As we touched on earlier with Avatar, one of the biggest themes over the last five years has been the reintroduction of 3D to the modern cinema audience. Although not every film fully utilised the medium those that did have to be admired for employing modern technology in such an impressive manner.
One of the films that successfully used 3D to its advantage was Ang Lee's Life of Pi, based on the so-thought unfilmable novel by Yann Martel. The Pi of the title is an Indian native living in Canada who narrates his story to a character known as 'the author' who in fact turns out to be Mantel himself. Although Pi tells Martel several stories from his youth, where he grew up in a zoo, the majority of the film's narrative is based around the journey his family took from India to Canada. During their time at sea, the boat they were on sunk and Pi got free alongside several of the animals. Lee's fantastic visual effects team perfectly captured these scenes, which in other people's hand could've felt quite trite. I feel it's also a testament to Lee as a director that he made the scenes of Pi at sea as engaging as they were. A good hour or so of the film is dedicated to Pi's journey back to land and the problems he had sharing a boat with the zoo's tiger who had been named Richard Parker. Although I never saw the film at the cinema myself, it's fair to say that those that did were treated to some fantastical 3D. Scenes of the night sky lit up by fireflies and an island inhabited by a thousand meerkats were just two of the highlights throughout the course of Life of Pi. The final scenes brought the film back to reality to an extent as Pi told Martel a shorter story about what realistically could've happened to him instead. Here the animals become people from the ship where Pi himself embodies the characteristics of Richard Parker, however there's a final little twist that apparently didn't appear in the book.
This was my second time watching Life of Pi and on both viewings I had the same sort of response. Visually the film is perfection and therefore I'm not surprised that the film was nominated in all of the technical categories at the Oscars. Lee's helming of the project earned him his second Best Director Oscar and I believe that this is more than well-deserved. Anybody who can make a film that contains an hour of nothing but a teenage boy, a tiger and a boat has to be applauded. The fact that this film is one of the most visually engaging in recent memory is just a testament to Lee's artistic vision. At the same time the narrative in Life of Pi is very slight and therefore at times it's hard to give it your full concentration. The majority of the story is packed into the first third of the film in which Pi narrates stories of his early life to Martel. After the shipwreck, Life of Pi becomes more of a survival film albeit one narrated by the protagonist himself. Of the cast I felt that Irrfan Khan did a great job at anchoring the piece as the adult Pi whilst Gerard Depardieu put in a memorable cameo as the ship's cook. However it was relative newcomer Suraj Sharma who deserves the most recognition as he gave a mesmerising turn as the teenage Pi. The fact that Sharma would've been working against a green screen for the majority of the production just proves to you what an accomplished performer he is. Ultimately Life of Pi exploits the visual medium of cinema for all its worth leaving you with many memorable scenes most notably those including the film's infamous tiger. However, I can't say I was gripped throughout the course of the film and could've done with a little more narrative meat to complement Life of Pi's outstanding ascetic charm.
Next time we look at two films that were nominated in the same year that dealt with the growing pains of two very different teenage girls.
Showing posts with label Ang Lee. Show all posts
Showing posts with label Ang Lee. Show all posts
Wednesday, 13 May 2015
Tuesday, 31 March 2015
Matt's Big Oscar Challenge Days 413-415: A Few Days in Asia
As we're nearing the end of another decade's worth of films I thought it was time for a quick holiday so I decided for a three-movie long tour of Asia. Two of the films in this triple bill are historical pieces, shot in the country's native tongue and featuring subtitles for Western viewers such as myself. The third film, for the most part, is in the English Language although the scenes in other languages aren't subtitled, but then again that's kind of the point.
We start in China in the year 1779 for some high-flying martial arts courtesy of Ang Lee's Crouching Tiger, Hidden Dragon. The film tells the story of the sword 'The Green Destiny' and the way it unites all four of the movie's central characters. The sword initially belongs to retired warrior Li Mu Bai who gives it to his friend and fellow warrior Yu Shu Lien so that she may deliver it as a gift to their mutual acquaintance Sir Te. One of the threads running throughout Crouching Tiger is the unrequited romance between Mu Bai and Shu Lien, which is a classic cinematic love that will never speak its name. Just as Shu Lien is about to present the sword to Sir Te; it is stolen by a female warrior believed to be the elusive Jade Fox. Years before, Fox murdered Mu Bai's master and he's now out for revenge however it later transpires that his nemesis has a pupil in the form of noblewoman Jen. Jen is initially presented as the courteous daughter from a respected family but its later revealed that Fox was training her up to be another deadly warrior. Jen's other story involves desert warrior Lo, a man who she originally met after he stole her fan. The flashbacks, in which Jen and Lo's romance is detailed, signalled the moment where the film ground to a halt for me. I did feel that Lee and the three screenwriters took too long with this particular part of the story and to an extent the narrative never recovered. Thankfully Crouching Tiger's final act was full of action and emotion as the stage was set for Jen's wedding and the final showdown between Mu Bai and Jade Fox.
I remember watching Crouching Tiger, Hidden Dragon on VHS soon after it was released and at the time I think I rather enjoyed it. However, this time round, I did feel the film was a little patchy especially from a storytelling perspective. As I previously alluded to the pacing of the story varies throughout the film's two hour running time. Starting off at a brisk jog, things slow to a halt during the Jen/Lo flashbacks before kicking into full throttle towards the end. That being said there were several elements of the story I liked from the romance between Su Lien and Mu Bai; to Jen's attempts to get the upper hand on all the other characters. Indeed, one of the great things about Crouching Tiger is the fact that there are two strong central female characters who are well-rounded and can stand up for themselves even against the men. Whilst narratively the film may have a few issues, visually it's one of the most spectacular movies I've watched since I began. The martial arts scenes in particular are stunning especially those involving the high-flying Jen. Jen and Su Lien's final battle is especially breathtaking and I think that Lee is brilliant at capturing these battles on screen. I'm not surprised that cinematographer Peter Pau won an award for his brilliant camera work on the film whilst further honours went to Crouching Tiger's soaring score and its fantastic period art direction. Even though it didn't win the big prize, Lee's film did pick up the award for Foreign Language Feature, an honour that I'm sure it deserved. Although it did have its problems, I enjoyed the fact that Crouching Tiger, Hidden Dragon was even nominated for the Best Picture prize in the first place. Overall it was a stunningly gorgeous film to watch and one that I'm glad is soon to get a long-awaited sequel.
