It’s just a movie..

Nationalistic interests, among other issues, as always, inform the reporting of this year’s Oscar nominations and there seems to be an assumption that the Writers’ Guild strike won’t be allowed to get in the way of the ceremony. But, as the Professor notes, the 28th Golden Raspberry Award nominations are out too.. with somewhat less nationalistic interest informing the reporting..

, , , , ,

  • Rory

    Ah, Pete, what a tangled web you weave with your invitation to us to consider the influence of nationalistic interests in this year’s awards. While you are totally innocent of any charge of attempt at practised deception you may well be guilty of mental cruelty in offering such puzzlement.

    Are we to care more for petty nationalism than art when considering the limitations of Atonement, a film best characterised (if damned with faint praise) by being known as “worthy”? Or shall we take heart and cheer the best supporting actress nomination of 16-year old Saoirse Ronan’s performance in this film? After all she is “one of ours” – or is she one of “them uns”?

    And how is Daniel Day-Lewis to be categorised in our confused nationalism? Best maybe to glow in the gentle satisfaction that we may have some claim to this very best of screen actors who goes toe-to-toe with our other worthy son, Liam Neeson as the rightful successor to Spencer Tracy. Was Tracy “one of ours”.

    A good idea might be to keep in mind that the best “Irish” screen actor ever bar none, Victor McLaglen was not Irish. Legend has it that rather he was the wayward son of the Anglican bishop of Tunbridge Wells who took to swinging punches in fair-ground pugilism rather than swinging censers at evensong. But I am too tired at the moment to check this out, besides which I often find fanciful legend preferable to mundane reality and in considering those around which fanciful legend was ever built where’s the harm?

    The spiritual malaise of the USA comes under the spotlight in the two “big” contenders for Best Picture, “No Country for Old Men” and “There Will Be Blood” both of which offer moral bleakness wherein a chink of the light of redemption is difficult to discern. Difficult, but not impossible, wherein lies the differing triumph of each. That each is based on separate tremendously powerful novels by two of America’s great literary sons, Cormac McCarthy and Sinclair Lewis, divided by the generations of WWI, the Jazz Age, the Depression, WWII, Korea, Vietnam, Civil Rights and, God help us all, Dubya only lends weight to these creations as so often is not the case.

    Michael Clayton with George Clooney (one of ours?) is considered not to be so strong a contender but its subtly strong screenplay and hearkening to a struggle of the the soul less wrenching that the others might win through. But then so might Juno. And if it improves on the promise given us by the delightful Little Miss Sunshine might well deserve it.