(...Story Continued from Previous Page) We just pray the famously Method-ical
thespian doesn't suddenly revert back to character and use the statuette in the
same manner as that bowling pin ...
More on Daniel Day-Lewis: Point/Counterpoint: Two critics debate the worth of the
actor and "There Will Be Blood"
Who Should Win: Again, while we really do think all the
nominees did phenomenal work -- we're particularly impressed by the way Jones
single-handedly kept "Elah" from turning into a cinematic dung heap -- we can't
help but agree with the consensus here. Day-Lewis's crude-coveting cutthroat is
arguably the greatest screen-chameleon act we've seen since De Niro's Jake
LaMotta. It's the sort of acting people will hail years from now, and if the
academy is sincere about paying tribute to the best of the best, then he should
rightfully be declared the winner.
Best Actress
You could easily mistake this year's Best
Actress lineup for a U.N. convention: Sole American Laura Linney has to compete against a Canadian (Ellen Page), an Australian (Cate Blanchett), a Brit
(Julie Christie) and a French actress (Marion Cotillard). We've already touched on
Blanchett's chances because of the double-trouble factor (why is she nominated
for this snooze-worthy "Elizabeth" sequel, anyway?), and the young Page's inclusion in
this impressive group is, essentially, a win unto itself. Linney and Cotillard
both did fine jobs, respectively, but neither are actual screen royalty. Unlike,
say ...
Who Will Win: ... Julie Christie, who'd probably be a
shoo-in even if her turn in "Away From Her" was performed in a bunny suit and
dubbed into Inuit. It's pure mathematics: Genuine movie legend + a character
suffering from a debilitating disease (in this case, Alzheimer's) =
Congratulations! The story of an aged woman caught in the whirlpool of her own
memory loss, however, does bring out the sort of performance that reminds you
that Christie has always been more than one of the screen's great beauties.
Though early buzz favored Cotillard's undeniably uncanny impersonation of Edith
Piaf in "La Vie en Rose," Christie should plan on putting another
gleaming bald guy next to her "Darling" Oscar.
Who Should Win: We'll cop to harboring a sentimental desire
to see Laura Linney get some sugar, because her work in "The Savages" is yet another example that nobody plays
neurotics with more wit and grace than she does. We get the feeling, however,
that Linney will be turning in praiseworthy performances for years to come, and
because the 66-year-old Christie is so rarely given roles that call for her to
do more than show off her pretty face, we'll be pleased as punch to see the
older actress get recognized for her prodigious chops.
Best Director
Ah, here's where things get a little
trickier. The four nominees who also have films vying for Best Picture (we're
counting the Coen brothers as one, because they're virtually attached at the
hip) all have their admirers. Even the fifth contender, Julian Schnabel, has wowed enough people in high
places with his adaptation of "The Diving Bell and the Butterfly" to put it on a slew of
year-end lists. Several signs do point to a strong candidate -- more on that in
a sec -- but this wild-card category has always been characterized by surprises
and stunning upsets. No one really thought Steven Soderbergh had a chance of
getting the gold for "Traffic," or that Roman Polanski would beat the odds to
win for "The Pianist." Both beat out highly favored competitors, so you
shouldn't count out Schnabel, Paul Thomas Anderson or even Jason "Juno" Reitman.
Who Will Win: Still, it's hard to argue with the pacesetting
critics' groups and professional organizations (notably the Directors and
Producers guilds) that have singled out Joel and Ethan Coen. "No Country for Old Men"
showcases a maturity and delicacy that the gents' previous work often lacks ("Miller's Crossing" being the notable exception), and their
ability to find a visual equivalent for Cormac McCarthy's stark, spare prose has
left a deep impression on many viewers. Despite an ending that has confused
filmgoers who prefer clear-cut closure to ambiguity (wait, so Tommy Lee
Jones' sheriff doesn't get the bad guy?), this is definitely one of the more
popular and accessible entries in the iconoclastic siblings' body of work, and
voters seem ready to make it an Oscar winner.
Who Should Win: The only thing that would make us happier
than seeing our beloved Coens take it would be watching Paul Thomas Anderson
walk away with a much-deserved award. "There Will Be Blood" is a towering,
monumental achievement from the 37-year-old auteur, and like many others, we're
convinced he's created a modern masterpiece. An Oscar on his shelf would be
icing on an already delicious cake.
Best Picture
Once again, we find ourselves impressed by
four out of the five choices ... and the ability of Fox Searchlight's marketing
team to somehow turn a quirky comedy into a potential trophy-winner. We have
nothing against "Juno" -- it's undeniably charming in its own college-rock kind
of way -- but we still can't believe that it's being touted as one of the
industry's elite crème de la crème. The fact that this has been a banner year
for American films only makes its inclusion over, say, "I'm Not There" or "Before the Devil Knows You're Dead" or "The Assassination of Jesse James by the Coward Robert Ford"
all the more baffling. We refuse to accept that Fox's little film that could has
a shot, and then we remembered that this is the same academy that honored "Driving Miss Daisy" and "Crash." So anything is possible.
Who Will Win: Yet when it comes down to it, we're certain
that "No Country for Old Men" will walk away with the top prize. The filmmakers
have taken what's basically a standard who's-got-the-loot? pulp fiction, albeit
one by a Pulitzer Prize-winning writer, and given it gravitas. It's been gaining
momentum on the awards circuit for months, and the mind-set among voters that
this film is significant enough to be el numero uno come Oscar
night seems to have spread quicker than a flu virus in a day-care center.
Although the word among insiders is that "Atonement," "Juno," "Michael Clayton" and "There
Will Be Blood" each has just as many detractors as they do admirers, almost
everybody seems to dig "No Country." Even folks who hate the Coens like the
movie. It's bound to nab it.
Who Should Win: If we had our druthers, "There Will Be
Blood" would have it in the bag, hands down. We'll sleep happily come Feb. 24 if
Joel and Ethan's movie does win, but in our mind, no other film could approach
Anderson's blend of epic American tragedy and intimate character study. His
examination of the moment our nation's Algeresque bootstrap mentality curdles
into corrupt corporate culture says just as much about our times as it does
about the first half of the 20th century. There was no better film.
Who and what will -- and should -- win on Oscar night? Write us at heymsn@microsoft.com
Sound off: Comment on this story
David Fear is a film critic for Time Out New York. He has also written
for the San Francisco Bay Guardian, Filter and MovieMaker
magazine. |
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