The King’s Speech, The Musical: Track List

You probably might have heard by now that The King’s Speech is headed to Broadway, and I really am intrigued by the state of affairs which has turned the film from affable Best Picture contender to loathed Oscar winner. (I was a vaguely reticent fan when I first saw, but upon multiple viewings it ended up in my top 7 that year).
           
I’m interested in the notion of how the film will transfer to theatre, I could imagine the libretto would be rather simple – the script is straightforward. It’s the music – the crux of a musical – that has me more anxious. I happened to get my hands (illicitly, of course) on a drafted list of songs for the 2012 opening. I’ve left my thoughts below on what I imagine they could be about where necessary.
       
ACT ONE

• The Microphone – Ensemble


• Speech Therapy– Elizabeth


• The Penguins – Bertie


• My Castle, My Rules – Lionel


• Unnamed Song – Bertie, King George V


• The King’s Speech I– Lionel, Bertie and Elizabeth


• When I Was a Boy – Bertie, Lionel


• King George the Stammer-er – Bertie, David

This would probably be the scene for the first The King's Speech number...

ACT TWO

• When I Was A Boy (Reprise) – Bertie


• Shit and Fuck and Tits – Albert and Lionel


• The King’s Speech II– Bertie, David and Ensemble


• Unnamed Song - Lionel


• If I Must Be Queen – Elizabeth, Bertie (I imagine that this could be a sleeper number that ends up becoming the emotional gamut of the show)


• Confrontation / I Have A Voice– Bertie, Lionel


• The King’s Speech III – Albert, Lionel, Elizabeth and Ensemble

It seems the songwriters are playing on the concept of his literal speech and his speech (as in the manner of speaking), which is the only reason I could account for a resounding THREE songs with the title. I’m actually surprised that Elizabeth actually has a solo, this is – after all – a boys’ piece so she’s probably lucky to get even that. I like that the purported list has little more than a dozen numbers, which probably means it probably won’t be sung-through. I can’t imagine what the solo number for Lionel in the second act could be about. Maybe we might get a further glimpse of home life…who knows?
       
Fingers crossed; maybe the lyrics to some of these gems might leak before the year’s out. *I’ll do my utmost to make that happen.*
          

Now that we've seen the track list are you anticipating the film's transfer to the stage?

     
(To state the obvious, in case the deadpan is misleading - this information is falsified.)

The Spin-Off: 2.2

Jose’s anticipation for W.E. (and concurrent retrospective bashing of The King’s Speech) got me thinking about all the plot points at work in Hooper’s Oscar winner. Granted, I liked The King’s Speech. I felt it improved upon multiple viewings unlike most films of its genre, but there are so many interesting concepts at work that could make for (more?) interesting cinema. Case in the point the relationship between David and Albert.

      

For someone I’m always wont to forget whenever he turns up in anything, Guy Pearce gave a particularly affecting performance as the abdicator (perhaps, I should dedicate a column of Forgotten Characters to him). Firth is great all around the film, especially opposite Rush and HBC but my favourite scene of his is opposite Firth at that engagement party of Wally’s. Maybe sibling drama doesn’t make for revolutionary cinema, but I find the dynamic between the brothers to be more than worthy of a footnote in a film.

        

The only reason that Albert has all those issues to sort out with his speech therapist/shrink is because his youth is saturated with significant issues. I’d love the idea of a Becket like history of the brothers in their youth, and because women make everything better we could throw in the courtship of Elizabeth for the hell of it. I like Hooper, so I wouldn’t mind him returning for the prequel. I say James McAvoy as Albert and Matthew McFayden as David with Anna Friel as Elizabeth perhaps and we have a winner.

      

Who’s with me? Is this prequel worth funding?

Oscar Talk: Because I Can (Final Oscar Predictions)

I didn't even realise that I went this crazy with talking Oscar this past season (all entries), it implicitly suggests that I was invested in the season - which I wasn't, but ah well. I do feel the slightest bit saddened that the season is over. Oscar's like one of those friends you can't stand to talk to often, but you'd implode if they died. So, ahoy - final final predictions.

       

Picture: The King’s Speech

Director: David Fincher for The Social Network

To tell you the truth, I wish I had the guts to predict The King’s Speech for both honours – but I’m hoping me not predict it will somehow make it not happen. Not because I’d mind Hooper winning that much (I won’t) – but I could only fathom the uproar that will occur if he does win the Oscar. And, I like the guy – don’t want him mauled. Either way, though, I’m fine. Both films and directors would appear somewhere in my top 10 – so I don’t mind what happens either way. (I’m still hoping for a delicious upset via The Kids Are All Right, but yeah, I’m fine either way.)

          

Actor: Colin Firth in The King’s Speech (alternate Javier Bardem in Biutiful)

Actress: Natalie Portman in Black Swan (Annette Bening in The Kids Are All Right

So, Colin and Natalie? Je ne sais pas. It’s a tossup (in my head at least) for the acting race – but I’m willing expect my favourite to lose. Now that I look at it, though, I want Annette to win even more (apparently it IS possible). Remember she and Colin were in Valmont way back when. Wouldn’t it be nice to see them win Oscars together?

Supporting Actor: Christian Bale in The Fighter (Geoffrey Rush in The King’s Speech)

Supporting Actress: Helena Bonham Carter in The King’s Speech (Alternate: Melissa Leo in The Fighter)

So, will HBC finally reach the podium 18 – or is it 13 – years after she deserved to? It depends on who you’re talking to pinpoint the precise year she deserved it, but she has before. Not for her Queen Mother, but do I care? No. I could be wrong, perhaps me wanting it means it won’t happen, but I’m sticking to that prediction. And, I suppose a Bale win is inevitable – which is fine. That pipedream for Ruffalo died long ago (though, I’ll admit I’m still pretending he’s winning in my head).

Original Screenplay: David Seidler for The King’s Speech (Alternate: Christopher Nolan for Inception)

Adapted Screenplay: Aaron Sorkin for The Social Network (Alternate: Michael Arndt, Jon Lasseter et al for Toy Story III

People are still predicting an Inception upset – which I swear would make me so infuriated I’m actually worried it’ll happen now. Look, fine I’m not a big Inception fan – but there’s such a colossal difference between originality and writing. The award seems skewed because it says “original writing” and not “screenplay from material previously unpublished”. Ah well, we’ll see what happens... I say it’ll be the two frontrunners for the Picture category with Sorkin and Seidler triumphing. And, since Cholodenko has no luck – I’m fine with these two choices.