Moving across the continent and through time we find ourselves in modern day Japan for a film that follows two Americans who are stuck in Tokyo. The film is Sofia Coppola's Lost in Translation which focuses on a young photographer's wife and a washed-up actor who find themselves flummoxed by Japanese culture in general. It helps that actor Bob Harris, who is in Tokyo to film a whisky commercial, is played by the brilliant Bill Murray. Murray perfectly encapsulates a middle-aged man abroad especially when he tries to negotiate his way around a power shower or a piece of gym equipment. But Bob is also lost in a different way and that's what makes him navigate to Charlotte; a recent college graduate who is tagging along with her husband who has a work assignment in the city. Coppola builds up to Bob and Charlotte's first meeting by following their individual stories with the former shooting his ad whilst the latter wanders aimlessly around Tokyo's various landmarks. They eventually meet about half an hour into the film and then a very polite romance begins which includes a karaoke party and a trip to the hospital. Lost in Translation is very subtle in the way it deals with Bob and Charlotte's relationship as they are two disparate people who've found each other at the right time. One element I wasn't sure about was the conflict that Coppola creates between the pair when Bob has a one-night-stand with the hotel's cabaret singer. This moment is also only dwelt upon briefly before the iconic final scene in which our couple embrace in the centre of Tokyo and incoherently whisper in each other's ear.
I first went to see Lost in Translation at an early morning screening in January of 2004 and ever since then it's been one of my favourite films. As you can probably ascertain by now I love films that are based around characters rather than plot and that describes Lost in Translation in a nutshell. When I first watched it I identified with Charlotte, as I myself was about to graduate from university and was having one of those 'what does it all mean?' phases. Now I'm getting to the stage where I'm hoping I don't end up like Bob trapped in a marriage with a woman who is more concerned with carpet colours than she is the welfare of her husband. The film would be nothing without the performances from both Murray and Scarlett Johansson; the latter of whom was just eighteen when filming took place. I was utterly impressed how convincing Johansson was as a character who was five years older than her and she was able to carry off the extra life experience with no problem. Murray meanwhile balanced the slapstick he's been known for with a more measured, world-weary tone that he's employed in several films since. Murray and Johansson also share perfect chemistry as there's smiles and small looks at each other are the basis of what makes Bob and Charlotte's relationship work so well. Aside from Bob and Charlotte, the other big character in Lost in Translation is Tokyo itself which comes alive in several scenes in which the couple race across the city. Cinematographer Michael Accord brilliantly differentiates between the cold machine-like interior of the hotel with the exciting, bustling world outside. Sofia Coppola was nominated for both her direction and screenplay, rightfully scooping the latter award for her tender writing. However the biggest miscarriage of justice was that Bill Murray lost out on his deserved Best Actor award. Whilst the eventual winner Sean Penn did deliver a fine turn in Mystic River it wasn't nearly as good as Murray's subtle and humanistic portrayal of a man lost in himself and in a foreign country. Lost in Translation definitely hasn't lost any of its warmth or lightness of touch and I still love it as much as I did the first time I saw it over eleven years ago.
Staying in Japan now but moving back in time to the Second World War and a film that I've never seen before in Letters from Iwo Jima. This 2007 nominee also reunites us with Clint Eastwood although unusually for the director this is a film that has very few lines of dialogue that are in the English language. That's because Letters from Iwo Jima is in fact a companion piece to Eastwood's Flags of our Fathers; a film which tells the story of the battle of Iwo Jima from the point-of-view of the Americans. Whilst Flags of Our Fathers was meant to be the big event film it was Letters from Iwo Jima that actually garnered more acclaim and did slightly better at the Box Office. I feel the point of Letters from Iwo Jima is to tell the audience that there are two sides to every story and that those who fought on the Japanese side were equally as worthy of praise as the American soldiers. The film follows the fortunes of Private Saigo; a baker who is conscripted and leaves his heavily pregnant wife to fight on the island. Saigo often finds himself tortured by his superiors but on the day in which the U.S. Marines start to attack he is the only to keep a level-head. Evading being shot by those in charge several times, Saigo later earns the respect of General Kuribayashi and ultimately being the only one to survive the horrors of the battle. The most striking thing about Letters from Iwo Jima as a whole was the fact that many of the Japanese soldiers took their own lives when they thought that there was no way back. One of the scenes that will stick with me the most from Letters from Iwo Jima is the one in which the majority of Saigo's platoon blow themselves up with grenades. It's these moments that hit home the horrific conditions that the Japanese had to deal with and I do applaud Eastwood for trying to honour them in this way.
It did take me a while to truly lose myself in Letters from Iwo Jima and I felt the film only came alive in its latter scenes which was when the action really kicked off. The cast of the movie were all utterly believable in their roles with Kazunari Ninomiya being particularly effective as Saigo. The only familiar face amongst the cast, Ken Watanabe, was perfectly believable as the sensitive Kuribayashi; who at times was the only level-headed member of the military left on the island. Similarly to Flags of Our Fathers, Letters from Iwo Jima is shot in a faded manner which at times makes it look almost like documentary footage. Although I've not seen Flags of Our Fathers it was interesting to spot the scenes in which the two nations intersected and I'm assuming there are moments that appear in both films. I felt it was particularly brave of Eastwood to portray the Americans as the antagonists particularly in one heart-wrenching scene when a brutish soldier executes two Japanese soldiers who have surrendered. Letters from Iwo Jima was in fact a surprise entrant in the 2007 Best Picture field with many expecting the fifth nominee to be the musical Dreamgirls. However, I think it was good that the academy honoured a subtitled film which actually bucked the trend for war films by focusing on the foreign army. While I can't say I was a compelled by the film as I possibly should have been there are certain moments of it that will stick with me for years to come.
Next time we'll travel back to the States for the final film in the noughties section of the blog.
