2007 was definitely one of the best years for film in a long time. All 5 of these nominees are great and should absolutely be watched and studied for years to come. As is usual with the Best Picture category, I've seen most - if not all - nominees while doing the 4 other categories, so I've already got my mind made up as to how my rankings will play out. Read on and find out!
2007 Best Picture
No Country for Old Men
In a year that brought back the Western, it's fitting that a film like this would win. Obviously it's not a typical Western film, but the vibe is there and it's amazing that 2007 produced so many great Western movies. No Country for Old Men is an instant classic. The Coen Brothers adapted Cormac McCarthy's indelible novel into a film that latches onto your brain and burrows itself deep into your psyche. It strikes the perfect balance between being too simple and too complicated. The writing is exceptional and there are many scenes that I wish would go on forever because they are absolutely brilliant. The writing never panders and is whip smart, and the dialogue is measured so that none of it feels too fake. The casting as well is perfect. Javier Bardem turns in one of the greatest villain characters of all time. His Anton Chigurh is memorable and incomparable. Josh Brolin and Tommy Lee Jones both make their characters and the rest of the cast does a terrific job - from the stars like Woody Harrelson to the no-names who play hotel owners. When I saw this film for the first time, the one thing that immediately stood out for me was the beautiful cinematography. Roger Deakins captures the tone of the movie so very well. His photography is all at once foreboding, bleak, independent, and jarring. The slow, building tension throughout keeps the viewer engaged and on the edge of their seat and tightens it's grip as it moves along. For me, there were no dull parts. I was hooked from the beginning and it only got progressively more interesting as time went along. It's unrelenting and uncompromising in its depiction of the story and the treatment of the characters. No one is safe, which is one of the main reasons I like this film so much. When I first saw the ending in theaters, I turned to my Army buddies I went with and we all had an expression of "what do we make of that?!" but in less vulgar terms. I can see how the ending might turn some people off, but for me it worked. And it kept us talking for literally two or three days as we made sense of it. Truly the sign of a great ending and a great movie.
Atonement
I love that you see two different sides to what really happens. As both are real but tell two different stories to different people. It shows that we can sometimes see what we want and the lasting effects it can cause - the main point of Atonement. The movie creeps along at times, even with the flashbacks and mystery elements involved, but director Joe Wright has crafted a period piece that feels fresh and exciting. The first act has constant simmering sexual undertones that, coupled with some extraordinary acting, defies the usual stuffy English estate fluff we see from most period pieces. The second act Dunkirk scenes are especially brutal to watch and the long one shot tracking scene is utterly amazing and gorgeous to look at. It's a scene that would make Alfonso Cuaron and Emmanuel Lubezki proud. The third act loses some steam and the "twist" at the end comes off a little hokey to me even though I understand the moral questions it's trying to ask us. Can art atone for moral inequities? It's an interesting question that ultimately feels tacked on at the end of a film that was already asking interesting moral questions. I personally would have done without that as the ending. James McAvoy was exceptional and dynamic as Robbie and added a sincerity and honestness to his role that was refreshing to see. He deftly portrayed the complex character with the perfect amount of nuance and he really was the highlight for me. The film itself had such a quiet, understated seriousness to it that it never felt like you were watching period film or a British film and kept me involved as a viewer despite it's slow parts. Especially when you read the description and think "oh no - another boring, critically hyped film that will take a few viewings to get through," it was far from the film I was initially expecting. It was beautifully shot and the score that seemed to live just underneath every scene was quite remarkable (it won Best Original Score) and lent itself to a Mad Men-esque opening credits sense of movement and foreboding. Atonement helped add to an incredibly strong year for film in 2007 and would have been a leading contender in almost any other year.
Juno
I'll admit that the first time I saw this when it came out, I loved it. It was very much a movie for the younger generation and it hit all the right notes for me at that time. Watching it again....it's apparent that Diablo Cody just tries way too hard with her writing and there are way
too many cringe worthy moments for me to truly call this a great film. Some of the dialogue is so affected that it grates the ears since no kid ever talks in that way (and I wasn't all that far removed from high school when this came out). Sometimes it skates by on its assuredly unique premise but gets bogged down in being too hip and cute and independent. The somewhat decent script falters at points where the witty, fast paced dialogue of teenagers dealing with a life changing event becomes the all too unbelievable mouthpiece of an adult writer. Time and again this would take me out of the movie but I'd get sucked back in because the characters are fun to watch interact with each other. It has both the comedic and poignant moments that make this film transcend the laughable dialogue and take on a frighteningly real moment in life that happens to many teenagers with a sense of understanding and care. You feel for Juno and when she lets her guard down we can see she really is just a scared kid on the inside despite her casual demeanor. The film never really probes too deep into the societal and personal ramifications of teen pregnancy and misses it's chances to deliver some truly dramatic moments in favor of trying to make the audience happy with jokes and a feel good ending. Despite the great music selection and the ever present charm Ellen Page exudes, Juno is a bit too neat in appealing to movie goers and not pushing the boundaries it thinks it has set up. It is still a film worth watching and it's not as terrible as I've made it seem, but there were other more deserving films that should have taken its place.
