Tag Archives: The Butler

The Oscar nominations are in: Gravity and 12 Years A Slave get Hustled

16 Jan

The Oscar nominations have just been announced. I’ve been glued to the live stream, co-hosted by Chris Hemsworth. American Hustle and Gravity are ostensibly the main contenders, with (by my count) ten nominations each, but I have a feeling Gravity may do better; and 12 Years A Slave, only just trailing with nine nominations, has the best chance of all. Other well nominated films include Dallas Buyers Club, Nebraska, Wolf of Wall Street and Blue Jasmine. Who’ll win? The debate starts here:

Best Movie: Nominees are American Hustle, Captain Phillips, Philomena, Dallas Buyers Club, Gravity, Her, Nebraska, 12 Years A Slave, The Wolf of Wall Street

I half-fancy Gravity’s chances, even though it’s trailing third at the bookies (which makes it a worthwhile bet, odds-wise). When I saw 12 Years in preview a couple of months ago, it was easily my pick for the Oscar. Then I saw Gravity three days later – a film that couldn’t be more different, except they were both, essentially, mainstream movies shot by art-movie directors – and thought it had a strong chance.

The key thing is that it’s rare for the Academy to buck public sentiment entirely for the main award. And though critics mostly loved 12 Years, it took just under $40m in the US. The schmaltzier The Butler, by contrast, while no one’s idea of a Best Movie, took $116m.

Gravity took $256 million in the US; it also stars Sandra and George who are universally loved in Hollywood; and it can be enjoyed without controversy by any age, race or class. It would, however, be the first science-fiction movie ever to win – though when I said this to my film-student son, he argued out that’s it’s not really science-fiction; it’s just set in space.

Best Actor: Nominees are Christian Bale, Bruce Dern, Leonardo DiCaprio, Chiwetl Ejiofor, Matthew McConaughey

As I wrote last week in my review of 12 Years, it is inconceivable that Chiwetl Ejiofor will not win Best Actor. Yes, the Golden Globe went to Matthew McConaughey, for Dallas Buyers Club, and that’s also an Important Issue Film (about AIDS), which helps (plus see my update here). But not only does Ejiofor thoroughly and objectively deserve it, in the past the Academy has been so desperate to redress a perceived racial bias in award-giving that they donked the Oscar to, whisper it, Halle Berry. A bit hard on Tom Hanks, incidentally, not to be nominated, but this was a good year.

Best Actress: Nominees are Amy Adams, Cate Blanchett, Sandra Bullock, Judi Dench, Meryl Streep

Surely Cate Blanchett. I thought Sandra Bullock might have a chance for Gravity, as she’s so darn likeable in it and carries the whole film, then I finally caught up with Blue Jasmine. Blanchett not only makes her horrible, shallow, self-absorbed, clothes-horse character astonishingly sympathetic and vulnerable, she’s about the only person ever in a Woody Allen film who’s managed not to sound like Woody Allen.

Best Director: Nominees are David O Russell, Alfonso Cuarón, Alexander Payne, Steve McQueen, Martin Scorsese

The bookies favour Alfonso Cuarón for Gravity, but I reckon Steve McQueen will still edge it for 12 Years. Both are worthy. As a sometime film critic, I mentally grade all the films I see. I give five stars rarely; to maybe three or four films a year. Five-star films, to me, are not just superb in all respects, but the product of a singular vision: in other words, you cannot imagine any other director having made just that film. Argo, which won last year, only rates four stars in my book; but then 2012 was a much leaner year for good films than 2013. I think, only slightly cynically, that it will be hard to resist the attraction of garlanding the first winning black director in Oscar history (McQueen is only the third even to be nominated).

Best Original Screenplay: Nominees are American Hustle, Blue Jasmine, Dallas Buyers Club, Her, Nebraska

This is toughest of the lot. What a great selection. Blue Jasmine has a chance, but continuing Woody Allen controversy will likely scotch it, and American Hustle will edge to victory. David O Russell writes knock-out scripts, and this will be consolation on missing out on the big awards. Note that Gravity is absent. Seems other people may have agreed with David Hare’s scathing assessment.

Best Adapted Screenplay: Nominees are Before Midnight, Captain Phillips, Philomena, 12 Years A Slave, The Wolf of Wall Street

The success of 12 Years is not so obviously in its script, well though it draws upon the ornate speech of the age. Either Captain Phillips or more probably The Wolf of Wall Street will take this as a consolation prize.

The winners are announced on March 2. For my backstage tour of the Academy Awards’ Kodak/Dolby Theatre, click here.

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Why 12 Years A Slave is already the film of the year

10 Jan
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Chiwetel Ejiofor as Solomon Northup with his demented ‘owner’ (Michael Fassbender)

12 Years A Slave opens today in the UK, so you can finally see what all the fuss is about. I saw it at a preview a couple of months back, and was blown away. It is flat-out impossible that Chiwetel Ejiofor will not win the Academy Award for Best Actor, and doubtless the Golden Globe this Sunday too. Director Steve McQueen has said he never considered another actor for the role, and his performance is, like the film itself, one of enormous power, courage, dignity and, above all, restraint.

Where The Butler took such liberties with its source material that it can hardly be said to be ‘based on a true story’ at all, shoehorning all sorts of historical events Forrest Gumpishly into the narrative under a mess of mawkish music to demonstrate that Racism Is Bad, 12 Years A Slave is such an extraordinary true story it needs no embellishment. It is based on the memoirs of Solomon Northup, a free negro born in New York state, who was drugged and sold into 12 years of brutal slavery in the Deep South.

Benedict Cumberbatch and regular Steve McQueen collaborator Michael Fassbender play, respectively, considerate and demented slave owners, and producer Brad Pitt gives himself a cameo as just about the only decent anti-slavery white character; but it’s Ejiofor’s film. His expressive eyes fill every scene, haunting you long after the film has finished.

Steve McQueen’s direction is extraordinary, too. He’s not afraid of long takes – consider the monologue in Hunger – and of letting the pictures do the talking: foreshadowing Northup’s captivity by a close-up of his violin pegs being tightened, for instance. The extraordinary natural beauty of Northup’s surroundings, shot on 35mm film and in widescreen by cinematographer Sean Bobbit,  only make his bondage the more poignant.

None of this sounds like a fun film for a Friday night, I know. But see it soon, and absolutely see it on the big screen where it belongs. Though we’re only two weeks into January, I would confidently predict it will be the best film you’ll see all year.