Oscar Talk: The Best Actors

It would seem that the best Actor race is all but sewn up with Colin Firth getting the Oscar that more than a few felt he was robbed of last year. I wouldn’t say that he was robbed, but of the five nominees he was my favourite, so good for him. I’ve still yet to see The King’s Speech – the only Best Actor lock I’ve not screened yet – but putting all things into consideration: timing, picture, likeability – he looks like a sure bet. Who’ll join him? Jesse Eisenberg (The Social Network) and James Franco (127 Hours) seem like locks for a nomination and the last two spots seem open. Of the set fighting for a nod I still say Robert Duvall will get it definitely, even if True Grit has turned into a blockbuster I believe there’s more goodwill for a Duvall nomination – Crazy Heart aside, the AMPAS don’t seem that smitten with Bridges – case in point, look how long the man waited to get that Oscar that everyone kept saying he was so “overdue” for. I suppose I’m not counting him out entirely, in fact that, right there, could be the nominated five. Ryan Gosling is waiting just below for some love for his work in Blue Valentine but there’s really not much buzz for that. I’m still somewhat surprised that in a year of two high profile flicks Leonardo DiCaprio has turned up at only a few precursors. His Shutter Island work is superior, but the film has failed to make a mark in the race and Inception hasn’t become the all encompassing ruler of the season – so he can’t depend on either.

                

This does make for an especially boring race, but that’s awards’ season for you.

Predictions: Jeff Bridges in True Grit / Robert Duvall in Get Low / Jesse Eisenberg in The Social Network / Colin Firth in The King’s Speech / James Franco in 127 Hours /

Are your tired of me fêting Rabbit Hole? Tough; Aaron Eckhart should at least be a contender in the race – but alas, no love for him. That’s a shame, considering that the man gave the best performance Jason Reiteman has ever directed and managed to go toe to toe with the Queen of Hollywood herself in her best performance.

What’s your biggest gripe with the Best Actor race? Which actor are you shocked has received no attention?

A Few Words on Get Low

A little less than half way through Get Low we decisively establish that there’s a secret to be revealed. It doesn’t come as a significant surprise because we only assume that a man who’s planning his funeral has done something to precipitate such a bizarre act. It’s as such that the second half of the film has no choice but to wander around waiting for that inevitable reveal of what went down how many years ago. It’s to screenwriter Chris Provenzano’s credit, therefore, that what we end up with is not an turgid exposition filled one hour but a thoroughly enjoyable, occasionally humorous story that – clichéd as it sounds – is more about the journey than the destination. In the process of assessing the films I’ve watched thus far this year I noticed something, more obvious than ever – what we’ve gotten this year is not so much a strong showing of films that can be deemed as especially original thematically but a host of films that take a generally hackneyed structures and turn them into something surprisingly refreshing. True, Get Low doesn’t do much for freshness with an old plot as much as – say – Animal Kingdom, but I’m impressed at how the hermit with a heart of gold (or maybe silver) storyline that we’re promised ends up being something ultimately much more satisfying than that.

Schneider’s film is the sort of low key period piece, bathed in hues of earthy tones – I suppose they’re a bit too literal with the rustic nature of the town, but things like pretty art direction win me over (I’m easy). Yet,  “pretty” is the wrong word to use for the film, probably picturesque because it amuses me that despite its aim at finding that certain grunginess necessary for Felix in the film’s first act and a half it’s never that disgusting as characters like Beadles in Grey Gardens. Moreover, I’m not that floored by Robert Duvall as most seem to. He gives a fine performance, but I’m much more moved by Sissy Spacek’s quiet widow who continuously shows why she’s one of the premier actresses of any generation. It’s even more confounding that Bill Murray is being cited in peoples’ year end list when Lucas Black gives a much more impressive supporting performance – even if it’s a distinctly by-the-numbers one. Get Low uses the sometimes annoying calling-card, and it’s weird how it seems like a fantasy...not so much the story, but the execution. But, I don’t mind it...it’s never truly realistic but I find myself oddly charmed by its blatant fancifulness.

                   

B/B-