comedy. The tragedy comes from personal fears, insecurities and societal pressure/expectations and ignorance of the time that result with  Jack and Ennis unable to be together beyond one summer and a few stolen moments throughout the years.   

I get all sad just remembering what is in Ennis’s closet.

I could go on but this would one LONG list, as I’m sure there are tons that I have missed anyway or have not even seen yet. So here are some other great love stories as depicted on the silver screen.

The English Patient (1996)

The scene when Almsay carries Katherine on the mountain...beautiful!

Walk the Line (2005)

The real Johnny Cash died four months after June Carter Cash. 

Like Water for Chocolate (1992)

Tita unable to be with Pedro due to a family tradition uses food to communicate her feelings. 

Dr. Zhivago (1965)

Set during the Russian revolution and spans the life of Yuri Zhivago and Larrisa. 

Before Sunrise/Before Sunset (1995, 2004) Before Midnight Coming 2013

One of the catalysts that started my dream of spending a year traveling around Europe.

HAPPY VALENTINES DAY ALL!

Film Review: End of Watch

Directed by: David Ayer. Stars: Jake Gyllenhall, Michael Pena, America Ferrera, Anna Kendrick. Written by David Ayer. Released: September 2012

I’m fully aware this isn't a new release, but I didn't get the chance to see it when it was in theatres. It received critical and audience buzz during TIFF (Toronto International Film Festival) back in September, and I finally watched it now that it has been released for home viewing.

Which reminds me...remember the time during TIFF when I was six feet away from Jake Gyllenhall? 

No? I do.

Okay that was a little mean, I am sorry.

I didn't know much besides the basic plot and was pleasantly surprised by not only how much I enjoyed the film,  but got invested with the characters and the twists and turns the film took as well.

The film follows two LAPD cops (specifically South Central LA) and is shot in and as a (quasi) documentary style. Officer Brian Taylor (Gyllenhaal) is creating his own short documentary film about being a cop for a school project, (an elective while in law school). There is there is whole "film within a film" tone throughout. Unknowingly they make a discovery one day during a routine traffic stop that ends up making them the target for the local Mexican drug cartels.

I don’t want to say more than that about the plot, in my opinion it is best to not know too much about the film and just go for the ride along.

The heart of film and story is the friendship between Brian and Mike. Despite all the cop action, drugs and to a lesser extent, themes about poverty, racism and even immigration, it is a film about friendship that goes beyond being partners on the force. We see how close they are and their lives outside of work. I’m no expert, but it seems a pretty realistic approach and portrayal of what it is like and what it means to be part of the LAPD, or any police force.

The performances and chemistry between Jake Gyllenhaal and Michael Pena stand out the most and the key to making this more than just a regular cop film. You end up invested and care for these characters. They feel like people you may know yourself. It helps with the emotional and climatic ending. Jake Gyllenhaal spent time with LAPD officers and ride alongs as part of his research in developing his character and shaping his performance, and it pays off. He is also credited as one of the producers as well. Michael Pena is just as strong and charismatic and plays well against Gyllenhaal. 

The women behind the men (Anna Kendrick as Janet and Natalie Martinez as Gabby) are small yet 

important roles and make their mark in each scene they are in. I also was impressed with America Ferrera as tough as nails Officer Orozco, a complete different side that showcases her talent with no sign of her Ugly Betty or Sisterhood of the Traveling Pants characters.

Since there is a documentary style to this film, the camera work and editing might take a little bit to get use to, and it may throw some people off. It is a little different and slightly overdone, but I found this mainly at the start of the film and got use to it and didn't notice it as much as I got more engrossed. It has been done before and it is possible  the film would have worked without it or less reliance on the aesthetic, since there are times when it may be difficult to tell exactly what it going on. There is a lot of hand held shots, shaky camera and rapid edited, but it does mellow out.

The settings, sets and shooting on location are also a stand out to this film. 

Again without giving too much away, I felt that there was an unnecessary extra scene right at the end. Although an emotional ending, I feel it would have been even stronger without it. I like my realistic, gut wrenching endings and Hollywood seems to avoid them most of the time. 

The performances and  chemistry is what makes the film work for the most part and worth watching. I appreciate David Ayer's attempt to make End of Watch a different and more realistic cop thriller. 