We start in China in the year 1779 for some high-flying martial arts courtesy of Ang Lee's Crouching Tiger, Hidden Dragon. The film tells the story of the sword 'The Green Destiny' and the way it unites all four of the movie's central characters. The sword initially belongs to retired warrior Li Mu Bai who gives it to his friend and fellow warrior Yu Shu Lien so that she may deliver it as a gift to their mutual acquaintance Sir Te. One of the threads running throughout Crouching Tiger is the unrequited romance between Mu Bai and Shu Lien, which is a classic cinematic love that will never speak its name. Just as Shu Lien is about to present the sword to Sir Te; it is stolen by a female warrior believed to be the elusive Jade Fox. Years before, Fox murdered Mu Bai's master and he's now out for revenge however it later transpires that his nemesis has a pupil in the form of noblewoman Jen. Jen is initially presented as the courteous daughter from a respected family but its later revealed that Fox was training her up to be another deadly warrior. Jen's other story involves desert warrior Lo, a man who she originally met after he stole her fan. The flashbacks, in which Jen and Lo's romance is detailed, signalled the moment where the film ground to a halt for me. I did feel that Lee and the three screenwriters took too long with this particular part of the story and to an extent the narrative never recovered. Thankfully Crouching Tiger's final act was full of action and emotion as the stage was set for Jen's wedding and the final showdown between Mu Bai and Jade Fox.
I remember watching Crouching Tiger, Hidden Dragon on VHS soon after it was released and at the time I think I rather enjoyed it. However, this time round, I did feel the film was a little patchy especially from a storytelling perspective. As I previously alluded to the pacing of the story varies throughout the film's two hour running time. Starting off at a brisk jog, things slow to a halt during the Jen/Lo flashbacks before kicking into full throttle towards the end. That being said there were several elements of the story I liked from the romance between Su Lien and Mu Bai; to Jen's attempts to get the upper hand on all the other characters. Indeed, one of the great things about Crouching Tiger is the fact that there are two strong central female characters who are well-rounded and can stand up for themselves even against the men. Whilst narratively the film may have a few issues, visually it's one of the most spectacular movies I've watched since I began. The martial arts scenes in particular are stunning especially those involving the high-flying Jen. Jen and Su Lien's final battle is especially breathtaking and I think that Lee is brilliant at capturing these battles on screen. I'm not surprised that cinematographer Peter Pau won an award for his brilliant camera work on the film whilst further honours went to Crouching Tiger's soaring score and its fantastic period art direction. Even though it didn't win the big prize, Lee's film did pick up the award for Foreign Language Feature, an honour that I'm sure it deserved. Although it did have its problems, I enjoyed the fact that Crouching Tiger, Hidden Dragon was even nominated for the Best Picture prize in the first place. Overall it was a stunningly gorgeous film to watch and one that I'm glad is soon to get a long-awaited sequel.
Moving across the continent and through time we find ourselves in modern day Japan for a film that follows two Americans who are stuck in Tokyo. The film is Sofia Coppola's Lost in Translation which focuses on a young photographer's wife and a washed-up actor who find themselves flummoxed by Japanese culture in general. It helps that actor Bob Harris, who is in Tokyo to film a whisky commercial, is played by the brilliant Bill Murray. Murray perfectly encapsulates a middle-aged man abroad especially when he tries to negotiate his way around a power shower or a piece of gym equipment. But Bob is also lost in a different way and that's what makes him navigate to Charlotte; a recent college graduate who is tagging along with her husband who has a work assignment in the city. Coppola builds up to Bob and Charlotte's first meeting by following their individual stories with the former shooting his ad whilst the latter wanders aimlessly around Tokyo's various landmarks. They eventually meet about half an hour into the film and then a very polite romance begins which includes a karaoke party and a trip to the hospital. Lost in Translation is very subtle in the way it deals with Bob and Charlotte's relationship as they are two disparate people who've found each other at the right time. One element I wasn't sure about was the conflict that Coppola creates between the pair when Bob has a one-night-stand with the hotel's cabaret singer. This moment is also only dwelt upon briefly before the iconic final scene in which our couple embrace in the centre of Tokyo and incoherently whisper in each other's ear.
I first went to see Lost in Translation at an early morning screening in January of 2004 and ever since then it's been one of my favourite films. As you can probably ascertain by now I love films that are based around characters rather than plot and that describes Lost in Translation in a nutshell. When I first watched it I identified with Charlotte, as I myself was about to graduate from university and was having one of those 'what does it all mean?' phases. Now I'm getting to the stage where I'm hoping I don't end up like Bob trapped in a marriage with a woman who is more concerned with carpet colours than she is the welfare of her husband. The film would be nothing without the performances from both Murray and Scarlett Johansson; the latter of whom was just eighteen when filming took place. I was utterly impressed how convincing Johansson was as a character who was five years older than her and she was able to carry off the extra life experience with no problem. Murray meanwhile balanced the slapstick he's been known for with a more measured, world-weary tone that he's employed in several films since. Murray and Johansson also share perfect chemistry as there's smiles and small looks at each other are the basis of what makes Bob and Charlotte's relationship work so well. Aside from Bob and Charlotte, the other big character in Lost in Translation is Tokyo itself which comes alive in several scenes in which the couple race across the city. Cinematographer Michael Accord brilliantly differentiates between the cold machine-like interior of the hotel with the exciting, bustling world outside. Sofia Coppola was nominated for both her direction and screenplay, rightfully scooping the latter award for her tender writing. However the biggest miscarriage of justice was that Bill Murray lost out on his deserved Best Actor award. Whilst the eventual winner Sean Penn did deliver a fine turn in Mystic River it wasn't nearly as good as Murray's subtle and humanistic portrayal of a man lost in himself and in a foreign country. Lost in Translation definitely hasn't lost any of its warmth or lightness of touch and I still love it as much as I did the first time I saw it over eleven years ago.
Staying in Japan now but moving back in time to the Second World War and a film that I've never seen before in Letters from Iwo Jima. This 2007 nominee also reunites us with Clint Eastwood although unusually for the director this is a film that has very few lines of dialogue that are in the English language. That's because Letters from Iwo Jima is in fact a companion piece to Eastwood's Flags of our Fathers; a film which tells the story of the battle of Iwo Jima from the point-of-view of the Americans. Whilst Flags of Our Fathers was meant to be the big event film it was Letters from Iwo Jima that actually garnered more acclaim and did slightly better at the Box Office. I feel the point of Letters from Iwo Jima is to tell the audience that there are two sides to every story and that those who fought on the Japanese side were equally as worthy of praise as the American soldiers. The film follows the fortunes of Private Saigo; a baker who is conscripted and leaves his heavily pregnant wife to fight on the island. Saigo often finds himself tortured by his superiors but on the day in which the U.S. Marines start to attack he is the only to keep a level-head. Evading being shot by those in charge several times, Saigo later earns the respect of General Kuribayashi and ultimately being the only one to survive the horrors of the battle. The most striking thing about Letters from Iwo Jima as a whole was the fact that many of the Japanese soldiers took their own lives when they thought that there was no way back. One of the scenes that will stick with me the most from Letters from Iwo Jima is the one in which the majority of Saigo's platoon blow themselves up with grenades. It's these moments that hit home the horrific conditions that the Japanese had to deal with and I do applaud Eastwood for trying to honour them in this way.