Michael Clayton
This film is the one I always forget about when trying to remember the Best Picture nominees for 2007. That's due mostly to it flying under the radar for me when it actually came out - I'd never heard of it and I wasn't really paying attention to movies much back then, preparing for a deployment and all that. So when I first watched this one in 2009, it was like finding a $20 in your jacket pocket from last year. That is to say a real hidden gem. Michael Clayton is a tad bit complicated, one you have to watch intently to figure out the different converging stories but it pays off in the end. What I liked about it was how grown-up it felt. It's a smart movie that never panders to the audience, it has such an adult feel to it that it's like a breath of fresh air for Oscar type films. Sure, 2007 has quite a few nominees that fit this standard, too, but you'd expect that from the Coen Brothers and Paul Thomas Anderson. You don't get the hand holding that a lot of other corporate thrillers use to make the story more easy to digest and it makes watching this film a rewarding experience. The cast does an amazing job and rightly deserved their acting nominations for it. Those characters all seem plausible and real and are never dumbed down to their basest one note qualities. The story is suspenseful and exciting from the very beginning (even though I wish it wouldn't have shown the ending at the start, but it still works) and builds to a satisfying end even if everything isn't completely spelled out for the viewer. This is how Best Picture nominees should look.
There Will Be Blood
This is simply a modern masterpiece. One that I think will probably recognized as one of the greatest films of all time from the 2000s. Try as I might to find a flaw worth writing about, there's just nothing that stands out to me in that regard. The cinematography is breathtakingly brilliant, the score is so unique and doesn't hand hold the viewer through the film and tell them exactly what to feel, and there are so many iconic images that can be taken from this film that it's really hard to pick just one.Daniel Day-Lewis gives what I believe to be his best performance ever and one that should surely go down in history as an incredible achievement in acting. Paul Dano shines in his breakout role and makes the interaction between his character and DDL's such a rewarding battle of wills to watch. Eli and Plainview are very similar and I really enjoy how Paul Thomas Anderson connect the two as people. The first time Plainview beats Eli, Eli then goes home and acts the exact same way to his father that Plainview acted towards him. It's remarkable stuff and PTA deserves most of the credit for keeping the script from sounding too hokey, which is a problem for most period pieces. The slow building of the film to it's final scene with the milkshake discussion in the bowling alley (my favorite part) never felt labored and it always felt important from the very beginning which helped keep me hooked for 2 and a half hours, quite the achievement. PTA's direction as well was phenomenal, so many brilliant angles and interesting set ups. There are so many classic scenes and moments that will no doubt be cribbed from ad nauseum for decades to come. My one gripe would be that the end feels like a few different vignettes stuck together at times. However, those "vignettes" are masterfully done and don't detract from the overall story or tone -- I just wish they were connected a little better. Love how it's somewhat of a mystery.The film never feels too one note, either, and has elements of mystery, Westerns, horror, dramatic period piece - all kinds of different influences that create a distinctively American Classic.
I feel as if this group is the best out of the 5 years I've done so far. Every film is great even though I would probably bump Juno for one of Zodiac, Gone Baby Gone, or The Assassination of Jesse James. It would have made for a very intense bunch of nominees, though. I definitely wish that 2007 was a year of 10 nominees because there were tons of other films that had a legitimate shot at making an 8-10 slot. I really can't say enough about how great this year was for film. I waffle between giving my top spot to No Country or TWBB and I'd probably give it to whichever movie I've seen last. A very slight edge to TWBB for now since I believe it'll be the film that shows up on the Sight & Sound poll in the future. I really liked how Atonement wasn't what I was expecting the first time I watched it and it completely shattered my expectations. Michael Clayton is close behind that one with Juno bringing up the rear. Juno really had no chance in a year where 4 serious films knocked it out of the park unfortunately for it. All in all my favorite year so far.
Oscar Winner: No Country for Old Men
My Winner: There Will Be Blood
No Country for Old Men
Atonement
Michael Clayton
Juno
Friday, August 24, 2012
Thursday, August 23, 2012
Leading Actor 2007
My favorite category is here again! I've had the pleasure of already watching all of these performances prior to this project and by name alone this is one hell of a group. With 3 previous Oscar winners in Day-Lewis, Clooney and Jones and a previous multiple nominee in Depp, it's almost surprising that this is Mortensen's first nomination. So needless to say I will enjoy writing about these since all of them are great with the exception of Tommy Lee Jones' film, which I'm interested in watching again.