Art Direction: The King’s Speech (Alternate: Inception)

Makeup: Barney’s Version (Alternate: The Wolfman)

Costume Design: Colleen Atwood for Alice in Wonderland (Alternate: Jenny Beavan for The King’s Speech

Now that I think of it, Art Direction could be a huge toss-up. Sure, The King’s Speech and Inception seem like the frontrunners – but there’s no telling how voters will respond to the obtrusiveness of Alice in Wonderland, and I sort of don’t see True Grit going home empty handed either. Aaargh, then there’s makeup which I’m really just guessing about – and them, Costume Design where I want Colleen to win because she’s the best and I want her to get her third statue, and then there’s Beavan who was snubbed for such great work in the 90s and did such good work on The King’s Speech which I’m not-so-secretly hoping will sweep the ceremony just for the fun of it. Decisions, decisions....

Sound Editing: Inception

Sound Mixing: Inception (The King's Speech)

I decided to go two for two with Inception here, because the sound branch seemed sort of insular in choosing The Hurt Locker last year. And, though, it’s possible they just thought it deserved both – and though Inception is nowhere near frontrunner status – it’s a possibility that seems logical. Now, The King’s Speech (or more realistically True Grit) could upset in the mixing category – but I’ll say no.

Cinematography: Danny Cohen for The King’s Speech (Alternate: Wally Pfister for Inception)

Editing: Kirk Baxter and Angus Wall for The Social Network (Tariq Anwar for The King’s Speech)

Visual Effects: Inception (Alternate: Alice in Wonderland)

Okay, I think this is the point where I’m getting ridiculous. Honestly, I can really see Cohen upsetting for photography in the same way that something like The Golden Compass upset for visuals or The Bourne Supremacy upset for sound. And, then I could see the obvious happening and Deakins winning or Pfister winning. Ugh, this is only a conundrum because I’m over-thinking it all – and I know I’m over-thinking it, but I can’t help over-thinking. This reminds me why I opted to show no interest in Oscar last year. I think the editing prize is assured, though. No? And the visual prize seems assured, but I think I’ll laugh if Alice in Wonderland (undeservedly, I’d admit) wins.

Original Score: Alexandre Desplat for The King’s Speech

Original Song: Alan Menken for “I See the Light” from Tangled

We all know how surprising the music branch can go when it comes to choosing winners (case in point: 2005, an exercise in strangeness). Will Desplat and Menken – the deserving – win? Will Zimmer and Rahman – the loud and the obvious – triumph. Will we go even crazier and reward the laidback ones like Reznor and Newman? I’m sticking with the first options.

Foreign Language Feature: Incendies (Alternate: In A Better World)

Documentary Feature: Inside Job (Alternate: Waste Land)

Animated Feature: Toy Story III (Alternate: How to Train Your Dragon)

I have a feeling Incendies is going to win, if only because most people who’ve seen the films admit that it’s terribly mawkish. I have that sort of little faith in the voters, although you’d think them having to watch the films in succession mean the best will win. I can’t be certain, Incendies just seems like a typical choice even if I want to say In A Better World. I’d sort of love Dogtooth to win, just because this guy here loves it – and it’ll probably make him happy. I’m sticking with Inside Job for documentary – just because.

Short Film (Animated): Day & Night (Alternate: Let’s Pollute)

Short Film (Documentary): Killing in the Name (Alternate: The Warriors of Qiugang)

Short Film (Live Action): The Confession (Alternate: God of Love)

I’m honestly stabbing in the dark here, and I sort of love it. I always do zero research for these categories and just choose based on name of film and directors. It’s always fun, but don’t take me seriously here. I have absolutely no authority.

                        

Well, Oscars are in about 18 hours or so. How was the season for you?

Encore Awards: Picture

I contemplated doing a top ten lists of 2010 films which would have sufficed as proof of my favourites, but I’m not if not set in my ways and that seems much to imitative of the Academy’s recent return to nominating ten films for the honour – so I opted not to (not that this is actually cause for concern, but allow me my pretentiousness) – I went for an even more atypical top 7 instead. By now you’re probably tired of me telling you that 2009 had better films to offer us than 2010 and if I were to line-up my two top ten lists of the two years three 2010 films would make it into the combined ten. That doesn’t lessen my appreciation for the films I like this year – they’re still good. I haven’t found anything to fawn over embarrassingly like Bright Star or pontificate on continuously (and superfluously) like An Education but I do have one film at the top and a trio immediately after that’s difficult to separate. And the also-rans are in no way substandard. (All Awards)

When I think of my first impressions of some of these films, the results are kind of interesting. But, movie loving is a strange thing. Some of these films improve significantly on multiple viewings (The King's Speech, Scott Pilgrim vs the World) and some of them lose a bit of their lustre (The Social Network). The film I've seen most this year is The Kids Are All Right - and each time I see it, something new appears for me to love. Ah, le cinema....

(unless otherwise indicated, click on the photos for reviews)

                  

THE NOMINEES

Agora

In its way Agora is just the sort of film that makes sense on my list of personal favourites. I’m as keenly aware of its issues as any of its detractors – well, except for Jose, even I can’t defend it from the tongue-lashing he gave it – but Amenabar’s pseudo-historical saga appeals to me not only on a social level but artistically. True, its technical achievements are impressive, and maybe there’s something in it being the first A (well, A-) that I gave this year. At its strongest moments, though, no other drama this year – not even The Social Network – is able to marry intelligence with entertainment so sumptuously. And, I’ll always credit it for making me appreciate the ellipse which I was never half as interested in when I was actually studying Technical Drawing.

Animal Kingdom

I’m anxiously waiting what Michôd’s next cinematic encounter entails. Perhaps, Animal Kingdom shouldn’t work as well as it does – and a throwaway description of it I heard (an Australian, small-scale GoodFellas) made me wonder if it’s all really as rote as that. Still, when it comes to being seamless in blending acting, direction and writing Michôd’s work here is astounding. It approaches the bleak issues with a freshness – that’s not delusion – and manages to suggest interesting things about potential archetypes with smart profundity.
                        

