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The Best Picture Oscar

I have now seen all five nominated films in this category; and have tried my best to catch up with the general releases of 2007, as it was not a big year for moviegoing and I do not know why. In fact I think I haven’t seen so few movies in a year since 2001. Anyway, I’m going to run down the five movies and whether or not I find them up to snuff. I apologize for any minor spoilers (I wouldn’t give away the endings, you philistines!) that might pop up.

Atonement: A solid period piece with all the trimmings. Detailed art direction, stellar costume design (everyone seems to flipping for that green dress). Potent performances of a potentially explosive script. However, for all its merit, I couldn’t help but feel that the story of the film on whole was hollow. For someone as beloved in a household as Robbie Turner was to his employers, it seems unthinkable that they would immediate take Briony’s word for fact, when she was known for dramatics, overimagination and generally obnoxious histrionics. The investigation into the entire rape scenario seems rushed – and um, why do the rapist and victim marry each other? Anyway, they’re inconsequential to the film after the first forty minutes. In fact the ending felt empty and for that I was depressed. Aside from a brilliant cameo turn by Vanessa Redgrave as an aged Briony, the end didn’t satisfy. It was quite a film to absorb, but there wasn’t that much to absorb from it. Though I did learn a few lessons. Number 1: Make sure you put the right letter in your envelope. 2. Never give envelope with wrong letter to precocious, assuming and thoroughly unlikable 13 year old. 3. Don’t rape a teenager when you’re a guest in the family home. 4. Don’t put the wrong letter in the envelope. Oh wait, I covered that? Oops. Anyway, see it if you like, but Howards End or The Remains of the Day this is not. Oscar should have paid James McAvoy‘s stellar performance notice, but not Atonement as a whole.

Juno: This year’s popular quirky little off-beat indie comedy that could. Say, a follow-up of sorts for the fans of Little Miss Sunshine. It’s hard not to like the film. For all its quirks (and is there a plethora; perhaps screenwriter Diablo Cody should collaborate with Wes Andersen and blow our minds), the film is actually quite sweet and occasionally quite funny. The film rests on the shoulders of Ellen Page, as the title character, who at 16 finds herself pregnant and goes about her situation in the most pragmatic and mature manner possible. Dry and sardonic, but not unfeeling, Juno is the kind of character you wish would show up more often. The straight man to all the lunacy around her, especially as she becomes involved in the lives of the couple who wish to adopt from her. What’s fascinating is that with the breadth of characters and setting (not to mention the chemistry) it felt like the pilot for a truly brilliant sitcom, akin to Freaks and Geeks or Arrested Development (Michael Cera and Jason Bateman probably brought out a lot of fans of the latter). One of the overlooked performances, for my money, is J.K. Simmons as Juno’s father, who is heartwarming and hilarious – sort of the Alan Arkin (minus the crass and drugs) of this movie. Allison Janney is a riot as her stepmother; Jennifer Garner effective as the would-be adoptive mother. And Cera is brings his usual awkward as the father of the child.

Michael Clayton: Truth be told, I didn’t think I was going to like this film. Legal person gets caught up in whistleblowing scandal; Life is on the line. The whole rigmarole. Well, do I love to be surprised. Think of it as Erin Brockovich meets Jason Bourne and this movie is the love child of their respective movies. Okay, so that’s somewhat complicated and weird, but you can figure out what I mean. It’s mostly an action thriller that features smarter-than-usual writing and a strong performance from George Clooney. However, he is eclipsed by the brilliant Tom Wilkinson as the top tier attorney who threatens a $3 billion lawsuit when he goes off his meds and the efficient chill of Tilda Swinton‘s smile as corporate legal counsel who will stop at nothing to protect the interests of her corporation that is under fire. Well directed and well paced, it makes for an entertaining couple of hours. However, if we’re going to accept smart popcorn movies into the race for the Academy awards (the Academy’s undying love of George Clooney not withstanding), why not some more serious attention to the incredibly well-loved and well-reviewed Bourne Ultimatum or even the lost gem of last winter, Zodiac, which has a small but rabid fanbase?