2007 Best Actor
Daniel Day-Lewis - There Will Be Blood
What else can be said about Daniel Day-Lewis besides that he is probably the greatest living actor we have today. He is known for diving headfirst into his roles and staying in character even off set and it shows in all of the films he does, even those that aren't as good. This is no different for his Daniel Plainview, an oil-man looking to strike it rich. Day-Lewis' character starts out strong while digging for gold and silver deep in a hole in the middle of nowhere. There is no dialogue for over 15 minutes in the beginning, yet DDL carries the action so well that one hardly realizes not one word has been spoken. Everything that makes Daniel Plainview work perfectly is in all those tics, hunched over looks, sideways glances, the intense bouts of violence that come out of nowhere, the sounds he makes with his mouth. There's a lot of thought and effort put into Plainview that fully enriches the experience for the viewer. He can easily slip between the seductively persuasive and the intensely terrifying in order to get his way. He's ruthless and relentless and it can be hard to discern if he's a decent man infatuated with making it rich at the expense of everything else or an evil man that uses any means at his disposal to get what he wants. It's an incredibly fascinating character that is wholly iconic due to the utterly amazing talents of Daniel Day-Lewis.
George Clooney - Michael Clayton
Watching Clooney over the years, two different types of character have emerged that best describe to me the bulk of his roles. There's the serious, sullen, straight to the point so we can get things done kinda guy who is trying to work through the problems in his messy life. And then there's the smooth talking, uber charming, good-natured, funny man that you can't help but like regardless of the situation. Both of which are Classic Clooney. Clooney is mostly the former in Michael Clayton as the eponymous "fixer" from the law firm representing an agrochemical company whose tainted product has killed many and are now bogged down in legal battles. His job is to come in to help make legal messes more manageable which is ironic since his own life is in turmoil as a divorced father with a son he can't relate to and money problems stemming from bad investments and a gambling addiction. He's great at being able to switch between his roles as the fixer who can walk into a room, command authority and begin mitigating damage almost immediately usually over the the protestations of whoever he is helping and then become the man whose worn and tired face betrays the confidence the other man possesses. He's a man whose current place in life has left him unhappy, dissatisfied, and depressed. And once he stumbles on the secret Tom Wilkinson's character did and becomes embroiled in the situation as well, Clooney seizes on his chance for a way out. There is nothing smarmy, slick, or GQ about this performance. Unlike his last 2 nominations, this one feels more like it was well earned off the strength of the acting alone, instead of his name. This is Classic Clooney.
Johnny Depp - Sweeney Todd: The Demon Barber of Fleet Street
This is a perfect role for Depp. Sure he could be a serious leading man and do Oscar-y dramas year in and year out but I'm glad that Depp has decided to forgo all that and make movies that are risky and fun and entertaining at the same time. Depp just looks good in dark pictures, whether it's Edward Scissorhands or Dark Shadows, and he excels at these quirky roles that other actors would no doubt have trouble with. The realistic singing is a nice touch as well. Not Broadway, belt-it-out quality but real and visceral and full of the same emotion found on stage. Depp expertly plays a man consumed by revenge and watching him slowly descend into madness is great fun. He has a superb supporting cast to work with and they all match each other step-for-step, effectively grounding Todd into a somewhat humanistic character and never letting him rise to be the garish and overblown character he could be in lesser hands. Tim Burton does a great job tempering the volatile moments with the lighthearted and thus gives the audience hope that Todd may exact his revenge and be absolved of his hatred. Depp never betrays his director's vision which most likely comes from their years of working together. Depp is the perfect Sweeney Todd and a welcomed oddity in the Best Actor pantheon.
Tommy Lee Jones - In the Valley of Elah
So this was not the movie I was thinking about when I wrote the introduction. I must have mixed it up with one of the other Iraq war movies. This film plays out more like a detective movie with military undertones than anything else and Tommy Lee Jones delivers a solid performance. Jones definitely portrays his character, a father searching for his missing Army son, as very straight and proper. Jones comes off a little too good and no nonsense in a way, as if he's the quintessential father and veteran combo. This comes off slightly aggravating but it's done no doubt to establish that Jones' character is a worrisome dad out to seek justice and find truth even through the military bullshit - something he was once a part of. It's a solid performance because Jones is wholly believable in his role, unafraid to ask questions others might shy away from and steadfast in his devotion to finding out what has happened with his son. He does at times seem to be too good at figuring out things others have missed in the investigation, obviously done to move the plot along, but it's done in a way to not take the viewer out of the film. Jones just has that harsh paternal air to him that works wonders in roles like these. This is almost like a forebear to Jones' role in No Country for Old Men, as their are definite similarities between the two. He's convincing and natural and definitely worthy of his 3rd nomination.
