Jeff Bridges for Crazy Heart
George Clooney for Up in the Air
Colin Firth for A Single Man
Morgan Freeman for Invictus
Jeremy Renner for The Hurt Locker
This one feels like it’s been complicated in recent weeks, too. I still don’t think Jeremy Renner will have the momentum to take the prize and I would be shocked if Clooney wins, even though I would cite Up in the Air as his finest performance. He should also, as argued by Stephanie Zacharek, be rewarded for his great role in Fantastic Mr Fox, but unfortunately that film, like Clooney, will go home empty-handed.
I liked Tom Ford’s debut film quite a bit. An adaptation of the Christopher Isherwood novel of the same name, the film is meticulously constructed throughout, both in terms (predictably) of the costumes and set design and the editing style. The latter probably harms the film somewhat, especially during the first few scenes in which Ford and editor Joan Sobel intercut and jump-cut all over the place. It does have a jarring impact which reduces as the film goes on, but it causes the first ten/fifteen minutes to be confrontationally creative and difficult for the audience to sink into.
The film succeeds through two components. The performances are excellent; Julianne Moore is superb but she does slightly suffer from her English accent which dives between the Queen’s and an East London trader in her closing inflections. Colin Firth though, who I’ve never been a fan of, is astounding. So easily is this the best performance of his career, that you worry that he will end up missing out on the Oscar (probably owing to Academy atonement towards Jeff Bridges) on the one occasion when he has absolutely found a synergy between his style and a character. More of that on the coming podcast.
The other thing that A Single Man does perfectly is intimacy. The relationships between all the characters are pitched just right. Firth and Moore, playing old friends and former flames – before Firth fell in love with Matthew Goode’s enchanter – manage to communicate all the years of hurt and regret which would exist between friends in which friendship is the desire for only one of the two. Moore, despite the accent issues, carries in her eyes all the years of quiet heartbreak which erupt into unintended attacks in a couple of barbed exchanges. Better though is Firth and Goode’s relationship. The two complement each other beautifully, and the scene in which the two are listening to music, huddled on a sofa and both reading, wholly captures the kind of quiet intimacy that any long-term, utterly right-for-each-other couple would have.
On Valentine’s Day weekend, in which the television screens will be bombarded by constant romantic comedies and the cinema is clogged by the shit-tacular-looking smugfest named after the day, you would be well advised to take the moments between Firth and Goode in this film as both an antidote to the saccharine crap being pushed onto you and as a touching representation of true love.
I did predict a few little while ago, but much has changed in the interim and I feel it necessary to update my prediction season for the nominees, something I will do again in early February just before the nominations are announced.
The primary change is the fall of Nine, previously considered a shoe-in for most categories, which looks likely to win absolutely nothing outside of a possible couple of technicals. Add to that the rising popularity of Inglourious Basterds and the seemingly-unstoppable attention being given to The Hurt Locker, plus the apparently disastrous The Lovely Bones, and some things have to change.
Below then are my predictions for the top few categories, with some explanation as to why and, bold as it may be, my predictions for the likely winners in each category.
Time to have a little guess again at which films could be nominated for Oscars in a couple of months time, just entirely based on hype and vague attempts to understand the predictable nature of the Academy. So, for debate and conjecture’s stake, enjoy these predictions for the Oscar nominations in 2010, post jump. Continue reading →
As we are prone to do, it feels like to kick-off the Oscar buzz season as awards from major film festivals begin to roll in and the ceremony approaches. I realise that this may feel like the kind of wishing-life-away feeling that it given as you walk into shops in mid-September and see Christmas stock out all over the place, but these will get more frequent as we get closer and can begin to actually predict what could win. This is more to provide an interesting gauge of how buzz works, how it changes and how wrong we could well end up being by the time the awards come around.
So, just for the big few categories, here’s what seems like it’s going to cause a stir this year: Continue reading →