                            

The Kids Are All Right

Detractors seem taken with the notion that the work is not laudable because the story is a normal suburban one with lesbians – no kidding. The very point of The Kids Are All Right IS the rote ways of suburban life, Paul is a mere plot point (albeit a nice, juicy one) and Choledenko knows to create the tone that makes the film dependant on its familial issues and not its LGBT themes. It’s a bit insular to boil it down to holding merit for the way that that ends up being so progressive; its strongest asset is its non-judgemental attitude toward its entire cast. It’s the sort of film that’s a bit like an arbitrary voyeuristic glimpse into the lives of a group of flawed individuals.
                                                                 

                                             

The King’s Speech

When you get past the fact that The King’s Speech isn’t what you expect it to be, the tale that Hooper crafts is comforting in its stylish sedateness. The amalgamation of everything that makes it thoroughly British (even if in an ostensibly formulaic way) is stimulating to watch as Hooper and Seiberg use the conventionality to create something subtly imaginative. I don’t care if it’s technical aspects have (unfortunately) turned into something of a joke recently, but it’s the sort of subtle camerawork and editing that’s always impressive and what’s more it emerges as one of the most well paced cinematic experiences of the year.

                                                               

Rabbit Hole

One of the strangest things about Rabbit Hole is how much we manage to learn in a mere hour and a half. Neither Lindsay-Abaire nor Mitchell is willing to waste time on the extraneous and they make each minute contribute to a consistent movement forward that’s deliberate (though, never forced) and organic always in its progress. I’d never call it overwrought because despite its emotive potential there’s a sort of sheen preventing it from being too interested in the hypersensitivity of dealing with death and more involved in the detachment Becca and Howie feel from the world. Mitchell echoes it in his directing, and Lindsay-Abaire ensures that it wraps up concisely – but not with an obtrusive ribbon to tie it off.

                       

Scott Pilgrim vs the World

No movie this year puts a perpetual smile on my face as much as Scott Pilgrim vs the World (yes, I’m in lesbians with it). It’s continually daring without any arrogance about it, and in its somewhat single-minded desire to entertain us it never robs its characters of their integrity. A videogame geek, I am not, but I feel affronted on its behalf for being relegated to mere “dabbling” in technological innovations. Wright’s dedication to story and characters triumphs over a number of the more non-comic films of the year, and he approaches his subjects with a dearth of pretentiousness that even more of them could benefit from.

                            

The Social Network

Amidst the barrage of Oscar prognosticating and choosing sides that’s happening online, it’s difficult to remember where your allegiances lay in the first place. The staunchest of supporters for The Social Network supporters have turned into a mean crowd, but that won’t make me waver in my appreciation for it. Rabbit Hole wins in the succinct department, but The Social Network emits a smoothness to it that’s never smarmy – no matter. Fincher’s directing style is not exactly personal, but his intent on coalescing technical aspects with the insularity of his protagonist is impressive. Add that to the fact that for every pithy bit of dialogue that makes you start, there’s an equally intelligent scene that makes you think.

                        

FINALISTS: The Ghost Writer (review) tops my other list, and true there’s a delicate divide preventing me from surrendering completely to it. Despite the slightest of reservations, though, Polanski’s control over the story is excellent and a seamless screenplay merging with a talented cast makes for a rousing, intelligent but always entertaining thriller; Somewhere is a more dubious choice – ostensibly, I suppose – but I might even intimate that it’s my favourite piece from Coppola. It depends resolutely on her ability to retract the sometimes officious hand of the director and let the film just exist in its natural state culminating in an indolence that’s not overly stylised but still sophisticated and most important emotionally motivating.

                          

SEMI-FINALISTS: They’re all worth your time for various reasons like The Fighter (review) for its ultimate focus on familial relationships and issues of self all under the smokescreen of a boxing film; Greenberg (review) for being so continuously smart in examining the misanthropic tendencies of a man simultaneously hateful of the universe and desperate for appreciation; Nowhere Boy (review) for managing to have that many obvious clichés in its pockets but still – in the end – managing to be refreshing in its focus not on Lennon but a troubled teenager; Let Me In (review) for taking the horror genre and moving it from the obtrusive to the psychological all the while never exploiting its young leads.

#14: Cairo Time (review)

#15: Shutter Island  (review)
#16: The Runaways (review)

#17: How to Train Your Dragon (review)

#18: Blue Valentine (review)

#19: Black Swan (review)

#20: Get Low (review)

#21: Green Zone (review)

#22: Night Catches Us (review)

#23: Toy Story III (review)

#24: Nanny McPhee & the Big Bang (review)

#25: Winter’s Bone (review) 

  

Nomination Tally (24 Categories, some miscellaneous some not)
127 Hours  1 nomination
Agora 10 nominations (1 Gold, 3 Silvers)
Alice in Wonderland 1 nomination (1 Gold)
Animal Kingdom 9 nominations (3 Silvers)
Black Swan 6 nomination (1 Gold)
Blue Valentine 1 nomination (1 Silver)
Brooklyn’s Finest 1 nomination
Burlesque 2 nomination (1 Silver)
Country Strong 1 nomination (1 Gold)
The Fighter 3 nominations (1 Silver)
For Colored Girls 3 (1 Silver)
The Ghost Writer 7 nominations (2 Golds, 3 Silvers)
Greenberg 1 nomination
Green Zone 1 nomination
Harry Potter & the Deathly Hallows 2 nominations
Inception 4 nominations (1 Silver)
The Kids Are All Right 10 nominations (4 Golds, 1 Silvers)
The King’s Speech 9 nominations (1 Silver)
Let Me In 2 nominations
Mother & Child 2 nominations
Nanny McPhee & the Big Bang 1 nomination
Never Let Me Go 2 nominations
Nowhere Boy 2 nominations (1 Silver)
Rabbit Hole 11 nominations (5 Golds, 1 Silvers)
Robin Hood 1 nomination
The Runaways 1 nomination (1 Gold)
Scott Pilgrim vs the World 9 nominations (1 Gold, 2 Silvers)
Shutter Island 7 nominations (3 Golds, 3 Silvers)
The Social Network 13 nominations (4 Gold, 1 Silver)
Somewhere 2 nominations
Tangled 1 nomination
True Grit 1 nomination
           

There, free at last – I am – my 25 favourite films of 2010. What do you think of my ragtag collection of picks? Snap decisions: how was 2010 in film for you?