No Country for Old Men: The Coen brothers’ adaptation of Cormac McCarthy‘s sparse novel is one of the most bad-ass movies I have seen in a long time. There are three main characters in the story, each interrelated, though none share any screen time. What you have is a dark moral tale of chance and fate; and how the choices either good or bad can impact a person’s life. Strong script, stronger direction and the performances of the three major characters make this an unforgettable film experience. Tommy Lee Jones is the solemn sheriff trying in vain to maintain order in his generally peaceful Texas town all the while coming to the realization that he is powerless to the forces of change and time. Josh Brolin is the blue-collar Llewellyn who stumbles across the remnants of a drug deal gone horribly wrong. Then we come to the quiet ferocity that is Javier Bardem who is giving a performance that is already legendary. You’ll think twice before you call a coin toss, let me tell you… This has been a front-runner for many awards, in spite of the controversy many have felt regarding the ending (which actually folks is subtle genius – if you’ve been left feeling uneasy, it’s worked). The only loss I mourn in translation from novel to screenplay is the further dimensions we are given regarding the Sheriff and his past.

There Will Be Blood: The most epic of this year’s nominated films captures one of the most spellbinding performances I’ve seen in a movie in quite some time. Daniel Day Lewis is Daniel Plainview, an oil man who finds himself at odds with a cryptic faith healer (Paul Dano). Big, bold, operatic and crafted with considerable beauty by writer-director Paul Thomas Anderson (whose Boogie Nights is required viewing) the film is loosely based on the novel Oil! by Upton Sinclair. It tells of a man’s quest for power in the oil industry and the price he pays for it; in certain terms it’s a rather complex character study with images and ambitions that never cease to amaze for the entire 158 minute time. The scenes between Lewis and Dano are among the most volatile; every time they appear onscreen together Lewis gives his usual all and Dano rises to the occasion, making their scenes tense, nerve-wracking and occasionally hilarious. Every time Daniel Day Lewis makes a movie, it becomes an event of sorts and he regularly delivers the goods. I’ve been a huge fan of Sweeney Todd and have been pushing for Johnny Depp to win, but about halfway into this film, I told my friend “I concede, The Oscar is Daniel’s.” Oh and before I forget, the film’s also got a rather fascinating musical score and has sumptuous cinematography.

I’ve been able to narrow it down to No Country and Blood as the two most deserving of the nominees. My personal preference would give it to Blood; but I’ll be damn fine when it goes to No Country.

Kelli O’Hara loses her golden locks for "South Pacific"

I normally don’t recommend ever going to Broadway.com because of the terrible photos that they take (not to mention the worst captions ever), their tacky man on the street critiques in lieu of, well, actual criticism and most unforgivable, the lack of Ken Mandelbaum whose column was a mainstay and, toward the end, the only reason to venture onto the site. Horrible. However they had a video crew follow Kelli to the salon for her necessary haircut for the upcoming revival of South Pacific.

http://www.broadway.com/Gen/Buzz_Video.aspx?ci=560973

Even with short hair, she’s no less than absolutely glamorous.

Sunday is officially here and Gypsy is coming next week. But I’m equally excited for this first-ever Broadway revival of a classic Rodgers and Hammerstein. And since its being done by LCT at the Beaumont (with much of the Piazza team in place) we’re sure to have a glorious evening of beautiful scenography and performance. This is definitely a year for musical revivals, not originals.

Raves for Sunday in the Park

The revival of Sunday in the Park With George officially opened last night to superlative rave reviews from the critics; a far cry from the divisive reactions the original production received in 1984. This time around it seemed as though the critical consensus was more accepting of the second act (which was the problem for many the first time around) and that this particular production allows the show to have heart. Kudos are being given to stars Daniel Evans and Jenna Russell, imperative supporting player Mary Beth Peil, director Sam Buntrock and the scenography by David Farley, Ken Billington and Tim Bird. All names that will be remembered come Tony nomination time.