It did take me a while to truly lose myself in Letters from Iwo Jima and I felt the film only came alive in its latter scenes which was when the action really kicked off. The cast of the movie were all utterly believable in their roles with Kazunari Ninomiya being particularly effective as Saigo. The only familiar face amongst the cast, Ken Watanabe, was perfectly believable as the sensitive Kuribayashi; who at times was the only level-headed member of the military left on the island. Similarly to Flags of Our Fathers, Letters from Iwo Jima is shot in a faded manner which at times makes it look almost like documentary footage. Although I've not seen Flags of Our Fathers it was interesting to spot the scenes in which the two nations intersected and I'm assuming there are moments that appear in both films. I felt it was particularly brave of Eastwood to portray the Americans as the antagonists particularly in one heart-wrenching scene when a brutish soldier executes two Japanese soldiers who have surrendered. Letters from Iwo Jima was in fact a surprise entrant in the 2007 Best Picture field with many expecting the fifth nominee to be the musical Dreamgirls. However, I think it was good that the academy honoured a subtitled film which actually bucked the trend for war films by focusing on the foreign army. While I can't say I was a compelled by the film as I possibly should have been there are certain moments of it that will stick with me for years to come.
Next time we'll travel back to the States for the final film in the noughties section of the blog.
Wednesday, 25 March 2015
Matt's Big Oscar Challenge Days 405-406: Cowboys and Indians
People who've followed this journey from the beginning will know that, when I can, I like to group two or three nominees together. This time the films in the double bill have certain things in common such as their romantic nature and the fact that they netted Best Director and Best Score Oscars at their respective ceremonies. However, if I'm honest, the reason that Brokeback Mountain and Slumdog Millionaire are in the same entry is due to the fact that I liked the title of the post.
We start with Brokeback Mountain whose lead characters Jack Twist and Ennis Del Mar are technically sheep herders rather than cowboys but lets not bogged down in semantics. Even if they haven't seen the film most people will have an idea about Brokeback Mountain's plot as the film's title has become synonymous with dubious male relationships. What I can say about Brokeback Mountain is that it has incredibly slow start in which Jack and Ennis meet herding sheep upon the eponymous rock. Eventually realising their feelings for one another, Jack and Ennis begin sleeping together before they go their separate ways over the summer. Where the film got more interesting for me was in director Ang Lee's portrayal of the years following the couple's first meeting where they had to handle their secret whilst trying to go about a normal daily routine. The more reserved Ennis started got married quite early and started a family with the likeable Alma. Meanwhile, Jack took to the rodeo circuit eventually marrying the daughter of a wealthy farming supplies company. However, the pair participated in a number of lengthy fishing trips in which they reigniting their passion for one another. Although Jack wanted to start a new life on a ranch with Ennis he wasn't convinced and was worried that he'd eventually be caught out for his feelings towards a fellow man. Eventually the meetings became more infrequent and the final scenes revealed that Jack died possibly due as the result of a beating. However, the film's closing shot was beautifully realised as Ennis realised that he couldn't let Jack go even in death.
At the time Brokeback Mountain was released on DVD I was working at a video store and rented it out several times but I have to admit that I was never really as crazy about it as other critics. But watching with my 2015 eyes I appreciated the beauty of the film a lot more and feel it was almost criminal that cinematographer Rodrigo Prieto didn't win an award for his capturing of the Canadian landscape. That being said I still hold that the sheep herding scenes were quite slow and I feel that I would've still understood that Jack and Ennis' work was incredibly dull without having to witness it myself. However, I liked following the characters over a number of years and I also enjoyed how the timeline could be best ascertained by how old Ennis' daughters were as well as by the size of Anne Hathaway's hair. The fact that we didn't know exactly what year we were in helped screenwriters Diana Ossana and Larry McMurty to create a timelessness to Ennis and Jack's relationship with their fishing trips becoming more and more infrequent. On this viewing of Brokeback Mountain I really began to understand the characters and their differences between the quiet brooding Ennis and the boisterous Jack. This understanding was bolstered by a duo of fantastic turns from the late Heath Ledger as Ennis and Jake Gyllenhaal as Jack. Interestingly Ledger was nominated as Best Actor whilst Gyllenhaal was in the Supporting category however I think that both should have been put on equal pegging. That being said I feel that Ledger's performance was better as he perfectly portrayed the feelings of a man who said very few words. Michelle Williams was also given a Supporting Actress nomination as Ennis' heartbroken wife Alma; a role that cemented the actress' standing in Hollywood.
All in all Brokeback Mountain won three Oscars including ones for Ossana and McMurty's adapted screenplay and Ang Lee's fantastic direction. Also honoured was the Gustavo Santaolalla's iconic score which is one of the most memorable elements of the film. Going in to that year's Oscar ceremony, which I stayed up to watch live, Brokeback Mountain was the clear favourite to scoop Best Picture. There was surprise then when it went to rank outsider Crash; a film that hadn't even been nominated for a Best Picture Golden Globe the month before. Upon watching both films in quick succession, I have to concede that Brokeback is the better film however I'm not sure if I agree with the conspiracy theorists who blame the right-wing leanings of the Academy members on that year's Best Picture result. However, maybe neither film deserved to win and instead Crash triumphed over a more deserving nominee. Whilst you'll have to wait a bit longer to find out my verdict on the result as a whole, there's no denying that Brokeback Mountain is a beautifully constructed film about unrequited relationships. To me I don't think it mattered too much that the lead characters were gay but instead that these were two people who clearly loved each other deeply. Jack's line 'I Wish I Knew How to Quit You' perfectly sums up the film's central relationship in which neither member could escape their feelings for the other even after death.