Oscar Talk: Actor and Actress

I often wonder why the actor and actress categories are considered superior to the supporters, but judging by the nominees this year I’d actually support that theory. The nominees for the leading categories significantly outweigh the supporting players.

            

ACTOR

Who’d have thought that Colin Firth would be the thespian to reach here before his contemporaries like Neeson, Branagh and Fiennes – but, that’s Oscar for you. He gets an immediate second shot at gold over last year’s loss, and he’s not likely to lose.

NOMINEES: Javier Bardem in Biutiful / Jeff Bridges in True Grit / Jesse Eisenberg in The Social Network / Colin Firth in The King’s Speech / James Franco in 127 Hours Prediction: Colin Firth Alternate Javier Bardem

I should probably qualify that alternate prediction by saying that of all the feature film categories this is the one where I believe an upset is likely. Still, at this rate, if any upset were to occur it would be one of catastrophic proportions – and who better than the man who turned into (somewhat) of an upset nominee. Analysing the field, on performances, I’d say that the prize is between Eisenberg and Firth so I don’t mind that Firth has sort of swept through the season, even if some deserving men got no love (my ballot). I never actually considered Sean Penn’s Milk to be an upset, the last real “surprise” this category saw was Adrien Brodey, but parallels between he and Eisenberg are tenuous at best. It’s Colin’s race.

         

ACTRESS

Logically, I shouldn’t be getting any sort of headache with the prediction for this category because Natalie has sort of swept through the season, well the majors anyway – but I’m still not absolutely certain that she’s the indisputable winner. Hell, it’s possible that I’ll see her on stage with the winning statuette and still doubt the veracity of her frontrunner status – I’m sort of ridiculous like that. I was depending on the BAFTA to give Annette the statue, and prove my theory whereby the Annette/Natalie race would turn into a converse version of the Marion/Julie race (both win Globes, one wins SAG and the other wins BAFTA) – but alas, I was wrong. Logically, if Annette had any hope you’d expect her to take at least one major from Natalie – but other than the surprise British Critics' win (which isn’t exactly a major) she's got nothing. And she still lost the BAFTA, so there’s no proof that she has the British voting bloc behind her.

           

NOMINEES: Annette Bening in The Kids Are All Right Nicole Kidman in Rabbit Hole / Jennifer Lawrence in Winter’s Bone / Natalie Portman in Black Swan / Michelle Williams in Blue Valentine

Prediction: Natalie Portman Alternate: Annette Bening

So, I’m predicting Natalie – which makes me feel a little bit like a Judas because I still think that Annette can win this. I’ve never been one to have ridiculous Oscar hopes (I gave up on Cate winning for I’m Not There even before Tilda t urned into the frontrunner) but I’m just getting a feeling, heaven knows what it is. (Really, though, how ironic is it that a win for Annette would be an upset – mindboggling, some.) So, Natalie’s my prediction with Annette as my alternate. You all know what I’m hoping for, though....(my picks)

         

How ridiculous are my great expectations of an Annette win? Who wants an upset in the Actor category?

Oscar Talk: Supporting Players

You sort of want to expect an upset to occur in some acting category, but you also don’t to circulate ridiculous predictions.

SUPPORTING ACTOR

 In all honesty, I’d love for some upset to happen in the supporting actor category (granted that upset comes in the form of Mark Ruffalo). Not because I don’t think Bale is fine, but I’m on Ruffalo’s side all the way. In fact, I wouldn’t mind an upset for Rush either, he and Bale go toe to toe for me.

NOMINEES: Christian Bale in The Fighter / John Hawkes in Winter’s Bone / Jeremy Renner in The Town / Mark Ruffalo in The Kids Are All Right / Geoffrey Rush in The King’s Speech Prediction: Christian Bale Alternate: Geoffrey Rush

I don’t see Bale losing this, though. Were there an upset, you’d sort of expect it to be Rush if only because he has the most likeable character of the five, and there’s nothing like goodwill behind a film. Add that to the fact that he was instrumental in bringing The King’s Speech to fruition and you have to anticipate some love...but I don’t see the upset happening here.

SUPPORTING ACTRESS

I can’t be too certain that this is where the upset is happening either. That being said, though, I think any of four persons could take this prize and I wouldn’t be surprised. There’s a bit of irony that the best performance of the lot (i.e. Ms. Weaver) has 0 chance of winning, and more and more persons seem to have an inkling that the least of the five (i.e. Steinfeld) could take the prize. It’s not that I think she’s awful, she’s more than serviceable – but I still find her nomination – in any category – somewhat vexing. I digress, though.

NOMINEES: Amy Adams in The Fighter / Helena Bonham Carter in The King’s Speech / Melissa Leo in The Fighter / Hailee Steinfeld in True Grit / Jacki Weaver in Animal Kingdom Prediction: Helena Bonham Carter Alternate: Melissa Leo

Am I crazy for predicting HBC? I don’t know, I just can’t see Melissa Leo winning the Oscar – I’d even be more willing to predict Amy – not only because I think she’s better, but I’m just not seeing it. I’m thinking back to instances of dual supporting nominees, and they rarely win. Didn’t Helen Mirren pick up more than a few nods (including the SAG) before losing to supporting wife Jennifer Connelly (who was horribly trite in A Beautiful Mind). I’d wager that not only is Helena much better than Jennifer, she’s also more in need of a nod – and Melissa is no Helen either, but I’m alone on that because almost everyone seems smitten with her Alice. It’s a tough game to decide what the voters would go for, and it would probably be more prudent to predict Melissa. I could see this prediction panning out, and then I could see it not. I’m going on a gut, here. Maybe, I’ll change my mind before Sunday....

What do you think will become of the supporting players?