Viggo Mortensen - Eastern Promises
What a quietly strong performance. Mortensen delivers a rich yet subtle take on a Russian mobster. He's a very calculated man of very few words but Mortensen can convey so much with his facial expressions and the way he delivers his lines - even those in Russian. His character, Nikolai, is a driver working for the London based Russian mob and is being groomed to take on more responsibilities by the family. Mortensen gives a calming and heartfelt performance of what is naturally a violent and cold-blooded profession. We see Nikolai's benevolent, humanistic qualities peek through his mobster facade now and again and are forced as the audience to reconcile the two extreme sides. Can we like a man who doesn't seem to fit our ideal of someone who may be a crazed, psychotic killer even though we know he works for such a violent and dangerous criminal organization? Mortensen makes that an easy yes, which is a tremendous accomplishment of his acting ability. The twist at the end seemed a bit obvious, but you were never quite sure of the real Nikolai until this point. He could have easily been one or the other and would have definitely convinced the audience this was true. The fight scene in the bath house is remarkable and makes both Viggo and his characters come off as absolute badasses. Probably one of the best fight scenes in film in recent years and one that is neither flashy or gimmicky; just straightforward, plausible real world violence. It amazes me that this is only Viggo's first nomination because he has turned in some incredible performances in the past and I'm glad to see him recognized here.
Another year, another amazing group of Best Actor nominees. I would say that 2007 was a watershed year for film and this group of men really hammer home how truly great it was. There were tons of great films, some of which will be thought of as classics years from now. And great individual performances, some of which will be held aloft as some of the best work ever put on film. These 5 men all help contribute to that and I'd say that Daniel Day-Lewis' is one that will be remembered for all time. He's had many incredible performances and this is just the feather in that cap. As for who would be my second choice one might as well flip a coin because they are all worthy of that distinction. I'd say the order below is fine for now but I could change my mind if I wrote this 5 minutes from now. Viggo should be more recognized by the Academy so I'm putting him as my second but Clooney gave an intense performance that I really liked and Depp was perfectly cast in a role he was obviously meant to play and Jones delivered an earnest character that may have had just a few faults. This was a really fun category to watch and write about.
Oscar Winner: Daniel Day-Lewis - There Will Be Blood
My Winner: Daniel Day-Lewis - There Will Be Blood
Viggo Mortensen
George Clooney
Johnny Depp
Tommy Lee Jones
2007 Best Actor
Daniel Day-Lewis - There Will Be Blood
What else can be said about Daniel Day-Lewis besides that he is probably the greatest living actor we have today. He is known for diving headfirst into his roles and staying in character even off set and it shows in all of the films he does, even those that aren't as good. This is no different for his Daniel Plainview, an oil-man looking to strike it rich. Day-Lewis' character starts out strong while digging for gold and silver deep in a hole in the middle of nowhere. There is no dialogue for over 15 minutes in the beginning, yet DDL carries the action so well that one hardly realizes not one word has been spoken. Everything that makes Daniel Plainview work perfectly is in all those tics, hunched over looks, sideways glances, the intense bouts of violence that come out of nowhere, the sounds he makes with his mouth. There's a lot of thought and effort put into Plainview that fully enriches the experience for the viewer. He can easily slip between the seductively persuasive and the intensely terrifying in order to get his way. He's ruthless and relentless and it can be hard to discern if he's a decent man infatuated with making it rich at the expense of everything else or an evil man that uses any means at his disposal to get what he wants. It's an incredibly fascinating character that is wholly iconic due to the utterly amazing talents of Daniel Day-Lewis.
George Clooney - Michael Clayton
Watching Clooney over the years, two different types of character have emerged that best describe to me the bulk of his roles. There's the serious, sullen, straight to the point so we can get things done kinda guy who is trying to work through the problems in his messy life. And then there's the smooth talking, uber charming, good-natured, funny man that you can't help but like regardless of the situation. Both of which are Classic Clooney. Clooney is mostly the former in Michael Clayton as the eponymous "fixer" from the law firm representing an agrochemical company whose tainted product has killed many and are now bogged down in legal battles. His job is to come in to help make legal messes more manageable which is ironic since his own life is in turmoil as a divorced father with a son he can't relate to and money problems stemming from bad investments and a gambling addiction. He's great at being able to switch between his roles as the fixer who can walk into a room, command authority and begin mitigating damage almost immediately usually over the the protestations of whoever he is helping and then become the man whose worn and tired face betrays the confidence the other man possesses. He's a man whose current place in life has left him unhappy, dissatisfied, and depressed. And once he stumbles on the secret Tom Wilkinson's character did and becomes embroiled in the situation as well, Clooney seizes on his chance for a way out. There is nothing smarmy, slick, or GQ about this performance. Unlike his last 2 nominations, this one feels more like it was well earned off the strength of the acting alone, instead of his name. This is Classic Clooney.