Film Review: Zero Dark Thirty

Directed by: Kathryn Bigelow. Stars: Jessica Chastain, Jason Clarke, Jennifer Ehle, Kyle Chandler, Harold Perrineau. Written by: Mark Boal. Released: January 2013

Zero Dark Thirty= military time for thirty minutes after midnight.

I knew three things going into Zero Dark Thirty. That it is a film about the hunt (supposedly based on government files, information, etc) for Osama Bin Laden and that it is gaining rave reviews from numerous film critics.

And the third is that film depicts controversial torture scenes. Not so much for the graphic nature of them, but that it is Americans that are doing the torturing. 

The film begins dramatically on September 11, 2001 with a black screen and audio of phone calls from those who died in the Twin Towers.

We then fast forward two years ahead with CIA expert Dan (Clarke) torturing a relative of Osama Bin Laden. It is an intense scene. In the corner sitting in the dark is Mya (Chastain) a CIA cipher (I had to do a bit of research to figure out what Mya’s job title was), a “killer” hired to find Osama Bin Laden and spends ten years dedicating her life to her task.

We then go into long and detailed look (thanks to former journalist turned screenplay writer Mark Boal) at the years and process of what it took find Osama Bin Laden. Since the film is bookend by intense, dramatic and action filled sequences it can makes the middle feel slower. But I feel it is done on purpose.  It is a movie about the process (just like Lincoln is about the process of the Emancipation Proclamation) and not so much a character study but a look at those behind the process.

Not to say the characters are not interesting and it is due to the talent of Chastain and the rest of the cast that they do so much with the little they have. It is about Mya and what she does, but besides her job and that she is hired and trained from high school (she must have done something impressive in high school) by the CIA, little else is known about Mya. Yet Chastain’s performance is engaging and layered enough with emotions that you almost forget that we don’t know her last name or anything else about her.  Chastain’s Mya is not depicted as a “tough in your face CIA agent.” She is strong, smart and fiercely determined for sure, but at the same time feels the confusion, uncertainty and pressure of what is required of her. With the little character information given, Mya is humanized and relatable through Chastain’s performance.

Director Kathryn Bigelow, along with cinematographer Graig Fraser and production designer Jeremy Hindle create a look and atmosphere that gives a beauty to the harsh lands of Afghanistan, Pakistan and even cramped CIA offices. The multi-media mix of fake and actual news footage, such as former President George W. Bush speaking on a television in the background and a President Obama interview where he claims torturing has stopped, adds a sense of irony on top of the realism. It is not exactly a new technique but it is blended well and used effectively in this case.  There are times where I find that Bigelow’s use of hand held camera is not needed, such as meetings, but for the action sequences it obviously works well. There is also times where a long shot of Mya is used to give a sense isolation that is subtle but effective. Along with Alexander Desplat’s score that isn't overbearing but heightens moments that a good score is meant to do. 

I will admit that at first the films ending slightly bugged me, but as I spent the last couple days thinking about it I now find it pretty fitting. At first I wanted a stronger ending, especially after the build up and the dramatic moment that we are all waiting for and know is coming.  But in keeping with the film being more about the process and little known about Mya even to this day, without giving too much away, Mya alone on plane heading home is fitting. 

The Oscars!!

I would have done this post sooner, but I’m getting over the flu and was very ill the morning the nominations for the 85^th Academy awards were announced. So sorry for the delay.

Another good promo...

Okay, one more...

There were some big surprises, upsets, whatever you want to call them.  Many thought Ben Affleck would receive (if not win) a best director nomination. He won many other awards for directing Argo, and the film received a Best Picture nomination as well and they tend to go hand in hand.  To add to his sting, last night he won The Golden Globe for both categories.

Kathryn Bigelow was also shut out for directing Zero Dark Thirty, yet the film also got a Best Picture nomination.

Another surprise was Quentin Tarantino being left in the cold, yet again Django Unchained is up for Best Picture and Tom Hooper for Les Misérables was shut out for directing as well.

It is odd when the director doesn’t get a nomination but the film does, how can that be exactly?  There are numerous reasons that could be a topic of a blog on its own, but to put it simply “Best Picture” does involve more than just the direction and there are ten spots for best picture where direction only has five spots for nominations. 

In the acting categories, Leonardo DiCaprio will have to try again to get that Oscar since the Academy decided to give it to Christoph Waltz instead for Django Unchained.