Oscar Talk: Writing

I felt quite a disconnect with the Academy’s decisions for the screenplays – I’d have nominated only three of their ten choices (my own nominees here), sometimes you get the feeling that voters aren’t willing to believe that a fine film could have writing that’s less than top-notch, although I’ll applaud them for not nominating Black Swan – a good film, but not a screenplay worthy of “best-of” citations. Ironically, that nomination would have been better than one, perhaps two, of the actual nominees. But, digressions... let’s take a look at the field.

ADAPTED SCREENPLAY

The logic that because deems Toy Story III an adaptation is ridiculous – being a sequel does not make it an adaptation. All five of the nominees are in consideration for Best Picture, but this is essentially looking like a one-horse race.

NOMINEES: 127 Hours (Simon Beaufoy and Danny Boyle) / The Social Network (Aaron Sorkin) / Toy Story III (Michael Arndt, John Lasseter, Andrew Stanton and Lee Unkrich) / True Grit (Joel Coen and Ethan Coen) / Winter’s Bone (Debra Granik and Anne Rossellini) Prediction: The Social Network Alternate: Toy Story III

I have it as an alternate, because it’s the most likely upset – but it’s unlikely either way. Sure, it’s the final branch of the trilogy, so there would be goodwill, but it’s not happening. And, really, I don’t mind. With neither Rabbit Hole nor The Ghost Writer in consideration I’m fine with The Social Network taking the prize.

         

ORIGINAL SCREENPLAY

This one is more interesting. I’m not the biggest fan of Inception, although I can appreciate that it has its fan, but I find it difficult to understand how it won the WGA (over Cholodenko and Blumberg).

NOMINEES: Another Year (Mike Leigh) / The Fighter (Paul Attanasio, Lewis Colich, Eric Johnson, Scott Silver and Paul Tamasy) / Inception (Chris Nolan) / The Kids Are All Right (Stuart Blumberg and Lisa Cholodenko) / The King’s Speech (David Seidler) Prediction: The King’s Speech Alternate: Inception

Seidler wasn’t eligible for the WGA, and in a perfect world it’d be between he and Cholodenko/Blumberg. Well, actually, in reality The Kids Are All Right would win this prize easily, but The King’s Speech is not a terrible alternative. It’s the likely winner here – I don’t anticipate a Nolan upset, but if one were to occur it’d be this.

        

It makes for rather tepid predictions, but I suppose there’s some comfort in predictability....right? Are you praying for any upsets in the screenplay field?

Oscar Talk: Music

The music branch of the Academy continues to be fun, if only because attempts to predict what they’ll do become more and more exasperating as the years go by. But, here goes.

        

ORIGINAL SONG

I’d say that the race is between “I See the Light” and “Coming Home” when it comes to actual merit, with the slight edge going to the former. The music branch has a thing for well produced duets, it’s difficult to deny that with all its issues Tangled does know when to place its songs.

NOMINEES: “Coming Home” from Country Strong / “I See the Light” from Tangled / “If I Rise” from 127 Hours / “We Belong Together” from Toy Story III Prediction “I See the Light” Alternate “We Belong Together”

But, then, multiple nominee 127 Hours has such obvious spoiler potential, I wonder if Rahman is headed to a third Oscar, and if they like duets they like pain and heartbreak and inspirational tosh just as much – so, I wouldn’t be shocked if Rahman takes it here, still I'm putting Newman as my alternate because he lost last year and because I have a feeling they're going to want to reward Toy Story III as much as they could (barring the screenplay and picture category), so why not choose it over Tangled, since it's more loved animated film. (Not that I think it even deserves to be nominated, but I digress...)

ORIGINAL SCORE

Is it insularity on the part of AMPAS, or is it just coincidence that three of the 2008 nominees are back to battle it out (the winner included). Naturally, I assume that this is the chance for voters to write that egregious wrong and reward Alexandre Desplat. True, it’s an all-round good set of nominees – but they can’t continue to snub Desplat after robbing him in 2008 and 2009, right? But, then, there’s Zimmer’s VERY intrusive work in Inception and we know that voters like their music loud.

NOMINEES: How to Train Your Dragon (John Powell) / Inception (Hans Zimmer) / The King’s Speech (Alexandre Desplat) / 127 Hours (A. R. Rahman) / The Social Network (Trent Reznor and Atticus Ross Prediction: The King’s Speech Alternate: Inception

      

Then, there’s the more subtle work on The Social Network which I don’t think has much upset potential – but is still not one that I should rule out completely. I’m sticking with Desplat, for now, though. It’s about time they reward the music branch’s most ubiquitous composer of the moment.

Oscar Talk: Visual (Artistic) Techs

It's a bit strange, but I much more excited to see what these three categories will be than the actual main categories. Every category's a main category in my eyes, well except for original song (because they snubbed Burlesque and Chris Martin, unforgivable). Oh well, on to predictions.

         

MAKEUP

This is the sole category where the nominees have not been singled out in any other category, which makes it the sole category where a Best Picture nominee is not included in the list of nominees. Really, I have no idea what they’ll go for here, I really could see it going to any of the nominees – the fact that I’ve yet to see any of the nominees here doesn’t help my situation.

NOMINEES: Barney’s Version / The Way Back / The Wolfman Prediction: The Wolfman Alternate: Barney’s Version

It’s not meant as an insult to the AMPAS voters, but the work on The Wolfman is so intrusive I’d wager that it’d be difficult to ignore. Barney’s Version seems like a worthy alternate because helping characters age is always a valuable way of getting recognition here. I actually want The Way Back to win, just for the talent involved – but it seems to be the most unobtrusive of the nominees. Though, I don’t know if that could be to its credit.

             

COSTUME DESIGN

Once again, the queens of Costuming (Atwood and Powell) are nominated opposite each other. Last year I was all for an Atwood win (), though I didn’t mind Powell’s triumph for The Young Victoria (she gives such great speeches). This means that Powell now has 3 statues and Atwood has 2, and since I already think Atwood is the best of the lot I figure that she’ll get the third statue now. She’s actually never been rewarded for the work she’s done on Burton films yet, so maybe now’s the time.