Johnny Depp - Sweeney Todd: The Demon Barber of Fleet Street
This is a perfect role for Depp. Sure he could be a serious leading man and do Oscar-y dramas year in and year out but I'm glad that Depp has decided to forgo all that and make movies that are risky and fun and entertaining at the same time. Depp just looks good in dark pictures, whether it's Edward Scissorhands or Dark Shadows, and he excels at these quirky roles that other actors would no doubt have trouble with. The realistic singing is a nice touch as well. Not Broadway, belt-it-out quality but real and visceral and full of the same emotion found on stage. Depp expertly plays a man consumed by revenge and watching him slowly descend into madness is great fun. He has a superb supporting cast to work with and they all match each other step-for-step, effectively grounding Todd into a somewhat humanistic character and never letting him rise to be the garish and overblown character he could be in lesser hands. Tim Burton does a great job tempering the volatile moments with the lighthearted and thus gives the audience hope that Todd may exact his revenge and be absolved of his hatred. Depp never betrays his director's vision which most likely comes from their years of working together. Depp is the perfect Sweeney Todd and a welcomed oddity in the Best Actor pantheon.
Tommy Lee Jones - In the Valley of Elah
So this was not the movie I was thinking about when I wrote the introduction. I must have mixed it up with one of the other Iraq war movies. This film plays out more like a detective movie with military undertones than anything else and Tommy Lee Jones delivers a solid performance. Jones definitely portrays his character, a father searching for his missing Army son, as very straight and proper. Jones comes off a little too good and no nonsense in a way, as if he's the quintessential father and veteran combo. This comes off slightly aggravating but it's done no doubt to establish that Jones' character is a worrisome dad out to seek justice and find truth even through the military bullshit - something he was once a part of. It's a solid performance because Jones is wholly believable in his role, unafraid to ask questions others might shy away from and steadfast in his devotion to finding out what has happened with his son. He does at times seem to be too good at figuring out things others have missed in the investigation, obviously done to move the plot along, but it's done in a way to not take the viewer out of the film. Jones just has that harsh paternal air to him that works wonders in roles like these. This is almost like a forebear to Jones' role in No Country for Old Men, as their are definite similarities between the two. He's convincing and natural and definitely worthy of his 3rd nomination.
Viggo Mortensen - Eastern Promises
What a quietly strong performance. Mortensen delivers a rich yet subtle take on a Russian mobster. He's a very calculated man of very few words but Mortensen can convey so much with his facial expressions and the way he delivers his lines - even those in Russian. His character, Nikolai, is a driver working for the London based Russian mob and is being groomed to take on more responsibilities by the family. Mortensen gives a calming and heartfelt performance of what is naturally a violent and cold-blooded profession. We see Nikolai's benevolent, humanistic qualities peek through his mobster facade now and again and are forced as the audience to reconcile the two extreme sides. Can we like a man who doesn't seem to fit our ideal of someone who may be a crazed, psychotic killer even though we know he works for such a violent and dangerous criminal organization? Mortensen makes that an easy yes, which is a tremendous accomplishment of his acting ability. The twist at the end seemed a bit obvious, but you were never quite sure of the real Nikolai until this point. He could have easily been one or the other and would have definitely convinced the audience this was true. The fight scene in the bath house is remarkable and makes both Viggo and his characters come off as absolute badasses. Probably one of the best fight scenes in film in recent years and one that is neither flashy or gimmicky; just straightforward, plausible real world violence. It amazes me that this is only Viggo's first nomination because he has turned in some incredible performances in the past and I'm glad to see him recognized here.
Another year, another amazing group of Best Actor nominees. I would say that 2007 was a watershed year for film and this group of men really hammer home how truly great it was. There were tons of great films, some of which will be thought of as classics years from now. And great individual performances, some of which will be held aloft as some of the best work ever put on film. These 5 men all help contribute to that and I'd say that Daniel Day-Lewis' is one that will be remembered for all time. He's had many incredible performances and this is just the feather in that cap. As for who would be my second choice one might as well flip a coin because they are all worthy of that distinction. I'd say the order below is fine for now but I could change my mind if I wrote this 5 minutes from now. Viggo should be more recognized by the Academy so I'm putting him as my second but Clooney gave an intense performance that I really liked and Depp was perfectly cast in a role he was obviously meant to play and Jones delivered an earnest character that may have had just a few faults. This was a really fun category to watch and write about.