Ben Brantley ended his review with the following paragraph, which may be the most incredible thing he’s ever written:

“That the second act ends as the first does, in a ravishing epiphany of artistic harmony, now feels more than ever like a loving benediction, bestowed by the show’s creators on its audiences. Every member of those audiences, whether consciously or not, is struggling for such harmony in dealing with the mess of daily reality. How generous of this production — and it is the generosity of all great art — that it allows you, for a breathless few moments, to achieve that exquisite, elusive balance.”

Yes folks, that about sums up the breathtaking experience this revival provides.

What Were They Thinking…?

Oh kids. This is too awful and hilarious (awfully hilarious…hilariously awful…?) not to share.

“He Got It in the Ear”

Rockabye Hamlet is the notorious flop rock opera adaptation of, yeah, you guessed it. (The setting: a Rock concert). A rare Canadian musical import, the show was originally commissioned for radio under the title Kronberg 1582. With direction from Gower Champion, of all people, it played 7 performances at the Minskoff in 1976 and featured Beverly d’Angelo in her sole Broadway appearance to date as Ophelia. Larry Marshall was Hamlet (fortunately for him, he followed this immediately with the role of Sportin’ Life in the acclaimed ’76 revival of Porgy and Bess) and none other than Meat Loaf played a supporting part as a Priest. This number is how they chose to adapt the famed play within a play. Honeybelle is played by Judy Gibson.

I dare you to listen to the whole thing.

Let’s See What Happens

So here’s a project for the mere fun of it, kids. Put together your solo album. For the conceit of it all, let’s pretend money is no option (if you want a guest or two) and we all have ridiculous six octave voices that could do everything we can imagine vocally. First off, you can’t just throw it together with your favorite songs; (though obviously that’s sort of what will happen). But there must be some sort of cohesion and sense to the choices you make. The one I deem the winner earns my approval. Yep. You read that correctly. (What, you think I have a budget for dollar store prizes?) Impress me, kids. (All three of you that will participate).

Let’s See What Happens
Sur Le Quais
A Time for Singing
One More Walk Around the Garden
Do I Hear a Waltz?
I Wouldn’t Bet One Penny (special guest Victoria Clark)
My True Heart
Not on Your Nellie
All the Things You Are (orig. orch; special guest Kelli O’Hara)
Chain of Love/Reach Out medley
I Had a Ball
Bonus Track: “Duet for One”

I haven’t titled it, but can you guess from whence cometh these songs?

Official Press Release: "August" to Extend, Transfer to Music Box

AUGUST: OSAGE COUNTY HAS A NEW HOME BEGINNING TUESDAY, APRIL 29th. NEWBLOCK OF TICKETS NOW ON SALE!*

100th Performance celebration this Wednesday, February 20th*

AUGUST: OSAGE COUNTY, Tracy Letts’ acclaimed play about the missing patriarch of an Oklahoma family, has found a new home right next door at the Music Box Theatre. The Steppenwolf production will play its last performance at The Imperial Theatre, Sunday, April 20th at 3:00PM and will reopen at The Music Box Theatre Tuesday, April 29th at 7:30PM. At the February 20th matinee, the play will celebrate its 100th performance on Broadway.