NOMINEES: Alice in Wonderland (Colleen Atwood) / I Am Love (Antonella Cannarozzi) / The King’s Speech (Jenny Beavan) / The Tempest (Sandy Powell) / True Grit (Mary Zophres) Prediction: Alice in Wonderland Alternate: The King’s Speech

I keep thinking, though, that Beavan’s work in The King’s Speech could end up becoming a spoiler. True, the most conspicuous designs often end up triumphing here until that time when they don’t (see: The English Patient over Portrait of a Lady or The Aviator over The Phantom of the Opera). Beavan’s work in The King’s Speech is more modest, but there’s always the possibility that love for The King’s Speech could spill over here – or backlash for Alice in Wonderland...

            

ART DIRECTION

I find the citation for Harry Potter & the Deathly Hallows a bit ridiculous, especially when you consider all the great examples of production design ignored (Agora, Shutter Island, Never Let Me Go, Nowhere Boy or even films they embraced like Black Swan) – other than that, though, it’s a generally good batch of nominees. Though, the inclusion of Alice in Wonderland is a bit predictable – and not in a good way.

NOMINEES: Alice in Wonderland / Harry Potter & the Deathly Hallows I / Inception / The King’s Speech / True Grit Prediction: The King’s Speech Alternate: Inception

       

I’d expect The King’s Speech to be assured a win here – the work done is especially good here, and it’s probably facing the greatest competition from Inception. The thing with Inception, though, is that the overlapping between production design and visual effects could seem so stark that The King’s Speech could get the edge.

       

So, is Atwood going to get that third win from the Academy? Inception or The King’s Speech for production design? Which otherwise ignored film gets the makeup statue?

Encore Awards: Actors

It’s been an unusually good year for the leading men. I look at the Academy’s list of nominees, and even though one in particular sticks out oddly– it’s not a terrible performance. I could easily flip-flop between my actual list of nominees and the six finalists and still be satisfied with whatever top 5 I come up with. This was actually the category that gave me the most indecision in choosing nominees; never has a list of nominees felt so arbitrary, even the winner is debatable. Last year Ben Whishaw in Bright Star was an indisputable winner, but I’d be willing to give any of these five gentlemen a gold star. So, in the face of the generally bland showing of 2010 films it’s nice to see such good male performances.

        
(Click on the photos of the gents for full-reviews of featured film)
         

THE NOMINEES
Stephen Dorff in Somewhere (as Johnny Marco)

Coppola is so interested in getting that listless tedium of real life down Dorff is forced to play the part through expressions and not dialogue, and he succeeds impeccably. Coppola’s lucky that he has the sort of open face that’s able to convey the blandest of emotions without making them seem hackneyed, so all those somewhat injudicious close-ups work incredibly well. He doesn’t make Johnny into two irreconcilable characters – the father and the actor – they’re one and the same, both of them hopeless cases so when that emotional breakthrough (breakdown?) comes towards the end it’s not completely unexpected, and not at all forced but it’s still profound and moving. (Highlight: Breakdown)

Aaron Eckhart in Rabbit Hole (as Howie)*

As the narrative of unfolds, you realise that Howie seems bland around Becca, not because the character is substandard or because Eckhart is not trying hard enough; it’s because Eckhart’s Howie is aware of how tenuous a grip on life his wife has, he’s just making the decision to be silent about it, which is why those looks he steals her way in the first half hour become so important. He’s just as tightly wound, and has even more trouble opening up to those around him because no one expects it of him. That’s why that argument with Becca comes off as more soliloquy than conversation, he has a whole lot of pent up rage inside. That adage of still waters running deep couldn’t be more significant. (Highlight: Walking the Dog)

Jesse Eisenberg in The Social Network (as Mark Zuckerberg)

There are times where’s he’s just a bit excessive with the physical tics, but the moments where he succeeds most are the deposition scenes where he’s able to merge the potentially arcane reasons beneath Mark’s ostensibly reckless behaviour against the somewhat wiser and still very gauche sensibilities of his present day sense. He just might get off with playing up the eccentricities of the character in earnest, because since it’s a real person he has a smokescreen to hide behind but he ultimately wins because he decides to carve Mark’s most piercing moments around more than just those tics, while managing not to let the inevitable vulnerability within become too much of an absolution of his less attractive qualities. (Highlight: “Does that answer your condescending question?”)

Colin Firth in The King’s Speech (as King George VI)

Because of the manner in which Seidler opts to establish Bertie’s idiosyncrasies Colin is obliged to characterise Bertie by the relationship he has with those around him. The rapport between he and Rush emerges as most obvious, but three significant moments of his play out opposite other performers. It’s easy to play the psychological motives behind his stutter trite, and Hooper and Seidler are lucky that Colin doesn’t play them as such. You can trace the moment he shuts down opposite his father, or note the self-deprecating way he speaks to his brother or the ways he opens up – or conversely closes up opposite his Queen. He’s anomalous in the way he keeps his emotions close to his chest, but reveals them under pressure – and Firth ensures that the transition between the two is natural. (Highlight: Either A Story for his Girls or A Bedroom Conversation with his Wife)

Ryan Gosling in Blue Valentine (as Dean)

Gosling has a natural ambiguity to him that makes him all wrong for the palpable villainy of his role in All Good Things but perfect for the role of Dean here. Unlike Williams the narrative isn’t as interested in his back-story, so it’s up to him to create that impression of a real person with underlying issues – and not just in the more obvious scenes. Thus, the ambiguity ends up working – excellently – to his advantage as he manages to avoid any propensity for playing the character like a villain, instead finding the most sincere emotions in a man who’s sort of drifting through life, but who we don’t loathe. (Highlight: Pleading his case at the film’s end)

FINALISTS: Leonardo DiCaprio brings that same sort of intensity that has defined his recent performances to his Teddy in Shutter Island, but it’s more than an exercise in something he’s already done. For one, he must carry the entire film on his shoulders and he succeeds even when the narrative gets too pulpy; James Franco in Howl; even if you ignore the fact that this is James Frecheville debut, his performance in Animal Kingdom is still something special. Unlike his supporting cast, he must establish his characters through the most tacit of inclinations – and he delivers from that opening scene; this time around with Fuqua Ethan Hawke examines a different side of his range in Brooklyn’s Finest; in the same way that Hamilton avoids the temptation to make Night Catches Us the stereotypical racial drama Anthony Mackie does not give in to the possibility of turning Marcus into a formulaic “angry young man” – he grounds his character in a firm sensitivity that becomes one of the film’s strongest suits; Ewan McGregor doesn’t come off as particularly mysterious but he manages to be something in The Ghost Writer. It’s his film, and though he carries it on his shoulders he does so unobtrusively knowing when to recede for the supporting players to shine but always ready to take control again.

