Rambling Thoughts About the Best Picture Nominees

I finally caught up with The Artist and Midnight in Paris this past week, bringing my paltry total up to five of the nine Best Picture nominees that I’ve seen. I can’t promise that I’ll see those other four, either before or even after the Oscar is handed out. But I have some rambling thoughts about the five that I have seen.

Hugo
Martin Scorsese has long been a proponent of preserving older films, of honoring the rich history of cinema. It’s a noble goal and a trait that makes him extremely likable to film nerds like yours truly. His passion for that project shines through in Hugo, which is essentially Scorsese’s love letter to the silent era. It features nods to Safety Last, The General, and the entire catalogue of Georges Méliès. That part of the film absolutely thrills me. And the 3D was completely eye-opening for me. It’s a much-maligned medium, but I’d venture that it’s much-maligned because nobody is using it the way Scorsese did in Hugo. That said, the story falls a tiny bit flat. I’ll always welcome a Best Picture victory for Scorsese because he’s one of the very best directors in film history and I think the world of the man. I’d be pleased if Hugo won… but I’m not convinced that it’s the best film.

Moneyball
As a baseball nerd, Moneyball is seemingly a film right after my heart. It uses Michael Lewis’ book of the same name as source material. It’s an in-depth look at advanced metrics in the game of baseball, and focuses its gaze on the fascinating and divisive (amongst baseball fans) Billy Beane. Unfortunately, it failed to speak to the hard-core baseball fan in me because it took a lot of simple events and turned them into things that would never happen in the game of baseball. It was sloppily constructed, with a family side-story that was utterly meaningless because there wasn’t nearly enough time spent on it. It was a fine film and I enjoyed it, but I think it’s undeserving of a Best Picture nomination.

Midnight in Paris
It’s funny how similar this was, thematically, to Scorsese’s Hugo. A legendary director–this time, Woody Allen–uses his film to pay proper homage to his artistic heroes of the early 20th century. We get to meet Cole Porter, Luis Buñuel, Salvador Dali, get a brief mention of Jean Cocteau, Gertrude Stein, and many others, all come to life in the magical world of Gil Pender (Owen Wilson). In many ways, it’s a blend of the two Woody Allens we’ve come to know and love–the cinephile philosopher, and the neurotic comedian. I enjoyed it tremendously, and the city of Paris looks as aesthetically appealing as ever. My only minor gripe here is that Owen Wilson’s impersonation of Woody Allen wears thin, and I say that as someone who likes Owen Wilson. Much like with Hugo, I’d be thrilled to see Woody Allen’s film win a Best Picture award, but I can’t honestly say that I felt it was the best film. It’d be a worthy winner, but perhaps not the most worthy.

The Artist
I had only one real issue with The Artist, and it’s a minor one. It was a bit obvious at times–people stepping on a poster featuring the face of George Valentin, Peppy starring in a film called “The Guardian Angel” and the like. Everything else about this movie was phenomenal. It captured the silent era perfectly, while playing with the conventions of the silent era at key moments to bring about deconstruction. The concept was inventive and creative, and was executed almost flawlessly. And since we’re talking so much about homage with this year’s nominees, The Artist tips its cap to Singing in the Rain along with a thousand silent films. The best compliment I can pay to this movie is that I want to live in a world where more directors and studios put as much thought, effort, and creativity into their products as the creators and makers of The Artist did. And of the five Best Picture nominees that I’ve seen, this is the one that I feel is most deserving of the honor.

The Tree of Life
At a recent Oscar roundtable hosted by Newsweek, Christopher Plummer managed to say exactly how I felt about The Tree of Life. “Terry gets terribly involved in poetic shots, which are gorgeous, they are paintings all of them, but he gets lost in that and the stories get diffused”, said Plummer, in reference to Tree of Life director Terrence Malick. I think that’s completely spot-on pertaining to Tree of Life. Twenty minutes of streams and nature and dinosaurs and astronomy might be completely breathtaking–and in this case, they absolutely are–but they do little to advance the story. And while trying to convey such a high concept. like Malick was attempting to do, there’s no room for that type of thing, at least not as indulgent as it was. Even if those portions had been cut in half, I’d be willing to go along with Malick on it. It might even be a tremendous artistic achievement instead of the flawed piece that resulted. I don’t necessarily mind that it received a nomination, but I would most certainly prefer that it not win.

That leaves The Descendants, The Help, War Horse, and Extremely Loud and Incredibly Close as the missing quartet. Of those, I’m most intrigued by The Descendants. The others, on the surface, seem an awful lot like Oscar Bait. I hate to use that term because it’s so dismissive, and I’m sure all three of them have their charms and reasons for their nominations. And any time you’re talking about a Spielberg film, you can find something to enjoy. I don’t doubt that War Horse would fall in that category. All the same, my interest in the others falls between middling and non-existent.

Which of the Oscar nominees have you seen, and which do you feel should win?


23 Comments

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23 responses to “Rambling Thoughts About the Best Picture Nominees

  1. Except for Extremely Loud and Incredibly Close and Hugo I’ve seen all of them. There are a couple of them where I wouldn’t mind them winning.