Directed by Anna D. Shapiro, August: Osage County focuses on the Weston family of Pawhuska, Oklahoma. This “darkly funny family drama” was voted #1 play of the year by Time, “The Associated Press,” Entertainment Weekly, and “TimeOut New York.” Charles Isherwood of “The New York Times” called August: Osage County, “The most exciting new American play Broadway has seen in years.” Others agreed. Joe Dziemianowicz of “New York Daily News” says “Letts’ perspective is bracingly fresh. You’re laughing hysterically one minute and appalled the next.” Clive Barnes of “The New York Post” writes “August is One Hot Drama.” The original cast includes: Ian Barford, Deanna Dunagan, Kimberly Guerrero, Francis Guinan, Brian Kerwin, Dennis Letts, Madeleine Martin, Mariann Mayberry, Amy Morton, Sally Murphy, Jeff Perry, Rondi Reed, Troy West, Munson Hicks, Susanne Marley, Jay Patterson, Dee Pelletier, Molly Ranson, Aaron Serotsky and Kristina Valada-Viars. The designers are Todd Rosenthal (sets), Ana Kuzmanic (costumes), Ann Wrightson (lights), Richard Woodbury (sound) and David Singer (original music). August: Osage County performs Tuesday-Friday at 7:30PM, Matinees on Wednesday and Saturdays at 2:00PM, Saturdays at 8:00PM and Sundays at 3:00PM. Tickets can be purchased at Telecharge.com, or by calling (212)239-6200. Outside the NY Metro (800) 432-7250.The Imperial Theatre is located at 249 West 45th Street.The Music Box Theatre is located at 239 West 45th Street.

Happy Birthday, Patricia Routledge!

This site’s favorite musical theatre diva turns 79 today. With word from Variety that Trevor Nunn may be directing a revival of A Little Night Music for the Menier Chocolate Factory, wouldn’t she make a marvelous addition to the cast as Madame Armfeldt? I’d certainly cross the pond for that.

I listened to four different renditions of my much-loved “Duet for One” this afternoon (it even warranted a playlist on itunes) delivered by three noted sopranos. Patricia Routledge (at the world premiere performance in Philadelphia and several months later at the final performance in NY; with different versions of the song, the former of which has been reinstated as the official), June Anderson who recorded the First Lady for the CD premiere of Bernstein’s score A White House Cantata, and finally Judy Kaye who recorded the piece for the John McGlinn Broadway Showstoppers compilation CD. Anderson’s is pretty tepid; she has plenty of voice, but little humor and practically no personality. She barely even tried to delineate between the two first ladies. She’s also the only one out of the three who doesn’t cap off the end of the song on a high D above C (kudos to Pat and Jude for such prowess). For a famed coloratura soprano who has sung the roles of Cunegonde, The Queen of the Night and Lucia, among others, you’d think she’d be able to pop out a little old D. Hey June, I bet Renee would do it better. So there.

If I knew how to upload songs on here, I would.

Also, a special birthday shout out to Broadway and film legend (and first-time Oscar nominee) Hal Holbrook who is 83 today. I wish him luck at the Oscars. Though I love Bardem’s performance in No Country for Old Men and is a lock for the award, there is a small sentimental part of me rooting for Holbrook.

Once

Though everyone has been talking about the movie musical in terms of adaptations of Hairspray and Sweeney Todd (the former I have not seen in its entirety, the latter I loved), the low-budget and low-key Once is the best movie musical of 2007. I realize I make that statement and haven’t seen all of Hairspray but let’s face it, my statement is unlikely to change if I ever decide to watch the rest. I’d say since the serious re-emergence of the musical as a film genre with Moulin Rouge in 2001, this is probably the most affecting of all.

It seems that nothing in this film should succeed. It was made for practically no money; the plot is relatively simple and the two leads aren’t experienced actors. Nonetheless, the elements come together with quietly devastating results; thanks to the musical work of the two leads, The Frames frontman Glen Hansard and Czech musician Marketa Irglova (together, both composed the entire musical score, I might add). Writer-director John Carney manages to use their sincerity and musical skill to great advantage. The plot involves a husker-by-day, streetsinger-by-night with an incredible gift for songwriting who meets a rose-selling immigrant on the streets of Dublin. Together they share a kinship – no – passion (that word gets thrown around too much but its most appropriate in this case) for music. In a short span (the film covers about a week’s time), they come together and well, make beautiful music. Sorry, but there’s no other way of putting it without cheapening it. The songs string together the story, often commenting on the character’s emotions while underscoring onscreen action. From such simplicity comes rich dimension. The two leads have both gone on record saying that they probably won’t act again (pity); however, they have been nominated for the Best Song Oscar for “Falling Slowly,” the best song in the film.