SEMI-FINALISTS: Collin Farrell eschews his most obvious calling cards in Ondine deciding to establish Syracuse with a steady reticence that feels like under acting but isn’t really. He’s not the film’s main enigma, but he manages to be even more mysterious by playing his emotions so close to his chest and still never being disingenuous; I’d give James Franco an A for effort in 127 Hours, simply because you know that he’s doing the best possible job he can with what he’s effort – and you know that he’s relishing it. Sometime he falls victims to Boyle’s own intent to evade the harsher tones of his character but ultimately it’s his performance – and little else – that’s able to evince any semblance of emotion from the stony narrative; Aaron Johnson needs to establish that certainty of charisma in Nowhere Boy without “playing” John Lennon, and he does it with startling adeptness – at least from where I sit. He’s still rough around the edges as a performer, but he (and Taylor-Wood) use that newness to his advantages making Lennon a fine example of someone trapped by his surroundings, but not melodramatically so; Kodi Smith-McPhee is even better in Let Me In than he was in The Road. He’s not the one playing the “old” character, but he imbues Owen with all the emotional complexities that you’d expect from an older thespian and delivers on the facial expressions when Reeves roots the film in the visuals and no dialouge; sometimes you get the feeling that someone else could have done the title role in Baumbach’s Greenberg better, but that doesn’t mean that Ben Stiller isn’t doing good work. He’s slightly unsubtle as we first meet the character, but the rapport he strikes between Gerwig and (especially) Ifans reveal a warmer side to him as an actor (and the character) that’s surprising and impressive; Mark Walhberg in The Fighter

Who’s your best actor of 2010?

       

*I already want to rejudge and give Dorff the gold and perhaps allow Firth or Eisenberg to slide into silver. There ALL so good!

Oscar Talk: Visual Techs

So, apparently on the cusp of the ASC win for Inception it’s turned into the frontrunner for Cinematography.

          

CINEMATOGRAPHY

I feel like such a fraud having next to no enthusiasm about the race, so despite the fact that Inception shows up nowhere in my top 12 directors of photography I’d be least interested if it actually wins. Logic dictates that True Grit’s Roger Deakins (who’s been trying for that Oscar for some time) will get his due, but I won’t be surprise if he loses. In fact, my gut tells me that The King’s Speech could very well take this, and I’d be fine since it actually makes my list of nominees – but that could result in a potential bloodbath since everyone isn’t convinced that it’s well shot – and the backlash against it is already deafening. The Social Network is not one to rule out here, either and logically, you have to at least consider the possibility of a Black Swan – a win I’d be on board with. Inception aside (or not, even) it’s a fine bunch of nominees.

NOMINEES: Black Swan (Matthew Libatique) / Inception (Wally Pfister) / The King’s Speech (Danny Cohen) / The Social Network (Jeff Cronoweth) / True Grit (Roger Deakins) Prediction: The King’s Speech Alternate: True Grit

Maybe I’ll change my mind, but I’m going with The King’s Speech for cinematography – which is based, more than anything, on a maddening hunch of mine.

VISUAL EFFECTS

As far as locks go, I don’t think that Inception is as assured of its win here as – say – Avatar last year; but it’s most likely to assume that it’ll win here. Logically, I’d only see Harry Potter being any competition; but AMPAS voters have not always been known for logic and there’s no telling what sort of spoiler Alice in Wonderland could end up being here. Perhaps, a distant second...?

NOMINEES: Alice in Wonderland / Harry Potter & the Deathly Hallows I / Hereafter / Inception / Iron Man II Prediction: Inception Alternate: Alice in Wonderland

EDITING

You know that trend where the Best Picture winner wins editing, I’m often confused by it...but I digress. Owing to the fact that there is nary a stinker in the ten films nominated for Best Picture, the five editing nominees are quite stellar – with the exception of 127 Hours, which is too unsubtle for me to fête. The Social Network wins my own personal competition, and I predict that it’d be the logical winner here.

NOMINEES: Black Swan (Andrew Weisblum) / The Fighter (Pamela Martin) / The King’s Speech (Tariq Anwar) / 127 Hours (Jon Harris) / The Social Network (Kirk Baxter and Angus Wall) Prediction: The Social Network Alternate: Black Swan

I think of The King’s Speech and Black Swan as potential spoilers, although I think the former’s editing is “better” they both have that palpable “edited” feel without being too overworked and Black Swan does accomplish much of its development through its editing, so who knows if a Black Swan surge could occur.

          

Is Deakins or Pfister headed to the podium? Or is there wisdom in my folly? Does The Social Network and Inception have editing and visuals locked up? Do you care?

Oscar Talk: Aural Techs

I’ve been shirking my duties as Oscar prognosticator (insert dry laughter) as of late because I’ve been counting down my own awards. I didn’t even realise the BAFTA’s had come and gone, although that could be attributed more to my mystical presence on the internet as of late (computer problems + internet issues + school drama).

             

SOUND MIXING & SOUND EDITING

I’m still constantly amused by the reaction to The King’s Speech leading the Oscar pack, not because I find aversion to the film impossible – that would be silly – but because too many are willing to reject its sound mixing nomination as something valid. It’s surely not the frontrunner by any means, not conceivably at least, but I don’t find its inclusion to be a moot point.

           

NOMINEES: Inception / The King’s Speech / Salt / The Social Network / True Grit Prediction: True Grit Alternate: The King’s Speech

        

NOMINEES: Inception / Toy Story III / TRON: Legacy / True Grit / Unstoppable Prediction: Inception Alternate: Toy Story III

          

I suppose that Inception will take the sound editing category, if only because 127 Hours was egregiously snubbed here. In the light of its love from the Academy (a whopping 6 nominations) I’m still surprised that they didn’t nominate it here. Sound mixing is trickier, though, and who’s to say that me deeming The King’s Speech as little to no competition will prevent it from winning. I wouldn’t complain whatever wins, none of my nominees are nominated here (Black Swan, Shutter Island, Green Zone) but I’m wary of predicting Inception to take both trophies and considering that True Grit has also been singled out for both sound categories, I’ll wager that that will take the sound mixing category.