While Brokeback Mountain didn't triumph in the Best Picture category the other film in this double bill, Danny Boyle's Slumdog Millionaire, garnered the big prize during the last Oscar ceremony of the noughties. As well as winning multiple Oscars, both films have an episodic structure in which they follow the lead characters over a number of years. Both are also based on best-selling novels, with Slumdog's source material being the book Q&A by Vikras Swarup. It was the interest in adapting Swarup's book that first got Simon Beaufoy interested in the idea and he later took several trips to India; where the film is set. Eventually teaming up with director Danny Boyle the two set about creating a film that has a very complicated narrative structure. The modern day part of the story sees the adult Jamal Malik being questioned by detectives after being suspected of cheating whilst taking part in the Indian version of Who Wants to be a Millionaire? The film then uses the police interrogation as the basis for a series of flashbacks as Jamal explains in detail why he knew the answer to each individual question. I think the level of enjoyment one gets from Slumdog Millionaire comes from how easy you find it to suspend your disbelief. For example it's interesting how the order of the questions allow Jamal to tell his story in a chronological manner. Despite being a contrived story, Slumdog Millionaire at least tells a powerful tale of street children, prostitution and organised crime. At the time one review described Slumdog Millionaire as 'a feelgood film' which is laughable in a movie that contains a cavalcade of bleak moments. However, the film does have an incredibly feelgood ending before concluding with a Bollywood dance routine that feels out of place.
I think it was almost impossible for Danny Boyle to make a film about Indian slums without garnering some criticism from the country itself and indeed that's exactly what happened. Many members of the Indian film industry have criticised Boyle for presenting a westernised view of their country. It's true that at time Slumdog Millionaire does resemble an advert from the Indian tourist board however I do think that Boyle tried his best to create a somewhat accurate depiction of the country. What I really care about when watching these films is how well they're made and if they entertained me sufficiently. I think Slumdog Millionaire did both as Chris Dickens deftly edited the multiple timelines together whilst Anthony Dod Mantle's cinematography was utterly breathtaking at points. The plot structure, in which each part of the film is divided into an explanation of Jamal's reason for knowing a certain answer, didn't bother me as much as it did some others. I also found the character of Jamal an endearing one and therefore his various traumas were easy to sympathise with. In the lead role of the adult Jamal, I think that relative newcomer Dev Patel did his best to anchor the film as he brought a certain naivety to the character. Seasoned professionals such as Anil Kapoor and Irrfan Khan were on hand to bring a bit of experience to the film as the quiz show's host and the lead detective respectively. Praise must also go to the young actors who were absolutely brilliant as the younger versions of Jamal, his brother Salim and the love of his life Latika. Although it possibly dilutes a lot of the issues that it focuses on, Slumdog Millionaire is an entertaining film that's easy to watch. Well-shot, directed and edited with a strong storyline to boot I can't help but admit that I thoroughly enjoyed the film even it doesn't quite have that quality that I believe a Best Picture winner should contain.
Next time we focus on an actor who found success on both sides of the camera.
We start with Brokeback Mountain whose lead characters Jack Twist and Ennis Del Mar are technically sheep herders rather than cowboys but lets not bogged down in semantics. Even if they haven't seen the film most people will have an idea about Brokeback Mountain's plot as the film's title has become synonymous with dubious male relationships. What I can say about Brokeback Mountain is that it has incredibly slow start in which Jack and Ennis meet herding sheep upon the eponymous rock. Eventually realising their feelings for one another, Jack and Ennis begin sleeping together before they go their separate ways over the summer. Where the film got more interesting for me was in director Ang Lee's portrayal of the years following the couple's first meeting where they had to handle their secret whilst trying to go about a normal daily routine. The more reserved Ennis started got married quite early and started a family with the likeable Alma. Meanwhile, Jack took to the rodeo circuit eventually marrying the daughter of a wealthy farming supplies company. However, the pair participated in a number of lengthy fishing trips in which they reigniting their passion for one another. Although Jack wanted to start a new life on a ranch with Ennis he wasn't convinced and was worried that he'd eventually be caught out for his feelings towards a fellow man. Eventually the meetings became more infrequent and the final scenes revealed that Jack died possibly due as the result of a beating. However, the film's closing shot was beautifully realised as Ennis realised that he couldn't let Jack go even in death.
At the time Brokeback Mountain was released on DVD I was working at a video store and rented it out several times but I have to admit that I was never really as crazy about it as other critics. But watching with my 2015 eyes I appreciated the beauty of the film a lot more and feel it was almost criminal that cinematographer Rodrigo Prieto didn't win an award for his capturing of the Canadian landscape. That being said I still hold that the sheep herding scenes were quite slow and I feel that I would've still understood that Jack and Ennis' work was incredibly dull without having to witness it myself. However, I liked following the characters over a number of years and I also enjoyed how the timeline could be best ascertained by how old Ennis' daughters were as well as by the size of Anne Hathaway's hair. The fact that we didn't know exactly what year we were in helped screenwriters Diana Ossana and Larry McMurty to create a timelessness to Ennis and Jack's relationship with their fishing trips becoming more and more infrequent. On this viewing of Brokeback Mountain I really began to understand the characters and their differences between the quiet brooding Ennis and the boisterous Jack. This understanding was bolstered by a duo of fantastic turns from the late Heath Ledger as Ennis and Jake Gyllenhaal as Jack. Interestingly Ledger was nominated as Best Actor whilst Gyllenhaal was in the Supporting category however I think that both should have been put on equal pegging. That being said I feel that Ledger's performance was better as he perfectly portrayed the feelings of a man who said very few words. Michelle Williams was also given a Supporting Actress nomination as Ennis' heartbroken wife Alma; a role that cemented the actress' standing in Hollywood.
All in all Brokeback Mountain won three Oscars including ones for Ossana and McMurty's adapted screenplay and Ang Lee's fantastic direction. Also honoured was the Gustavo Santaolalla's iconic score which is one of the most memorable elements of the film. Going in to that year's Oscar ceremony, which I stayed up to watch live, Brokeback Mountain was the clear favourite to scoop Best Picture. There was surprise then when it went to rank outsider Crash; a film that hadn't even been nominated for a Best Picture Golden Globe the month before. Upon watching both films in quick succession, I have to concede that Brokeback is the better film however I'm not sure if I agree with the conspiracy theorists who blame the right-wing leanings of the Academy members on that year's Best Picture result. However, maybe neither film deserved to win and instead Crash triumphed over a more deserving nominee. Whilst you'll have to wait a bit longer to find out my verdict on the result as a whole, there's no denying that Brokeback Mountain is a beautifully constructed film about unrequited relationships. To me I don't think it mattered too much that the lead characters were gay but instead that these were two people who clearly loved each other deeply. Jack's line 'I Wish I Knew How to Quit You' perfectly sums up the film's central relationship in which neither member could escape their feelings for the other even after death.