This song is heard twice; once in its formative stages in the beginning of the film as he teaches her in a little music store. It was at this point of the film, I completely surrendered myself, and there was no return. Patient, well-paced and emotionally overwhelming, everything you need to know is expressed through the music. Add to that, it’s also one of the most beautiful songs I’ve ever heard in my life. Yes, the songs are diegetic; they – and we – are aware they are singing. However, as we watch these collaborators express their heart and soul in their art, you almost forget they are singing, it’s that transportative. The creative bond that the two share transcends the usual sex-laden, superficial and supercilious sappiness that pervades most romantic films; for that emotional honesty I am nothing short of thankful. The film manages to accomplish much in terms of expression with a lack of pretention. I can’t wait to watch it again; I feel like the experience can only be enriched the second time around and I don’t think I’m wrong.

I haven’t been so moved by a score since I attended the opening night of The Light in the Piazza almost three years ago. I hope if and when you see this movie that you can have a fraction of the emotional response I have had. Duncan Sheik wishes he could write a contemporary score as effective as this.

My only qualm with the film? It was too short. But I must contradict myself by adding, if they made it any longer or bigger, it would destroy the charm and ambience. There have been films, plays and musicals that have ended and I’ve wondered what becomes of the characters post media res. Well, my curiosity for such information has never been more piqued. I want to know what becomes of these characters so badly. And I hope they never make a sequel; it’s that perfect.

I’m still a complete wreck two hours later.

Beloved Aunt

All the hoopla over Jane Fonda‘s on-air faux pas this morning not only had me in hysterics (Offended people: come on, you have to admit it’s pretty hilarious that it happened, especially on The Today Show. The only way it could have been better is if Katie Couric was conducting the interview) but got me to thinking about the use of language on TV and how certain words are off limits. Anyway, I want to say a quick word on her behalf. Ms. Fonda was not on the interview to offend anyone. In fact she was there with playwright Eve Ensler (whom some neanderthal credited as “playwrite” on the character generator) to promote the 10th anniversary of the V-Day movement; which began 2.14.98 with a benefit reading of The Vagina Monologues.

Anyway, while I think the word was probably better left unsaid, I do think that people shouldn’t really fly off the handle at her either. The word, as offensive as many find it, was actually being used in the context of a literary title; it so happens to be the title of the monologue she was asked to perform. It was also uttered in response to a question posed by Vieira about Fonda’s initial reticence to get involved with the play. Her response to Ensler was “I don’t think so. I’ve got enough problems.” It was funny, you have to admit to see Meredith Vieira trying in vain to maintain her poise; she was pretty stunned. About ten minutes later, Vieira apologized on behalf of NBC and Fonda for the slang term usage. And while I don’t suggest we all open up our windows and scream out every vaginal and penile euphemism at the top of our lungs (though the darker side of me giggles at the prospect), I hope that this slip-up today doesn’t overshadow what Ensler and her initiative is trying to accomplish: bringing about an end to violence against women worldwide.

I wonder, were people more offended when Diane Keaton casually dropped the word “Fuck” on Good Morning, America or by this morning’s incident? We certainly have some sassy older actresses making the talk show rounds these days. Better be ready on the censor button when Meryl Streep makes her next appearance on The View.”

Anyway, I laugh because I’m reminded of a very special episode of Curb Your Enthusiasm, where I got the title for this post. In said episode, Larry promises to get an obituary in the paper for his wife’s recently deceased aunt. Well, you can figure out the rest, I’m sure. If not, watch it, it’s hilarious. There was also a pretty crazy 30 Rock episode that also dealt with this insult of insults. For those who are offended by said word, I am sorry. It is a word – and an offensive one – but there are worse things going on in the world that really should be commanding our attention at this time.