          

Who do you see taking the sound prize?

Encore Awards: Writing

And on to the writing accolades...

ORIGINAL SCREENPLAY

NOMINEES

Animal Kingdom (David Michôd)

This is sort of like an ideal movie in that it really does begin with the screenplay, even though the writing never becomes an overpowering crutch. In fact, like so many of the achievements of Animal Kingdom it might be easy to miss just how great the screenplay is – or essential. The memorable characters are not as much about the brilliant performances as they are about the cohesiveness of plot and development coming from Michôd.
          
                       

Greenberg (Noah Baumbach)

Each authorial decision Baumbach makes, here, serve as palpable evidence of his interest in ensuring that his story moves forward. This is a difficult story to work with without making it too terse or stark and his interest in character (not just the main ones, or even the ones we see) is a significant reason as to why Greenberg ends up being a success – and such a good opportunity for the actors.

           

The Kids Are All Right (Stuart Blumberg and Lisa Choledenko)

There’s an almost self-effacing easiness with which The Kids Are All Right unfolds, and the screenplay is an important part of that. Blumberg and Choledenko are both intent on keeping the narrative as uncluttered as possible, sometimes complex but never complicated and though it unfolds in simple spurts it’s never simplistic. When it comes to the scope of it all the screenplay is at the head.

         

The King’s Speech (David Seidler)

I praised Seidler’s decisions in my original review, and after a second viewing I’m still impressed. Like The Kids Are All Right there’s a simple nature to the way the story unfolds which is never simplistic. This is the type of film where the characters often talk too much – and for too long, but even though The King’s Speech depends on its screenplay it’s not dialogue driven. True, dialogue driven writing works for some but Seidler  realises that it won’t here and instead goes for a naturalness that’s impressive.

Somewhere (Sofia Coppola)

Coppola seems much more aware and comfortable with the characters she carving than I’ve ever seen her. It’s not exactly minimalist (although it is low-key) and there’s nary a false moment as she gives us an almost voyeuristic look into this man’s life. The chance that the editing and photography team get to work with those smooth transitions depends on the organic development of plot here – courtesy of Coppola’s screenplay.

  

FINALIST: I sort of hate leaving Agora off the list, and it is a historical drama – not history, and sure there’s something vaguely humorous about crediting Hypatia with so much – but ignoring historical inaccuracies (which are neither here nor there, to be honest) Amenabar’s ability to turn even the most abstract of scientific principles into potentially riveting plotpoints is damned impressive; though I cannot wholeheartedly surrender my love to Blue Valentine it’s screenplay is a treasure worthy of effusive praise, not only for its obvious gutsiness but for the consistency of development which could have been easily waylaid for theatrics; Hamilton’s writing in Night Catches Us in beautifully devoid of agenda or pretentiousness – she’s more interested in her characters than any of those which is why the film manages to be as consistent despite a few issues.

      

SEMI-FINALISTS: Easy A is not as fresh as some of its biggest champions might say, but it’s aware of that and finds comfort in its comedy ancestors; in its final instalment Toy Story III manages to retain its charm and comedy all the while ensuring it delivers on the emotional poignancy necessary for the departure; The Fighter owes its accolades more to the direction than the writing, but at its strongest moments the focus on family ties and relationships is stunning if exasperating in the fact that there’s an even more excellent movie hidden underneath the very good one we get.

ADAPTED SCREENPLAY

THE NOMINEES

The Ghost Writer (Roman Polanski and Robert Harris)

There’s sort of an irony as to Polanski’s writing and his direction – but he knows what he’s doing. He opts for a literal thriller-ish nature to his direction which means that the screenplay must be the opposite, and it is. It’s constantly subtly, and almost always unassuming despite its intelligence. That ends up being the quality that serves it best when it comes to that final dénouement where everything unravels so beautifully.

Let Me In (Matt Reeves)

On the most obvious it is not the screenplay that’s responsible for all the cool things going on in Let Me In, and yet what Reeves creates on the page is necessary. It’s probably one of the barer screenplays of the year as it is – ideally – a bit of paradigm for the film itself and in that light the meticulousness of the entire exercise is commendable. I wouldn’t necessarily agree that less is more, but it’s an asset here.

Rabbit Hole (David Lindsay-Abaire)

It’s seamlessly adapted from the play it emerges as, perhaps, the most significant facet of this already well made film. Nicholas mentions in his review how we’re eased into every important situation, and that’s something important which can’t be overstressed. He’s careful to maintain a realness to the situation while managing to ensure that everything that happens has some reaction that maintains the realism and takes the story forward.

Scott Pilgrim vs the World (Edgar Wright and Michael Bacall)

 
Scott Pilgrim vs the World has such a strident way to it so that it’s a bit difficult to single out a specific entity as its champion and in that light I’m unsure that I would champion its screenplay – and yet Wright’s adaptation is a significant as to why Scott Pilgrim manages to survive the journey from comic book to cinematic entity. It manages to be socially conscious without overemphasis on pop-culture fanaticism and it’s youthful without being pretentious. And, of course, it’s consistently hilarious – even when it succeeds with those singular moments of poignancy.

      

The Social Network (Aaron Sorkin)

His droll dialogue, incidentally, ends up becoming a detriment to the praise he deserves since he’s doing more here than just providing witty lines. He fools you into thinking that he’s doing something especially newfangled on his own, when he’s just using old paradigms to create something classic and fresh at the same time. He deserves credit for never making the deposition scenes come off as retrospective as they could have been and ensuring that they are the foundation of the screenplay without making becoming pretentious.

FINALIST: How to Train Your Dragon is a whole lot of fun, but more than its hilarity it deserves credit for constantly ignoring the easier tricks and hooks that come with the territory and deciding to keep the best interest of its story – and characters – at the heart of it.

SEMI-FINALISTS: Winter's Bone, True Grit

         
Which screenplays impressed you most this past year?