I would have also liked to have seen a nomination for in the best adaptation screenplay for 

The Perks of Being a Wallflower or even Cosmopolis, but that movie might have been a little too out there  for most of the Academy voters *cougholdwhitemencough*.

So, here are my predictions....as you can tell I didn't do ALL the categories....Ill confer with my friend Shannon who knows more about sound editing and mixing, etc. ;)

Some interesting stats concerning this year’s nominations; Lincoln leads the nominations with eleven. We have the oldest female nominee ever for Best Actress with Emmanuelle Riva at eighty-six for Amour AND the youngest ever female with Quvenzhane Wallis for Beasts of the Southern Wild at nine years old but was six when the movie was filmed.

Best Picture

Amour 

Argo 

Beasts of the Southern Wild 

Django Unchained 

Les Misérables 

Life of Pi 

Lincoln 

Silver Linings Playbook 

Zero Dark Thirty 

My prediction: It seems to be down between Lincoln and Silver Linings Playbook, but don’t fully count out Argo and Zero Dark Thirty. With the political backlash towards Zero Dark Thirty the Academy doesn't want to upset anyone in Washington and they like to play it safe. Argo does have the pity factor and and could win as a type of apology to Ben Affleck for not giving him a directing nom and the film festivals loved it. Also, NEVER count out the George Clooney factor in terms of him being a producer and loved in Hollywood by a large demographic. Silver Linings Playblook has the mental disorder and small budget feel that they love as well.  Lincoln has Spielberg, history and Daniel Day-Lewis.

It is a hard one and these are all solid films in their own right. I’m giving it to Argo in the end.I wouldn't mind being wrong on this one and well... “Argo F*** yourself!” 

Actor in a Leading Role

Bradley Cooper for Silver Linings Playbook 

Daniel Day-Lewis for Lincoln 

Hugh Jackman for Les Misérables

Joaquin Phoenix for The Master 

 Denzel Washington for Flight

My prediction: Everyone knows my love for the big DDL but don’t think that I’m biased enough that I don’t realize he campaigns like everyone else in his own way. And it’s working. Bradley Cooper wants it as well, but has to prove himself some more before the Academy is willing to give it to him so maybe another time. If DDL wasn't in it this year and the film wasn't a musical, Hugh Jackman could have been a real contender. Joaquin Phoenix gave his finest performance and one of the best performances in general that I have seen in years, and it is a honest shame that he is not getting more recognition for The Master, but with his comments about not caring for awards and the Hollywood establishment (despite backtracking and quietly playing nice now) The Master being too confusing and not Hollywood friendly, as well the DDL factor, any other year he would be the shoo in.

In the end I’m going with what I said the day Daniel Day-Lewis was announced to play Abraham Lincoln, “every other male actor can go home that night.” I’m giving it to Daniel Day-Lewis. One of the best. 

Actress in a Leading Role

Jessica Chastain for Zero Dark Thirty 

Jennifer Lawrence for Silver Linings Playbook 

Emmanuelle Riva for Amour (2012)

Quvenzhané Wallis for Beasts of the Southern Wild 

Naomi Watts for The Impossible 

I want to mention that sometimes who I pick to win may not be who necessarily deserves to win, and even that is subjective.  You follow enough award seasons and Hollywood gossip you end up learning enough about the politics involved with awards and nominations.   It can be as confusing and brutal as an episode of Game of Thrones.

 It is a two women race this year between Jessica Chastain and Jennifer Lawrence. Right off the bat we can eliminate Quvenzhane Wallis. Does she do a great job, yes, but come on...too young. As sad as this will sound, Emmanuelle Riva can be eliminated as well. Despite the film festival love, Amour is a “foreign film” and when was the last time an actress in a foreign film has won for the leading actress? Amour is also a heavy film that is not everyone's cup of tea.  Naomi Watts is gaining some support but it is too little too late.

It’s a difficult one and really could go either way between Jessica and Jennifer (sounds like competition for cheerleading captain). Both ladies are no doubt talented and almost chameleon like in their versatility. Again the political backlash towards Zero Dark Thirty comes to mind and Jennifer Lawrence is loved by Hollywood (at twenty-two this is her second nomination) and has Harvey Weinstein to back her up. In the end Katniss will come out of the arena as the victor. 