    Really liked The Artist, Midnight in Paris and The Descendants.

  2. Pingback: Midnight Magic! (Revisited) « cineblog

  3. I’ve seen all of them except ‘Paris’ and ‘Loud.’ I’m rooting for ‘Descendants,’ but I’d be okay with ‘Artist’ or ‘Hugo’ or even ‘The Help’ winning. Naturally, there are other films that I think should be in the mix too but aren’t, but what can you do?

  4. The guy who met Kevin Meany

    I’ve seen all of them except The Help, The Descendants, The Artist, Hugo, Tree of Life, Extremely Loud and Incredibly Close, War Horse, and Midnight in Paris. Of the one I saw, I looked at Moneyball from a different perspective. The book was written as a business case study, not a story. Adapting that into a screenplay will turn off hardcore baseball fans but hopefully it also draws in non-baseball fans. It oversimplifies the Moneyball concept, but if all the details were left in the screenplay, it would not be well-received by anyone except baseball enthusiasts.

    • I get all of that. But the stuff they changed didn’t make the film any better. Like the LOOGY-obsession with Rincon, or turning Paul DePodesta into the stereotype of every fat baseball nerd in his mom’s basement. The early trip to Cleveland when he first meets DePo/Peter Brand was made on the guise of trade talks or something. Would never, ever happen.

      • The guy who met Kevin Meany

        Just a follow-up, I saw The Descendants this weekend. Really good movie in sort of a Sideways kind of way. Its not winning Best Picture; a little too indie to win at the Oscars, but it was worth seeing.

        • It’s looking more and more like I’ll give it a try.

          • The guy who met Kevin Meany

            This weekend I saw Hugo, The Artist, and Midnight in Paris. All of them were good; however I’m not as much on the Artist bandwagon as everybody else. The actors did a great job; however I still see it as a great nostalgia act, not something that represents the best picture of 2011. Another thing: a lot of speaking would take place and there wasn’t always a dialogue screen that followed it up. I know they were trying to show how powerful facial expressions can be; I just feel like I missed some subtle pieces of the story. My favorite was actually Midnight in Paris. I haven’t seen that many Woody Allen movies, but I was a big fan. I get what you were saying about Owen Wilson doing an imitation of Woody Allen. It won’t win, but it was my favorite. I would be okay with Hugo winning.

  5. Phil

    I’m trying to get to the theater to see The Artist. The Help, War Horse, and Extremely Loud, I’ll get to on video. The Descendants is very good, but I felt like it wasn’t Payne’s best. I’m very surprised that Clooney is the front-runner for Best Actor. I would pick ‘Tree of Life’ as best picture. It isn’t perfect – the scenes with Penn should of been cut – but it is truly ambitious and original. Yes, there is no simple plot to follow, but I think that makes the film more powerful. It’s supposed to be stream-of-consciousness, and I still thought the film flowed beautifully. I couldn’t believe it didn’t get an editing nomination. It’s not for everyone, so I won’t be surprised if it doesn’t win.
    I finally saw ‘Drive’ last night – and that may be my favorite film of the year.

    • There are a tiny handful from this past year that I haven’t seen yet and I’m really curious about. Drive is definitely one, Take Shelter is another, and We Need to Talk About Kevin is the third.

  6. I’m hoping the ambiguous “they” in Hollywood decide to re-release Hugo, so that I can see it in 3D as it should be viewed…

    The Descendants, IMHO, is worth a view. Clooney plays normal like no one else.

    • You might keep an eye on your theaters. I know a lot of St. Louis-area places will re-run the nominees once they’ve been made. In fact, I think one of my favorite theaters is running it right now.

      And by “favorite”, I mean “they have a full bar”.

  7. Only seen Tree of Life and I should watch them all soon to have my own opinion when the Oscars arrive. But I think The Artist and Hugo have the biggest chance to win the Oscar.

  8. I’ve seen Tree of Life, Midnight in Paris and Hugo. My favourite of those was Hugo, which I’d like to see win, but Midnight in Paris was not far behind. I’m sure The Artist will win though.

    • I thoroughly enjoyed The Artist. I sort of expected Oscar bait, and I suppose it is to a certain degree, but it doesn’t take away one ounce from their execution of the concept. I was impressed.

  9. rtm

    I’m pulling for The Artist this year, but if there’s another film that’s going to steal it’s thunder, I guess I wouldn’t mind it so much if it’s HUGO. I agree John, that part about Georges Méliès towards the end is my absolute favorite, but the beginning is rather slow whilst The Artist kept me engaged from start to finish.

    • The way I see it, even if you don’t like the story or the concept behind The Artist, you HAVE to love the dog, right? That’s one of my favorite movie dogs ever.

  10. I have seen most of the main players… Only that extremely close film to see….I am pretty miffed still by the whole affair.

    Seems a very politically chosen list if you ask me

    • It seems like it was just kind of a mediocre year for movies in general, especially top-shelf Oscar-quality movies. And sadly, Oscar will always aim for the safe picks, even if they’re not the best ones.

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