Oscar Winner: Daniel Day-Lewis - There Will Be Blood
My Winner: Daniel Day-Lewis - There Will Be Blood
Viggo Mortensen
George Clooney
Johnny Depp
Tommy Lee Jones
Sunday, August 12, 2012
Leading Actress 2007
Even though I haven't seen 3 of these performances yet, I'm not all that excited by the choices. Hopefully I'll be pleasantly surprised and enjoy a banner year like the rest of the categories. However, I am worried that this category might drag on if the films themselves turn out to be boring - which I know isn't very fair to say - but none of these stand out like in the other categories. I will keep an open mind, though, since that's what this project is all about!
2007 Best Actress
Marion Cotillard - La Vie en Rose
I'll start off by saying that I knew nothing of Edith Piaf coming into this film other than she was a French chanteuse. Watching Cotillard's intense, passionate, feverish, and technically virtuosic performance made it clear even without ever seeing Piaf in action that this was not just simple mimicry. Cotillard inhabits Piaf's soul and wraps herself up in Piaf's tragic and heartbreaking life to a degree that is rarely seen in film today. It's apparent the skill with which Cotillard can act and what's great about her turn here is that it doesn't look or feel like acting. Most actresses would have overdone this role but Cotillard strikes all the right notes. It's certainly a powerful and emotionally resonant performance, one that looks effortless. Impressive, too, is that Cotillard plays a few different roles of Piaf throughout her life and changes to fit each one into her own style. I wish that I could compare Cotillard's version to the actual Edith Piaf, so for me this is just another character to judge, which I think works out better than a compare and contrast anyway since I don't get stuck on minor details. This is easily one of the best female performances I've had the pleasure of seeing so far in this project and that gives me hope as I go back in time that not every actress category will let me down. This was a tremendous performance and one that was probably not appreciated enough by the general public since it was a French speaking role of a singer most people know nothing about. Cotillard was brilliant and I'm glad I was able to watch this film.
Cate Blanchett - Elizabeth: The Golden Age
The second of Blanchett's TWO nominations this year which really showcases her acting ability, going from Queen Elizabeth to playing Bob Dylan is no easy feat! Unfortunately, Elizabeth thinks it is more important than it really is, but it's simply a puff period piece, peppered with faux seriousness. Blanchett doesn't have much to do but look good as Queen Elizabeth I, though she does a good job of that. It's not her fault that the material doesn't allow her to flex her acting muscles that are clearly evident in I'm Not There. It's unfortunate, too, because she could have easily given a very memorable performance as Elizabeth if the film would have taken itself seriously and not been an excuse to play dress up. Even the serious moments ring hollow because they don't seem to fit with the tone of the film and thus are wildly out of place. Interestingly, Blanchett was nominated for the same role back in 1998 for the first Elizabeth film, which helped bring her into worldwide prominence. By all accounts that role dwarfs this one and that's disheartening because the original showed how much better Blanchett's Queen could be, especially after a second go around.
Julie Christie - Away from Her
One of the things I like about going backwards in time with this blog is that I don't always have the history of an actor to influence me. By that I mean, Christie is regarded as a great actress and has a few nominations and a win under her belt already but this is my first time watching her in a leading role. All the reviews of this film I read begin with how good she was in the past which almost seems to explain why some people liked this performance, instead of just liking the performance and not the name attached to it. Christie plays a woman dealing with Alzheimer's and is put into a nursing home which strains the relationship with her husband as her memory fades. The film itself can be a little treacly at times which causes the performance to teeter on the edge of melodramatic. Christie is capable in the role, however, I did feel the portrayal was rather light, for lack of a better adjective. Though she is firmly in the grips of Alzheimer', I felt a lot of her acting was merely mugging for the camera and trying to keep the stately and sophisticated demeanor going. Once in her depressive and forgetful state, there seems to be little depth and it doesn't feel like an accurate representation of an Alzheimer's patient to me. It's built up for the dramatic effect and that leaves me wanting a whole lot more. It's obvious Christie has the talent, but I don't think it is put to the best use here.
Laura Linney - The Savages
It's interesting that the Best Actress group would have two performances from films dealing with Alzheimer's/dementia. To me, this is the better and more realistic of the two and a much better performance as well. Linney plays a woman dealing with her father suffering from dementia and the effect it has on her and her brother (Philip Seymour Hoffman - a big year for him). Linney's neurotic character was really believable. She portrayed the anxious, worrisome daughter that desperately craves her dad's affection after a lifetime of emotional neglect and abuse perfectly. Her character is a scarred person that is trying to find the right path in life to set a course to and you can see those levels easily in Linney's performance. She wants to please and be loved but is easily annoyed and still somewhat guarded and these multi-layers is what makes watching Linney so much fun. She and Hoffman have great brother-sister chemistry and the two make the message that coping with a loved one with dementia can be tough more relatable than Away From Her's take on this subject. Linney does a tremendous job and is quite deserving of her nomination.