Actor in a Supporting Role

 Alan Arkin for Argo 

Robert De Niro for Silver Linings Playbook 

Philip Seymour Hoffman for The Master 

Tommy Lee Jones for Lincoln 

Christoph Waltz for Django Unchained 

This is another difficult category filled with acting legends. Although Philip Seymour Hoffman is loved by the academy, not enough momentum behind him and the unfriendliness of The Master comes into play again. Its okay, he has his Oscar for Capote. Alan Arkin is the lovable old man once again in Argo and already won for doing that in Little Miss Sunshine. Tommy Lee Jones is suffering the same fate like Joaquin Phoenix is. The DDL factor, only this time it is the Christoph Waltz factor.

Christoph Waltz is kinda becoming like DDL no? Excellent work not matter what and loved in Hollywood. Also, when your co-star takes the spotlight away from your lead AND Leonardo DiCaprio (and takes his nomination), you’re becoming like DDL. All while being your charming self.  It may not matter that he won for Inglorious Bastards not too long ago. I’m thinking the Academy will give it to him again.

Christoph...now “THAT’S A BINGO!”

Actress in a Supporting Role

Amy Adams for The Master 

Sally Field for Lincoln 

Anne Hathaway for Les Misérables 

Helen Hunt for The Sessions 

Jacki Weaver for Silver Linings Playbook 

This is another category that seems to be a lock. Normally a role like Mary Todd Lincoln would be the front runner. Add all the love for Lincoln and the way Sally Fields has been talking about fighting for the role and her long career, all make up the right ingredients for a win. Not so much this year.

This year comes a woman who was known as a goody-goody Disney Princess; a self admitted “vanilla personality,”  who plays Catwoman to many surprises and has THE MOMENT in a film that is almost three hours long. All in extreme close up.

Anne Hathaway...your dream has come true. 

Best Achievement in Directing

Michael Haneke for Amour 

Ang Lee for Life of Pi 

David O. Russell for Silver Linings Playbook

Steven Spielberg for Lincoln 

Benh Zeitlin for Beasts of the Southern Wild 

As mentioned before, this is the category has gotten a lot of buzz for those who were not nominated. Keep in mind many good directors have never won or have even nominated.

Again, as sad as this is, Michael Haneke won’t win for Amour; it is foreign and will win for that category. Plus The Artist was enough of a stretch for them to award Best Picture to and that was last year. Ang Li used a little too much CGI for the Academy’s liking. Benh Zeitlin is a surprise for his first feature, but won’t win since the film is too experimental for the Oscars and he is still an unknown, but keep it up!  

So it comes down (once again) between Spielberg for Lincoln and Russell for Silver Linings Playbook. Lincoln has everything the Academy loves and every once in a while they give it to an “underdog” feel good type like Silver Linings Playbook.

I’m going on a bit of limb and say David O. Russell for Silver Linings Playbook.

Best Writing, Screenplay Written Directly for the Screen

Amour: Michael Haneke

Django Unchained : Quentin Tarantino

Flight: John Gatins

Moonrise Kingdom: Wes Anderson, Roman Coppola

Zero Dark Thirty: Mark Boal

In other words, an ORIGINAL script and not adapted from a previous work, which is becoming less and less difficult to find.  That’s another category.

I’m going to keep this one short and sweet. As much as I would love to see Wes Anderson and Roman Coppola win for Moonrise Kingdom (and where is Wes Anderson for directing?) I’m going to give it to Quentin Tarantino for his always solid work and the amazing dialogue in Django Unchained.

An Anderson/Tarantino collaboration...now that would be something, lol.  Nevermind! Too many alpha males. 

Best Achievement in Costume Design  

Anna Karenina: Jacqueline Durran

Les Misérables: Paco Delgado

Lincoln: Joanna Johnston

Mirror Mirror: Eiko Ishioka

Snow White and the Huntsman: Colleen Atwood

I can’t do all twenty-four categories, and you probably don’t want to see me do them anyway, but I COULDN'T ignore costume design, especially with so many beautiful ones this year. Also plenty of good ones that were not nominated.

At first it is a three way tie for me between Anna Karenina (a beautiful film to watch and lots of technical awards as well,) Les Misérables and Lincoln. All in this category have been nominated (except Paco Delgado) before as well and do great work and their passion comes out.

