Listening to XM’s Cinemagic channel at this year’s nomination breakfast, the co-host made an interesting observation: no matter how good an individual film might be in the year it was released does not necessarily ensure its status as a classic film in the hearts and minds of movie viewers everywhere. Age notwithstanding, winning films of recent years don’t seem to possess that compelling quality that makes you stop-and-watch while channel-surfing. As good as a film as 2005’s CRASH is, and it deserved to win that year, that doesn’t necessarily mean that I’m going to stop and watch it, particularly Michael Pena’s emotional scene in which he believes his daughter was shot. And after seeing CHICAGO (2002) once, do you really need to tap your shoes along with Richard Gere again?
Maybe the comfort of a well-aged film does lend to its classic appeal. Looking back 30+ years uncovers a host of great award-winning, repeat-viewing classics. Those numbers flow to a trickle as the years become more contemporary. PATTON (1970), THE FRENCH CONNECTION (1971), THE GODFATHER (1972), THE GODFATHER, PART II (1974), ROCKY (1976), ANNIE HALL (1977). Then there is a gap until PLATOON (1986) and again until the 90s brought about SILENCE OF THE LAMBS (1991), UNFORGIVEN (1992), BRAVEHEART (1995) and TITANIC (1997). The 21st Century might only have one: GLADIATOR (2000). This trend might change now with this new decade that is upon us.
Last year’s addition of five more films to the standing list, although a confirmed ploy to get more viewer ratings for the live telecast, did indeed gather more buzz but also served as a reward to films that probably deserved such merit but in previous years would have been looked over faster than Baz Luhrmann in the editing room. Even though 2010 was still just a two-pony race, films such as DISTRICT 9, INGLORIOUS BASTERDS, UP IN THE AIR and A SERIOUS MAN all received credit, a slap on the back from the Academy signifying a job well done. One could only hypothesize that if there were 10 nominations available in 2009, fan-favorite DARK KNIGHT could very well have been on that list.
This year, and perhaps for the first time since 2004, every Best Picture nominee is a solid one and yes, although there are probably only two or three true front-runners, there could indeed be enough momentum for a few of the other nominees to mount a surprise – but certainly not unwarranted – victory.
On top of that, many of these films are solid enough to stand the test of time. The antics and humor in THE KIDS ARE ALL RIGHT, the hip and complete now-ness of THE SOCIAL NETWORK, TRUE GRIT’s classic motifs, the mind-bending trippiness and complexity of INCEPTION and, no more need be said, TOY STORY 3. Can not KIDS be the neurotic 21st Century love story counterpart to ANNIE HALL? Can not the skeevieness of WINTER’S BONE’s Mountain Mafia be compared with Michael Corleone’s Cosa Nostra? The dark thoughts of Nina’s SWAN parallel Hannibal Lecter’s? The strife of the FIGHTER’s Mickey Ward and ROCKY’s, well, Rocky?
As strong as this class may be, there are, naturally blatant omissions. Of those previously nominated, INCEPTION seems to fare the worst with its master architect, Christopher Nolan, being absent from the Achievement in Directing category, as well as not being nominated for editing, which surely must be a bad dream (or a dream within a dream within a dream…). BLACK SWAN, as well, got ignored on the costume front (are leotards and tutus too blasé?) and, the film’s most egregious snub, Clint Mansell’s score went unrecognized (ta-ta, Tchaikovsky).
There were also those films whose representation was entirely, or nearly, overlooked. Case in point, Ben Affleck’s THE TOWN. Affleck’s film had Indie chops but a big-movie feel and was adequately successful in the B.O. bringing in just under$ 100 million domestically. The story, a classic heist caper with a believably-surprising love interest added in, contained drama, action and more than a few stressful scenes. It also proved that Affleck has Indie cred as a sophomore director. Yet aside from Jeremy Renner’s most-worthy nomination, this film failed to pick up director, picture or adapted screenplay nods. You couldn’t get away with a crime like this in Charlestown.
The other absent nominee? SHUTTER ISLAND. Yes, SHUTTER ISLAND was released in 2010. You remember this one: Scorsese, DiCaprio, Ruffalo, a Dennis Lehane story with a creepy mystery occurring in a mental ward. Obviously the real mystery is how this was forgotten.
With that, I’d like to take this forum and provide a few corrections to certain nominations. Beginning with the big gun: Best Picture. With slots available for 10 noms, I’d like to give the aforementioned TOWN and SHUTTER ISLAND some recognition. To do so, I propose that TOY STORY 3, which will already win Animated Feature, be removed. And for that other spot, THE KIDS ARE ALL RIGHT. KIDS is, actually, a very enjoyable film with sharp dialogue and enjoyably flawed characters. Given the choice though, I’d much rather see TOWN or ISLAND in its place. Alternately, THE FIGHTER can be removed, but the Academy does seem to enjoy a good boxing flick (See: MILLION DOLLAR BABY, RAGING BULL, ROCKY, WHEN WE WERE KINGS, CINDERELLA MAN, ALI, HURRICANE).
For Adapted Screenplay, again, let’s remove TOY STORY 3 and this time 127 HOURS to make room for TOWN and ISLAND. And for director, Ben Affleck deserves some recognition here as does Christopher Nolan. I propose both Tom Hooper and the always-enjoyable Coens bow out this year.
Finally, in the Original Score category, add both Danny Elfman’s work on THE WOLFMAN, which incorporated classic movie themes along with his usual dark tones, and TRON: LEGACY’s Daft Punk, whose electronica and orchestration is just as powerful, intricate and completely danceable as that of the SOCIAL NETWORK’s Trent Reznor and Atticus Ross. Those to be removed would be A.R. Rahman (127 HOURS) and John Powell (HOW TO TRAIN YOUR DRAGON). Hans Zimmer (INCEPTION), Alexandre Desplat (KING’S SPEECH) and THE SOCIAL NETWORK are well-deserved nominations. Squeezing in Clint Mansell’s BLACK SWAN would be a tricky task.
Surprisingly, the Academy got all four acting categories right. Peppered within the nominations are fresh faces (SOCIAL NETWORK, TRUE GRIT, WINTER’S BONE), vets (RABBIT HOLE, KING’S SPEECH) and shocks (ANIMAL KINGDOM). And of those four, Supporting Actor is by far the tightest. Any chance a group award can be handed out to these blokes?
The quality of this year’s crop gleaned by the Academy, of course, all has to fall back on the creative process in Hollywood. If writers and directors are able to continue with creative freedom, then actors will produce inspiring performances and moviegoers will continue to pay for movies and rent movies. The business will, and should, follow. Allow the moviegoers to talk about exciting and compelling and original movies. That is what helps define a classic.