While Brokeback Mountain didn't triumph in the Best Picture category the other film in this double bill, Danny Boyle's Slumdog Millionaire, garnered the big prize during the last Oscar ceremony of the noughties. As well as winning multiple Oscars, both films have an episodic structure in which they follow the lead characters over a number of years. Both are also based on best-selling novels, with Slumdog's source material being the book Q&A by Vikras Swarup. It was the interest in adapting Swarup's book that first got Simon Beaufoy interested in the idea and he later took several trips to India; where the film is set. Eventually teaming up with director Danny Boyle the two set about creating a film that has a very complicated narrative structure. The modern day part of the story sees the adult Jamal Malik being questioned by detectives after being suspected of cheating whilst taking part in the Indian version of Who Wants to be a Millionaire? The film then uses the police interrogation as the basis for a series of flashbacks as Jamal explains in detail why he knew the answer to each individual question. I think the level of enjoyment one gets from Slumdog Millionaire comes from how easy you find it to suspend your disbelief. For example it's interesting how the order of the questions allow Jamal to tell his story in a chronological manner. Despite being a contrived story, Slumdog Millionaire at least tells a powerful tale of street children, prostitution and organised crime. At the time one review described Slumdog Millionaire as 'a feelgood film' which is laughable in a movie that contains a cavalcade of bleak moments. However, the film does have an incredibly feelgood ending before concluding with a Bollywood dance routine that feels out of place.
I think it was almost impossible for Danny Boyle to make a film about Indian slums without garnering some criticism from the country itself and indeed that's exactly what happened. Many members of the Indian film industry have criticised Boyle for presenting a westernised view of their country. It's true that at time Slumdog Millionaire does resemble an advert from the Indian tourist board however I do think that Boyle tried his best to create a somewhat accurate depiction of the country. What I really care about when watching these films is how well they're made and if they entertained me sufficiently. I think Slumdog Millionaire did both as Chris Dickens deftly edited the multiple timelines together whilst Anthony Dod Mantle's cinematography was utterly breathtaking at points. The plot structure, in which each part of the film is divided into an explanation of Jamal's reason for knowing a certain answer, didn't bother me as much as it did some others. I also found the character of Jamal an endearing one and therefore his various traumas were easy to sympathise with. In the lead role of the adult Jamal, I think that relative newcomer Dev Patel did his best to anchor the film as he brought a certain naivety to the character. Seasoned professionals such as Anil Kapoor and Irrfan Khan were on hand to bring a bit of experience to the film as the quiz show's host and the lead detective respectively. Praise must also go to the young actors who were absolutely brilliant as the younger versions of Jamal, his brother Salim and the love of his life Latika. Although it possibly dilutes a lot of the issues that it focuses on, Slumdog Millionaire is an entertaining film that's easy to watch. Well-shot, directed and edited with a strong storyline to boot I can't help but admit that I thoroughly enjoyed the film even it doesn't quite have that quality that I believe a Best Picture winner should contain.
Next time we focus on an actor who found success on both sides of the camera.
Monday, 23 June 2014
Matt's Big Oscar Challenge Days 332-333: Kate's Greats
In the last post we looked at two of Emma Thompson's performances from Best Picture nominees of the early 1990s but unbeknownst to us she was also busy scribbling off screen. That's because, for the best part of five years, Thompson had been adapting Jane Austen's Sense and Sensibility after being hired for the project by producer Lindsay Doran. Thompson had initially wanted Natasha and Joely Richardson to play sisters Elinor and Marianne Dashwood but instead the studio wanted her to play Elinor. This meant having to alter the character's age from nineteen to twenty-seven in order to make Thompson's appearance in the part convincing. Thompson would go on to win her second Academy Award for the screenplay and be nominated for a third Best Actress for her role as Elinor. But it's the actress who played Marianne that we turn our attention to as she forms the basis of this next double bill.
The actress in question is Kate Winslet who was just nineteen when she appeared in Sense and Sensibility and earned a Best Supporting Actress nomination as a result. Winslet's road to the part was a rocky one as she was initially due to audition for the smaller role of Lucy Steele. But when she arrived at the audition she played dumb and read for Marianne, instantly captivating the panel and winning the part. However, her casting in the film was not without criticism primarily from director Ang Lee who felt that her performance in Peter Jackson's Heavenly Creatures was too over-the-top. In order for her to be convincing in the role, Lee wanted her to act more gracefully so encouraged her to read poetry and learn to play the piano. The result was a scene-stealing performance as the reckless middle Dashwood sister who falls head-over-heels for the dashing John Willoughby. Even in the earlier scenes Winslet excels at conveying quiet disdain for her step-brother's wife Fanny who is basically evicting them from their own home. Winslet easily conveys Marianne's transformation from brash stroppy teenager to a more mature character as she finally falls for the stable Colonel Brandon. Emma Thompson's own performance really tied everything together and I didn't for a minute have a problem with the way that Elinor was substantially aged to suit Thompson. Indeed the fact that Elinor was practically considered a spinster was incorporated into Thompson's script and worked perfectly well in the overall story. As the dreadful Fanny, Harriet Walter gave an incredibly awful turn and triumphed in providing the majority of the film's comedy. Meanwhile Gemma Jones and Emilie François, as Mrs Dashwood and Margaret respectively, shone in their limited screen time. In comparison to their female counterparts, the male actors were a little subdued but that might have something to do with the characters they were playing. Apparently Thompson wrote the role of Edward Ferrars with Hugh Grant in mind but I feel the pair didn't share enough chemistry to convince me of their on screen romance. Similarly, as Col Brandon, Alan Rickman's chemistry with Winslet lacked any spark though he was convincing as an emotionally reserved soldier. Of the male leads, only Greg Wise put in a convincing turn as the dashing Willoughby as he made you understand why Marianne fell for him so much. Interestingly it was actually Thompson who fell for Wise in real life with the pair eventually marrying some years later.