Any actor will tell you about the importance of the costumes in terms of helping them develop their character. Any director and production designer will also tell the importance in terms of their vision in bringing  the world of the film to life.

Maybe the uber girl in me is coming out with this one, but I have to give it in the end to Jacqueline Durran for Anna Karenina. The costumes were superb in the elegance and reflection of Russian Aristocracy.

AND THE JEWLS!!! 

For the rest of the nominations, click on the link. http://www.imdb.com/oscars/nominations/?ref_=rto_nb_acd

It should be an interesting night, with host Seth MacFarlane on February 24! 

Film Review: Django Unchained

Directed by Quentin Tarantino. Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio. Written by: Quentin Tarantino. Released December 2012.

For years Quentin Tarantino has been toying with fans and Hollywood with his secret script about slavery and giving very little information about it. Nonetheless, there is always an excitement and buzz that comes with a new Tarantino film. His films have dealt with gangsters, changed history with his look at WWII and dealt with the fury of a female scorned.  Add the cast that Tarantino lined up and you get the crazy, witty, violent and fun Django Unchained.

The film is about a slave, Django, who is rescued and freed by a bounty hunter posing as a dentist, Dr. King Schultz (Christoph Waltz). He helps him to find the Brittle brothers since he is one of few who knows what they look like. In return, Schultz will help Django find and free his wife, Brumhilda Von Shaft, who happens to now be owned by one of the richest and largest (and eccentric) slave owners, Calvin Candie (Leonardo DiCaprio). Who also deals in underground salve fighting, kinda like fight club.

Like any Tarantino film, it is filled with references to obscure films and genres that an uber cinephile like Tarantino understands and has fun with. It is part of his distinct style. This time (thanks to a little research) the film is in part homage to a 1966 film Django. The character of Django was played by Italian actor Franco Nero.  Franco can be seen in a scene where Django (Jamie Foxx) chats up a slave trader at the plantation known as Candie-land. The trader asks him for his name, where Django replies “D-J-A-N-G-O. The D is silent.”  The trader replies, “I know.”

This is known in film studies a meta-moment and Tarantino fills his movies with them. This is no exception, as well as referencing other westerns (even using the same locations) as well as old German myths and has it all work somehow.

Now that we got that bit of history out of the way...

Yes, the film is violent. Yes, the “N” word is used and has been criticized by some. Going into a film about slavery what do you expect? Going into a Quentin Tarantino film about slavery and you shouldn’t expect anything else. It is a dark and ugly part of history. Even with the undertone of humour you should feel uncomfortable at the ease that this is all depicted. That is in part what makes the film and Tarantino style’s so great.

Also typical is the witty dialogue. The film has an awesome blend of intense moments with cleaver one liners. Add a soundtrack that is a blend of music genres that reflect the blending of film genres. Old songs such as Johnny Cash’s “Ain’t No Grave” and new songs by Frank Ocean and John Legend, as well as songs used in the 1966 Django.

You always get solid performances in Tarantino’s films. He is an actor himself and knows how to motivate and give direction to them to get what he wants, as well as letting them explore and do their own thing. There is also the typical Tarantino cameo.

Christoph Waltz once again shines and it is nice to see him work with Tarantino again and probably not for the last time. He has some of the best one liners in the film and working along Jamie Foxx they make a good pair, who is also good and strong and shows that his Oscar for Ray wasn’t for nothing.

The performance I was most interested in was Leonardo DiCaprio as Calvin Candie. No doubt that Leo is a talented actor, but he tends to do the same intense type of roles. Next to Christoph Waltz, it is the showiest role. For the first time he plays “the bad guy” and he does well. He is still “Leo” about it, if that makes sense, but it is refreshing to see him do something different. You can tell he enjoyed it as well and had fun with the character. Will this be the role that finally gives Leo the Oscar he seems to badly want-who knows? A supporting nomination wouldn’t be surprising.

As written by Richard Crouse “Django Unchained” is bloodier than you’ll expect—with a shootout as violently gratuitous as any gun battle ever filmed—and funnier than you think it is going to be. It’s a message movie and a pulpy crowd pleaser. In other words, it’s a Tarantino film.”

Remember! The “D” is silent.

