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Finally, I have seen the front-runner for this year's Best Picture Oscar: Slumdog Millionaire. While I enjoyed the film - very much - I don't know if I would consider it the BEST picture of the year. However, I would say it is one of the most unique, entertaining, and well-made movies of the year. The screenplay - adapted from a book called Q&A - is quite brilliant and Danny Boyle's direction is superb. The unknown actors shine, and I most especially enjoyed the child actors who played the younger selves of the main characters. They were ridiculously adorable!
My favorite part of Slumdog Millionaire by far is the music. The score fits perfectly with the emotion, and every award the composer wins for this film is completely, 100% deserved (in my humble opinion). Check out this excellent article on the man behind the film's score, A.R. "Do you think they spelled that phonetically?" Rahman. There must be something about the sitar that my ears can't get enough of, almost like the banjo. Something about those strings...
Sadly, I'm not familiar enough with Indian filmmakers like Satyajit Ray, but ever since I saw Mira Nair's Monsoon Wedding, I've had a fascination with Indian culture. I find it funny and great and depressing and not that surprising that it took a Brit to make the most popular Indian film that American audiences have seen. It really was enjoyable, but until I see the last two contenders (Milk and The Curious Case of Benjamin Button), I'm afraid my vote cannot yet be cast.
With less than a week before the Oscars and during a week of not doing too much, I'm going to try to finish off the Best Picture nominees. Next on the list, Frost/Nixon. Of the five nominees, I feel this film is the one that will stay with me for a while. Immediately when I came home I started researching the real David Frost - the man, the journalist, the Brit who was able to get Richard Nixon to admit wrong-doing during his presidency. It was during the 1977 Frost/Nixon interviews that Nixon made that famous declaration that "if the president does it, then it's not illegal." After being pardoned by his successor, Nixon never stood trial or was held accountable for Watergate (among other transgressions). That was until David Frost and his producers got hold of 37.
Ron Howard's film adaptation of Peter Morgan's Tony winning play transitioned nicely from stage to screen (at least I'm assuming so. Sadly, I did not see the play). The performances were strong and convincing. Frank Langella's Nixon earned him a Best Actor nod (not to mention the Tony) - deservingly so - but Michael Sheen's David Frost was superb, and I'm very surprised he did not receive any recognition from the Academy. While watching the original interviews, it seems to me that Langella played Nixon a bit over-the-top and Sheen played Frost very much as Frost was. Regardless, both men, along with the supporting cast, did fantastic jobs.
One thing that makes the film more effective than the play (that makes any film more effective) is the same thing that made the television interviews so powerful - the close-up. Howard's camera mimics those from 1977, but as with any film, he's able to draw out the reactions, hold the gazes, and capture the emotions of everyone involved. If you see the film, I highly suggest checking out the real interviews and drawing your own comparisons. Both are fascinating, but no matter how powerful Frank Langella is, it's hard to top Nixon himself admitting his guilt.
Okay okay...so I'm still at 1 for my Best Picture nominees, but I have been watching movies. They just happen to be a bit older than the ones on my Oscar list. For instance, last night I re-watched An American in Paris - the Best Picture Oscar winner, mind you, for 1951 - and reconnected with my love for Gene Kelly. Being Valentine's Day and all I thought, why not do something that I love: watch my favorite movies that happen to be super sappy romances. Give me a break, I'm in recovery. Anyhow, the reason I decided to watch this one lends itself to the fact that I saw the Law & Order: SVU episode with Leslie Caron (for which she won an Emmy) and felt it was time to re-see her in the film which she danced with the master himself and also introduced her to American audiences. The sets are completely glossy - as any MGM musical should be - and the random bursting into song and dance is as gloriously unrealistic - as any musical should be. The thing I love most about this film is the choreography. Having no rhythm myself, I appreciate those who do possess that talent. Gene Kelly choreographed the film, and it was his part in this which lead to the making of that quintessential Gene film - Singin' in the Rain. In my opinion, no musical tops Singin', but An American in Paris is breathtaking and entertaining. Besides: How can any film taken from Gershwin be bad?
And while I'm on the topic of musicals, last week at work I started screening Funny Girl (an Oscar contender for 1968), and I have to say, I enjoyed it just as much as I did when I was five. Say what you will about Barbara Streisand, but damn! She's brilliant! Her voice is amazing (in that Broadway-way) and she's exceptionally funny! Apparently my mother's tastes aren't as tasteless as originally thought. I feel a Barbara retrospective on the horizon...
As much as it saddens me to admit, I am very very very very far behind in seeing 2008's list of Oscar nominees. But, last night I saw my first of the Best Picture contenders: The Reader. Now, I don't know where I got my information or how I pieced together my own version of the movie, but once The Reader began, I thought, "Wow, I'm totally off!" I had the time period right - somewhat - but I was very wrong in who I thought the reader was. Let's just say, it's not Kate Winslet. And while it does involve World War II and Nazi Germany, the farthest back it goes in time is 1958. It's a story told mostly in flashback about sexual awakening, first love, secrecy, the wrongs of our ancestors - which all involve lots of bare-ass Kate. But I think her Oscar nod for Best Actress was given to her for more than just her nakedness. She really is quite brilliant, delivering a highly emotional and solid performance, though, I might be a little biased: I think she's one of the best actors out there today. I was also pleasantly surprised to see both Ralph Fiennes and Lena Olin on screen - and once again reminded as to how out of the loop I am on current cinema. I did not do my research for this film, but I think I like it like that. I just need not to explain the premise of a movie before I see it. So sorry to anyone who got false information from me. I hope I didn't ruin the film for you or, more importantly, your opinion of me.
Next up - I hope - Slumdog Millionaire. Wait until I see it to ask me what it's about :) I can tell you it's directed by Danny Boyle - the man who brought us Trainspotting, Sunshine, and 28 Days Later. Now, how can it not be good?