Ellen Page - Juno
There is no doubt that Ellen Page owns this role and this film. She delivers a mesmerizing, extremely likable performance as Juno MacGuff, a pregnant 16 year old who has decided to give her baby up for adoption. Page is believable in the role and infuses the character with a bit of heart and soul, even when the script tries to let her down. In the beginning, Juno comes off as obnoxious and it's hard to become emotionally invested in her life. However, Page does a remarkable job reigning in that blase attitude and acerbic wit by injecting some realism and honesty into the character. There's always an underlying juvenile vulnerability evident in the cracks of Juno's tough, cool exterior and Page does a great job in balancing the two sides. Juno is a strong girl by nature and the character really shines when Page is able to show that she is not just a small adult, but a young kid dealing with a life changing event. This is where the writing sometimes fails Page and her character but she is able to rescue Juno from becoming too much of a one dimensional, movie caricature of an adult's idea of an independent young woman. The scenes where Juno realizes her love for Paulie, even if they are force fed to the audience to elicit a tear jerker reaction, are layered with such an honesty and hopefulness thanks to Page. Where Page succeeds for me is in not letting the character take over and become the sole focus of every scene she's in. Page does well to allow the supporting cast equal time to shine instead of giving a loud, overstated performance which the script surely allows (and maybe even wants). Page's delicately nuanced performance really stood out in a strong way, it really and easily deserved the nomination.
Marion Cotillard's win was the first time a French language role had won an Oscar. Quite impressive. She was my clear favorite because her performance really was all the superlatives you can throw at it. And to think that her win was considered a semi-upset as many wanted/expected Julie Christie to win. I didn't much care for Christie's performance and thought that Linney's film had a more realistic take on caring for a loved one afflicted with Alzheimer's/dementia. Linney was a sort of surprise for me as I wasn't sure what to expect, but her earnest performance was absolutely deserving of a nomination. Ellen Page was probably hamstrung from the start for being young and acting in a comedy of sorts but was my second favorite by far. If not for Hollywood's obsession with its older actors, Page may have won in a year where Cotillard wasn't in the mix. And Blanchett was basically just there, not terrible but not given anything great from which to work with. I'd take her Supporting nom over this one any day, though. Overall a decent year for Best Actress.
Oscar Winner: Marion Cotillard - La Vie en Rose
My Winner: Marion Cotillard - La Vie en Rose
Ellen Page
Laura Linney
Cate Blanchett
Julie Christie
2007 Best Actress
Marion Cotillard - La Vie en Rose
I'll start off by saying that I knew nothing of Edith Piaf coming into this film other than she was a French chanteuse. Watching Cotillard's intense, passionate, feverish, and technically virtuosic performance made it clear even without ever seeing Piaf in action that this was not just simple mimicry. Cotillard inhabits Piaf's soul and wraps herself up in Piaf's tragic and heartbreaking life to a degree that is rarely seen in film today. It's apparent the skill with which Cotillard can act and what's great about her turn here is that it doesn't look or feel like acting. Most actresses would have overdone this role but Cotillard strikes all the right notes. It's certainly a powerful and emotionally resonant performance, one that looks effortless. Impressive, too, is that Cotillard plays a few different roles of Piaf throughout her life and changes to fit each one into her own style. I wish that I could compare Cotillard's version to the actual Edith Piaf, so for me this is just another character to judge, which I think works out better than a compare and contrast anyway since I don't get stuck on minor details. This is easily one of the best female performances I've had the pleasure of seeing so far in this project and that gives me hope as I go back in time that not every actress category will let me down. This was a tremendous performance and one that was probably not appreciated enough by the general public since it was a French speaking role of a singer most people know nothing about. Cotillard was brilliant and I'm glad I was able to watch this film.
Cate Blanchett - Elizabeth: The Golden Age
The second of Blanchett's TWO nominations this year which really showcases her acting ability, going from Queen Elizabeth to playing Bob Dylan is no easy feat! Unfortunately, Elizabeth thinks it is more important than it really is, but it's simply a puff period piece, peppered with faux seriousness. Blanchett doesn't have much to do but look good as Queen Elizabeth I, though she does a good job of that. It's not her fault that the material doesn't allow her to flex her acting muscles that are clearly evident in I'm Not There. It's unfortunate, too, because she could have easily given a very memorable performance as Elizabeth if the film would have taken itself seriously and not been an excuse to play dress up. Even the serious moments ring hollow because they don't seem to fit with the tone of the film and thus are wildly out of place. Interestingly, Blanchett was nominated for the same role back in 1998 for the first Elizabeth film, which helped bring her into worldwide prominence. By all accounts that role dwarfs this one and that's disheartening because the original showed how much better Blanchett's Queen could be, especially after a second go around.