Both Doran and Thompson wanted Sense and Sensibility to have far-reaching appeal and never wanted it to be viewed as just another costume drama. I definitely felt that Sense and Sensibility was more accessible than both Howard's End and The Remains of the Day which at times were a little bit too rigid for their own good. One of the ways the pair achieved their goal was for Thompson to simplify some of the dialogue so the themes would be more relatable for a modern-day audience. Doran's goal was for the film to appeal to lovers of romantic comedy and I feel that Thompson's script for Sense and Sensibility does indeed have those sorts of elements. Another way Doran gained global appeal for the film was in the hiring of South Korean director Ang Lee, who had never heard of Jane Austen prior to his appointment. But, after reading Thompson's script, he realised his previous film The Wedding Banquet had a lot in common with Austen's story. Lee certainly added a lot of elegance to the piece but was able to incorporate some of his own stylistic qualities to the exterior scenes which made Sense and Sensibility feel a lot more open than the stuffier Merchant Ivory pictures. Costume designers, and Merchant Ivory stalwarts, John Bright and Jenny Bevan provided plenty of distinctive outfits for each individual character. Meanwhile composer Patrick Doyle's score provided a suitable accompaniment to a film that felt a lot more contemporary than a lot of other Victorian dramas. Sense and Sensibility was a film I remember watching on VHS both at home and in a Year 9 English Lesson but a the time I don't think I appreciated the quality of the film in the way I do now. Sense and Sensibility ultimately came across as a labour of love for all those involved and was a film that definitely deserved the seven Oscars it was nominated for. Meanwhile Winslet's role in the film saw her become a breakout star and for the first time was a recognisable presence in the film industry.
But Winslet really became a big name after starring in a film that still holds the title of being the largest grossing film of all time and the recipient of eleven Oscars including one for Best Picture. Obviously I'm talking about Titanic and, just like in Sense and Sensibility, Winslet fought hard to get the lead role of Rose. Her tactics included sending several letters and a rose to James Cameron which led to a screen test and an eventual part in this monumental movie. You couldn't grow up in the late 1990s and not know something about Titanic but I have to admit that I've never watched it all the way through. I've caught bits of it on the TV occasionally but I always thought that three hours focusing solely on one movie was too much. I do however remember the commotion that was caused after the BBC revealed that they were going to air Kate Winslet's tame topless scene before the watershed. The scene, in which Rose is painted nude by Leonardo DiCaprio's Jack, is incredibly quick and also is vital to the overall plot. Indeed it is in the discovery of this drawing that the elderly Rose is reunited with the Titanic which is currently being investigated by treasure hunter Brock Lovett. The main story of Titanic is Rose's memories of her time on the ill-fated ship and the brief romance she shared with the commoner Jack Dawson. It was this romance between upper class Rose and lower class Jack that captured the imaginations of the audience. Indeed, I remember some of the girls in my class at school going to see the film two or three times with DiCaprio gaining pin-up status as a result. But I personally never brought into the central romance and as a result the majority of Titanic fell flat for me. Part of the problem for this was the wafer-thin characterisation that was afforded to the central couple but partly both actors were to blame. Winslet showed none of the maturity or discipline of her performance in Sense and Sensibility whilst DiCaprio struggled to hold the film together. Another issue I had was with Cameron's script, particularly the fact that the film shows some of Jack's scenes without Rose even though it's meant to be her narrating it. Thankfully Cameron's script was one of the elements of the film that wasn't included in Titanic's massive haul of nominations.
Despite my reservations about the film's narrative and central performances; there's no denying that Titanic is one of the most ascetically magnificent films of all time. The second half of the film, which focuses on the ship's sinking, was definitely the most compelling and allowed Cameron to demonstrate why the film was the most expensive of all time. Using a combination of scale models, computer imagery and a full-scale replicate of the ship; Cameron's vision for Titanic was more than realised when the project was complete. Every scene of the film looks fantastic from the elegant upper-decks to the rat-infested rooms in which Jack and his friends find themselves. The costumes are realistically recreated and James Horner's haunting score remains one of cinema's most recognisable. While we're on music it would be amiss of me not to mention one of Titanic's most famous attributes, Celine Dion's 'My Heart Will go On'. At the time it was hard to escape the song and there's no denying that it's still one of the most famous film theme tunes. Russell Carpenter's cinematography came alive during the film's second half as he allowed the camera to survey the sinking ship and immersed the audience into the action. The way the camera follows Jack and Rose as they hurtle down the water-logged corridors is simply fantastic as is the manner in which he zooms over the lifeless bodies that have frozen in the cold water. These scenes in particular add to the realism of the film and it was interesting to note that many of the cast members got terribly ill as a result of spending days in the freezing water. Although I wasn't wowed by the central performances some of the supporting cast members brought their characters to life. As the 'unsinkable' Molly Brown, Kathy Bates brought some much needed fun to the film whilst Bernard Hill's facial expressions as the ship's Captain were fantastic. I also enjoyed Victor Garber's turn as the ship's architect and felt his apology to Rose in particular was quite moving. But for me it was Gloria Stuart, as the older version of Rose, who stole the show and I was transfixed by her moving turn at the beginning and end of the film. Ultimately I'm not surprised that Titanic won Best Picture as it is one of the most visually engaging films that you'll ever see. That being said I was never really caught up in the narrative of the film and to me this is a film that's all about the visuals rather than the story itself.
Next time we depart from the fancy costumes of yesteryear and check in on what was going on in Britain during the 1990s.
The actress in question is Kate Winslet who was just nineteen when she appeared in Sense and Sensibility and earned a Best Supporting Actress nomination as a result. Winslet's road to the part was a rocky one as she was initially due to audition for the smaller role of Lucy Steele. But when she arrived at the audition she played dumb and read for Marianne, instantly captivating the panel and winning the part. However, her casting in the film was not without criticism primarily from director Ang Lee who felt that her performance in Peter Jackson's Heavenly Creatures was too over-the-top. In order for her to be convincing in the role, Lee wanted her to act more gracefully so encouraged her to read poetry and learn to play the piano. The result was a scene-stealing performance as the reckless middle Dashwood sister who falls head-over-heels for the dashing John Willoughby. Even in the earlier scenes Winslet excels at conveying quiet disdain for her step-brother's wife Fanny who is basically evicting them from their own home. Winslet easily conveys Marianne's transformation from brash stroppy teenager to a more mature character as she finally falls for the stable Colonel Brandon. Emma Thompson's own performance really tied everything together and I didn't for a minute have a problem with the way that Elinor was substantially aged to suit Thompson. Indeed the fact that Elinor was practically considered a spinster was incorporated into Thompson's script and worked perfectly well in the overall story. As the dreadful Fanny, Harriet Walter gave an incredibly awful turn and triumphed in providing the majority of the film's comedy. Meanwhile Gemma Jones and Emilie François, as Mrs Dashwood and Margaret respectively, shone in their limited screen time. In comparison to their female counterparts, the male actors were a little subdued but that might have something to do with the characters they were playing. Apparently Thompson wrote the role of Edward Ferrars with Hugh Grant in mind but I feel the pair didn't share enough chemistry to convince me of their on screen romance. Similarly, as Col Brandon, Alan Rickman's chemistry with Winslet lacked any spark though he was convincing as an emotionally reserved soldier. Of the male leads, only Greg Wise put in a convincing turn as the dashing Willoughby as he made you understand why Marianne fell for him so much. Interestingly it was actually Thompson who fell for Wise in real life with the pair eventually marrying some years later.