Film Review: Les Misérables

Directed by: Tom Hooper. Stars: Hugh Jackman, Russell Crowe, Anne Hathaway, Eddie Redmayne, Amanda Sayfried, Helena Bonham Carter, Sasha Baron Cohen, Samantha Barks. Screenplay by Claude-Michel Schonberg and Alain Boubill. Adapted from the novel by Victor Hugo and Broadway Musical. Released: December 2012. 

 What do you do after winning the Best Picture Academy Award for your feature film debut (The Kings Speech)? If you are director Tom Hooper, you attempt to prove that you are not a one hit wonder by adapting one of the most beloved and successful (and the longest) Broadway musicals that was largely considered unadaptable; and for good reason.

The twenty year story of Jean Valjean (aka 24601) running from his past of breaking parole for stealing a loaf of bread and running from Inspector Javert is an epic. Add the subplot of Fantine, the ill fated prostitute and her child, Cosette, who Valjean adopts and helps to give meaning in his life.  Throw in love at first site and the backdrop of 1832 French Revolution France, and there isn't much left that isn't brought up.  

That is my one major criticism for the film. It is so epic that the film’s pacing tends to drag in the second half. There is a bit of a repetitivness, in particular with Valjean’s musical numbers. The pacing and editing could have been more concise with the same emotional pull while not sacrificing the storytelling.

Hooper differentiates his musical in two distinct ways. There is extremely little talking dialogue, a handful in a two hour and forty-three minute film. Second, all the singing was done live on set and not pre-record (as usual practice) this helps to add to the rawness and emotional pull that is needed for the story.  I’ll admit that this worked better in certain moments than others.

Cinematographer Danny Cohen manages to show the beauty and the ugliness of France during this time. Costume designer Paco Delgado does his first major Hollywood film with a talent that I can only dream to possess. One of the best period costume designs in film this year that I have seen.

The performances are strong and I was pleasantly surprised a couple times. There was no doubt Hugh Jackman as Jean Valjean was going to be good. He has the acting and singing chops to pull off the character.   You feel his pain, anger, bitterness towards the world and the desire to be a better person, but his past keeps coming back to haunt him. As seen in his "Who Am I?" number. Russell Crowe as Inspector Javert has been discussed as the weakest of the singers and I agree. His traditional rock singing style may not have worked for Valjean, but as Javert and playing against Jackman as his foe, it can be argued that it does.

Anne Hathaway in the small but pivotal role of Fantine is the talk of the film. I’m not really a fan of Anne Hathaway, but the lady can sing and I would say next to her performance in Rachel Getting Married, this is her best.  Her rendition of “I Dreamed a Dream” is emotional and one of the best moments in the film. If you don’t at least have a small lump in your throat while she is singing about giving up and wanting to die, I question you having a soul.

What surprised me the most was the singing of Eddie Redmayne as Marius and newcomer Samantha Barks as Epione.  I've seen Eddie in other films and he is an up and coming talent acting wise. He is part of the invasion of young British male actors taking over Hollywood, which my biased British loving heart is all for. I wasn't aware that he could sing as well, and his song “Empty Chairs at Empty Tables” encompasses a young man full of love, hope and dreams but at the same time in morning for all the death of his friends and unknown future for his beloved county and the unfulfillment  of those dreams.

New to film but veteran of stage is Samantha Barks, whose Epione sings my second favourite song in the musical.  Her character serves as the opposite to Cossette, but she is strong and is willing to sacrifice herself for the dream and her love of Marius.  Anyone who has experienced unrequited love will no doubt find “On my Own” as the ultimate when describing what it feels like to love someone who doesn't love you back and watch them love someone else, but know that you will be okay in the end. Even if the love at first sight story between Cossette and Marius is a little unrealistic and too sugary sweet for my liking.

Giving much needed comedic relief is Helena Bonham Carter and Sasha Baron Cohen as innkeepers Monsieur and Madame Thenardier.  It was also nice to see Colm Wilkinson (half Canadian) who originally played Jean Valjean (and the original Phantom of the Opera) as the Bishop who gives the means for Valjean to start a new life.

I must also give a shout out to two child actors; Isabelle Allen who plays young Cossette and Daniel Huttlestone who plays the young streetwise revolutionary Gavroche. These kids held their own and steal the show against the adults and will probably only get better as they grow.

 Les Misérables is an epic of a musical about hope, love, honour and sacrifice. It should be seen on a big screen.

“Do you hear the people sing...”