Category: Film

The Kid Stays In The Picture (2002) tells Robert Evans‘ own story of his rise and fall as the head of production at Paramount Pictures, which during his tenure, produced such classic films as Rosemary’s Baby, Harold and Maude, and The Godfather. Based on his autobiography, it’s a self-congratulatory, innovative, and fascinating look at a Hollywood insider. After a disastrous decade in the 1980s, including a drug bust and rumours linking him to a murder, Evans is producing again, most recently for the successful romantic comedy How To Lose A Guy In 10 Days.

The best part of the film, shown during the end credits, is a 1976 clip of Dustin Hoffman doing a spot-on imitation of Evans. Hilarious.

I have surprisingly little to say about last night’s Oscar ceremony. I was pleased that Chicago didn’t sweep everything. I was pleased that The Pianist got some recognition. I enjoyed Adrien Brody‘s speech, especially the snogging he laid on Halle Berry. I was disappointed that three of the year’s best movies were essentially ignored: About Schmidt, Adaptation, and Far From Heaven. I wasn’t surprised that Michael Moore made an ass of himself (but I still like him). And though I don’t like Eminem, I’m glad his song won. I liked Steve Martin’s low-key but sometimes biting humour. And I’m happy that they finished by midnight. That is all.

Some friends told me that the Independent Spirit Awards were much better, and I’m disappointed that I wasn’t able to watch them.

In 1964, British television aired a documentary entitled Seven Up, in which they interviewed a group of 14 seven-year old schoolchildren. Every seven years later, another documentary appeared to follow the progress of their lives. 42 Up (1998) is the latest of these films, and it is utterly compelling. The way the film maps the course of these children’s dreams and aspirations through the years gives you a real insight into both their individual lives and the society in which they grew up. My only regret is that if I watch any of the earlier films, I’ll know what happens afterward. Watching this film made me wonder if I’d like my life to be documented in this way. It must have been difficult for these people as middle-aged adults to look back on some of the things they wanted when they were children or teenagers or young adults. Happily, this film finds almost all of them in a period of contentment as I suppose is the task of middle-age. Highly recommended, although I’d try to track down some of the earlier films first.

As is her custom, Brooke tries to make us see as many of the Oscar-nominated films each year as possible. Last night, we watched Unfaithful, starring Richard Gere and the Oscar-nominated Diane Lane. I don’t have a lot to say about it, other than that it was an above-average thriller with some mildly spicy sex scenes.

Two things are interesting about it, though. First, it is a remake of a French film, Claude Chabrol’s La Femme Infidele, which is loosely based on Madame Bovary. This makes me want to see the original, which is probably sexier and more thrilling, or at least sexier. Second, I recognized a piano arrangement of the Radiohead song “Exit Music (For A Film)” and it turns out it’s performed by Brad Mehldau, and a live version was included on the CD Mix Of The Month for May 2002, sent to me by Josh Benton. He’s so way ahead of the “cool curve,” it’s scary.

Ok, the grouch is me. The nominations for the Oscars were announced today, and I was a little disappointed. I enjoyed Chicago as much as the next guy (and even more than I thought I would), but I think its 13(!) nominations are way out of line. Nothing against Queen Latifah or John C. Reilly, but I really didn’t think they did all that much to deserve their nominations.

Especially galling is that Dennis Quaid’s fine fine work in Far From Heaven was overlooked, as was director Todd Haynes. I was also surprised to see both Adaptation and About Schmidt shut out of the Best Picture and Best Director nominations.

I guess that with a war looming, Americans would rather see escapist fluff like Chicago than more quirky, difficult, challenging, or yes, depressing movies. Which is why I think it will sweep most of the awards it’s nominated for. And that’s too bad, since it’s not a terrible movie. It’s just not a great movie.

Another surprise was that Talk To Her, the acclaimed film from Pedro Almodovar, was not submitted by Spain as its entrant for Best Foreign Language Film. I bet it would have wiped the floor with the other nominees, though I haven’t seen it yet. It gives me a little hope that one of my favourites, The Man Without A Past, might have a chance. I wrote a little about that film here.

As always, I covet your comments.