Julie Christie - Away from Her
One of the things I like about going backwards in time with this blog is that I don't always have the history of an actor to influence me. By that I mean, Christie is regarded as a great actress and has a few nominations and a win under her belt already but this is my first time watching her in a leading role. All the reviews of this film I read begin with how good she was in the past which almost seems to explain why some people liked this performance, instead of just liking the performance and not the name attached to it. Christie plays a woman dealing with Alzheimer's and is put into a nursing home which strains the relationship with her husband as her memory fades. The film itself can be a little treacly at times which causes the performance to teeter on the edge of melodramatic. Christie is capable in the role, however, I did feel the portrayal was rather light, for lack of a better adjective. Though she is firmly in the grips of Alzheimer', I felt a lot of her acting was merely mugging for the camera and trying to keep the stately and sophisticated demeanor going. Once in her depressive and forgetful state, there seems to be little depth and it doesn't feel like an accurate representation of an Alzheimer's patient to me. It's built up for the dramatic effect and that leaves me wanting a whole lot more. It's obvious Christie has the talent, but I don't think it is put to the best use here.
Laura Linney - The Savages
It's interesting that the Best Actress group would have two performances from films dealing with Alzheimer's/dementia. To me, this is the better and more realistic of the two and a much better performance as well. Linney plays a woman dealing with her father suffering from dementia and the effect it has on her and her brother (Philip Seymour Hoffman - a big year for him). Linney's neurotic character was really believable. She portrayed the anxious, worrisome daughter that desperately craves her dad's affection after a lifetime of emotional neglect and abuse perfectly. Her character is a scarred person that is trying to find the right path in life to set a course to and you can see those levels easily in Linney's performance. She wants to please and be loved but is easily annoyed and still somewhat guarded and these multi-layers is what makes watching Linney so much fun. She and Hoffman have great brother-sister chemistry and the two make the message that coping with a loved one with dementia can be tough more relatable than Away From Her's take on this subject. Linney does a tremendous job and is quite deserving of her nomination.
Ellen Page - Juno
There is no doubt that Ellen Page owns this role and this film. She delivers a mesmerizing, extremely likable performance as Juno MacGuff, a pregnant 16 year old who has decided to give her baby up for adoption. Page is believable in the role and infuses the character with a bit of heart and soul, even when the script tries to let her down. In the beginning, Juno comes off as obnoxious and it's hard to become emotionally invested in her life. However, Page does a remarkable job reigning in that blase attitude and acerbic wit by injecting some realism and honesty into the character. There's always an underlying juvenile vulnerability evident in the cracks of Juno's tough, cool exterior and Page does a great job in balancing the two sides. Juno is a strong girl by nature and the character really shines when Page is able to show that she is not just a small adult, but a young kid dealing with a life changing event. This is where the writing sometimes fails Page and her character but she is able to rescue Juno from becoming too much of a one dimensional, movie caricature of an adult's idea of an independent young woman. The scenes where Juno realizes her love for Paulie, even if they are force fed to the audience to elicit a tear jerker reaction, are layered with such an honesty and hopefulness thanks to Page. Where Page succeeds for me is in not letting the character take over and become the sole focus of every scene she's in. Page does well to allow the supporting cast equal time to shine instead of giving a loud, overstated performance which the script surely allows (and maybe even wants). Page's delicately nuanced performance really stood out in a strong way, it really and easily deserved the nomination.
Marion Cotillard's win was the first time a French language role had won an Oscar. Quite impressive. She was my clear favorite because her performance really was all the superlatives you can throw at it. And to think that her win was considered a semi-upset as many wanted/expected Julie Christie to win. I didn't much care for Christie's performance and thought that Linney's film had a more realistic take on caring for a loved one afflicted with Alzheimer's/dementia. Linney was a sort of surprise for me as I wasn't sure what to expect, but her earnest performance was absolutely deserving of a nomination. Ellen Page was probably hamstrung from the start for being young and acting in a comedy of sorts but was my second favorite by far. If not for Hollywood's obsession with its older actors, Page may have won in a year where Cotillard wasn't in the mix. And Blanchett was basically just there, not terrible but not given anything great from which to work with. I'd take her Supporting nom over this one any day, though. Overall a decent year for Best Actress.
Oscar Winner: Marion Cotillard - La Vie en Rose
My Winner: Marion Cotillard - La Vie en Rose
Ellen Page
Laura Linney
Cate Blanchett
Julie Christie
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