Both Doran and Thompson wanted Sense and Sensibility to have far-reaching appeal and never wanted it to be viewed as just another costume drama. I definitely felt that Sense and Sensibility was more accessible than both Howard's End and The Remains of the Day which at times were a little bit too rigid for their own good. One of the ways the pair achieved their goal was for Thompson to simplify some of the dialogue so the themes would be more relatable for a modern-day audience. Doran's goal was for the film to appeal to lovers of romantic comedy and I feel that Thompson's script for Sense and Sensibility does indeed have those sorts of elements. Another way Doran gained global appeal for the film was in the hiring of South Korean director Ang Lee, who had never heard of Jane Austen prior to his appointment. But, after reading Thompson's script, he realised his previous film The Wedding Banquet had a lot in common with Austen's story. Lee certainly added a lot of elegance to the piece but was able to incorporate some of his own stylistic qualities to the exterior scenes which made Sense and Sensibility feel a lot more open than the stuffier Merchant Ivory pictures. Costume designers, and Merchant Ivory stalwarts, John Bright and Jenny Bevan provided plenty of distinctive outfits for each individual character. Meanwhile composer Patrick Doyle's score provided a suitable accompaniment to a film that felt a lot more contemporary than a lot of other Victorian dramas. Sense and Sensibility was a film I remember watching on VHS both at home and in a Year 9 English Lesson but a the time I don't think I appreciated the quality of the film in the way I do now. Sense and Sensibility ultimately came across as a labour of love for all those involved and was a film that definitely deserved the seven Oscars it was nominated for. Meanwhile Winslet's role in the film saw her become a breakout star and for the first time was a recognisable presence in the film industry.
But Winslet really became a big name after starring in a film that still holds the title of being the largest grossing film of all time and the recipient of eleven Oscars including one for Best Picture. Obviously I'm talking about Titanic and, just like in Sense and Sensibility, Winslet fought hard to get the lead role of Rose. Her tactics included sending several letters and a rose to James Cameron which led to a screen test and an eventual part in this monumental movie. You couldn't grow up in the late 1990s and not know something about Titanic but I have to admit that I've never watched it all the way through. I've caught bits of it on the TV occasionally but I always thought that three hours focusing solely on one movie was too much. I do however remember the commotion that was caused after the BBC revealed that they were going to air Kate Winslet's tame topless scene before the watershed. The scene, in which Rose is painted nude by Leonardo DiCaprio's Jack, is incredibly quick and also is vital to the overall plot. Indeed it is in the discovery of this drawing that the elderly Rose is reunited with the Titanic which is currently being investigated by treasure hunter Brock Lovett. The main story of Titanic is Rose's memories of her time on the ill-fated ship and the brief romance she shared with the commoner Jack Dawson. It was this romance between upper class Rose and lower class Jack that captured the imaginations of the audience. Indeed, I remember some of the girls in my class at school going to see the film two or three times with DiCaprio gaining pin-up status as a result. But I personally never brought into the central romance and as a result the majority of Titanic fell flat for me. Part of the problem for this was the wafer-thin characterisation that was afforded to the central couple but partly both actors were to blame. Winslet showed none of the maturity or discipline of her performance in Sense and Sensibility whilst DiCaprio struggled to hold the film together. Another issue I had was with Cameron's script, particularly the fact that the film shows some of Jack's scenes without Rose even though it's meant to be her narrating it. Thankfully Cameron's script was one of the elements of the film that wasn't included in Titanic's massive haul of nominations.
Despite my reservations about the film's narrative and central performances; there's no denying that Titanic is one of the most ascetically magnificent films of all time. The second half of the film, which focuses on the ship's sinking, was definitely the most compelling and allowed Cameron to demonstrate why the film was the most expensive of all time. Using a combination of scale models, computer imagery and a full-scale replicate of the ship; Cameron's vision for Titanic was more than realised when the project was complete. Every scene of the film looks fantastic from the elegant upper-decks to the rat-infested rooms in which Jack and his friends find themselves. The costumes are realistically recreated and James Horner's haunting score remains one of cinema's most recognisable. While we're on music it would be amiss of me not to mention one of Titanic's most famous attributes, Celine Dion's 'My Heart Will go On'. At the time it was hard to escape the song and there's no denying that it's still one of the most famous film theme tunes. Russell Carpenter's cinematography came alive during the film's second half as he allowed the camera to survey the sinking ship and immersed the audience into the action. The way the camera follows Jack and Rose as they hurtle down the water-logged corridors is simply fantastic as is the manner in which he zooms over the lifeless bodies that have frozen in the cold water. These scenes in particular add to the realism of the film and it was interesting to note that many of the cast members got terribly ill as a result of spending days in the freezing water. Although I wasn't wowed by the central performances some of the supporting cast members brought their characters to life. As the 'unsinkable' Molly Brown, Kathy Bates brought some much needed fun to the film whilst Bernard Hill's facial expressions as the ship's Captain were fantastic. I also enjoyed Victor Garber's turn as the ship's architect and felt his apology to Rose in particular was quite moving. But for me it was Gloria Stuart, as the older version of Rose, who stole the show and I was transfixed by her moving turn at the beginning and end of the film. Ultimately I'm not surprised that Titanic won Best Picture as it is one of the most visually engaging films that you'll ever see. That being said I was never really caught up in the narrative of the film and to me this is a film that's all about the visuals rather than the story itself.
Next time we depart from the fancy costumes of yesteryear and check in on what was going on in Britain during the 1990s.
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