[PO] Penelope's Elimination Game
You know what always annoyed me about Amélie? The hypocrisy of the main character--that she was such a conniving schemer but was presented as little miss innocent--that I kept yelling at the Matthieu Kassovitz character, "Run, run for your life!"
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
Cinemanolis wrote:flipp525 wrote:Ugh, thank God there are other people who can't the treacly little piece of shit known as Amelie. I hate that movie.
Even though i personally love Amelie, I can understand people not liking it. However calling it a piece of shit is a bit too much. Even if you don't like the screenplay, direction or the acting you can't deny that it's cinematography and art direction are redeeming elements. I also consider its soundtrack one of the best of the decade.
Nope, it's still a piece of shit to me. Even worse, it's a piece of annoying shit. By the end of the film, I wanted "Amelie" to hang herself.
What Dreams May Come may have been deliciously photographed with vibrant colors and innovative camera work, but the screenplay and the acting were both atrocious. Same with Amelie. Not everyone has to like everyone else's favorite movie. Amelie is certainly a film I would never, EVER, sit through again.
Edited By flipp525 on 1222433173
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Sydney Pollack – Out of AfricaOscarGuy wrote:rainBard: Best Director: 1985
Hector Babenco – Kiss of the Spider Woman
John Huston – Prizzi's Honor
Akira Kurosawa – Ran
Peter Weir – Witness
Thanks for the softball pitch, OscarGuy. No reason to draw out the suspense: I'm happy to be able to give Akira Kurosawa the award. Ran is not one of my personal favorites of the great director's works (though who's to say if that might change upon another viewing) but it is a brilliant achievement nonetheless, and it's Kurosawa's only chance at a Peneloposcar. Easy choice. Especially considering the competition- though I have never gotten around to watching Prizzi's Honor the other three nominees are short on the kind of boldness that I generally need to get excited by a piece of direction.
Harry Goldfarb: Best Director 1939
Even if you don't like the screenplay, direction or the acting you can't deny that it's cinematography and art direction are redeeming elements.
Absolutely. And the score is one of the best of the decade. But the screenplay is not and a win over Christopher Nolan, Julian Fellowes, and Wes Anderson/Owen Wilson is uncalled for no matter how good it looks or sounds. The story and characters suck.
"How's the despair?"
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Cinemanolis
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Even though i personally love Amelie, I can understand people not liking it. However calling it a piece of shit is a bit too much. Even if you don't like the screenplay, direction or the acting you can't deny that it's cinematography and art direction are redeeming elements. I also consider its soundtrack one of the best of the decade.flipp525 wrote:Ugh, thank God there are other people who can't the treacly little piece of shit known as Amelie. I hate that movie.
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OscarGuy
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Becket - Edward Anhalt
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb - Stanley Kubrick, Peter George, Terry Southern
Mary Poppins - Bill Walsh, Don DaGradi
My Fair Lady - Alan Jay Lerner
Zorba the Greek - Michael Cacoyannis
Looking at the list, it's surprisingly strong. I haven't yet seen Becket or Zorba the Greek, so those are out, and while I like My Fair Lady ok, I don't think it's strengths are the screenplay. That leaves Mary Poppins and Dr. Strangelove.
So, I could make this suspenseful and extol the virtues of Mary Poppins (of which there are many), but again, the Screenplay isn't it. However, the screenplay is one of the many terrific things about Dr. Strangelove, one of the most genuinely funny movies ever made. Give Kubrick an Oscar! oh...and the others guys as well.
rainBard: Best Director: 1985
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb - Stanley Kubrick, Peter George, Terry Southern
Mary Poppins - Bill Walsh, Don DaGradi
My Fair Lady - Alan Jay Lerner
Zorba the Greek - Michael Cacoyannis
Looking at the list, it's surprisingly strong. I haven't yet seen Becket or Zorba the Greek, so those are out, and while I like My Fair Lady ok, I don't think it's strengths are the screenplay. That leaves Mary Poppins and Dr. Strangelove.
So, I could make this suspenseful and extol the virtues of Mary Poppins (of which there are many), but again, the Screenplay isn't it. However, the screenplay is one of the many terrific things about Dr. Strangelove, one of the most genuinely funny movies ever made. Give Kubrick an Oscar! oh...and the others guys as well.
rainBard: Best Director: 1985
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
Completely agree with you guys on Woody Allen. Then again, I would. Weirdly shameless recall: I remember Eric writing a piece on the best Oscar winners of all time and citing 'Annie Hall' as a piece of 70's anti-heroism in that Alvy Singer is as quintessential a bastard as Popeye Doyle, breaking up with Annie and sleeping with someone else the same night. The idea of 'Annie Hall' without Woody Allen as an ACTOR is less conceivable than him as a DIRECTOR (as he clearly didn't know what he was making at the time). And the score to 'Chinatown' is fantastic.
I remember being rather surprised that 'Amelie' failed to register even more with Oscar voters. One would imagine after seeing 'The Postman' and 'Crouching Tiger' register, something like 'Amelie' would have no problem especially over 'In the Bedroom' which would be more akin to Miramax's performance pieces rather than Oscar-bait nonsense. People (wrongly) LOVED 'Amelie' and seemingly respected 'In the Bedroom'.
So, I've only seen two films nominated for Best Original Screenplay 1966 and that is 'Blow-Up' and 'The Fortune Cookie'. It comes down to the structure of 'Blow-Up' which is largely all in the scope of his directing or the overlong but hilarious 'The Fortune Cookie' which is Wilder past his peak but still delightful. Antonioni isn't going to win anywhere else so he gets it.
Oscarguy gets an easy one: 1964 Best Adapted Screenplay.
I remember being rather surprised that 'Amelie' failed to register even more with Oscar voters. One would imagine after seeing 'The Postman' and 'Crouching Tiger' register, something like 'Amelie' would have no problem especially over 'In the Bedroom' which would be more akin to Miramax's performance pieces rather than Oscar-bait nonsense. People (wrongly) LOVED 'Amelie' and seemingly respected 'In the Bedroom'.
So, I've only seen two films nominated for Best Original Screenplay 1966 and that is 'Blow-Up' and 'The Fortune Cookie'. It comes down to the structure of 'Blow-Up' which is largely all in the scope of his directing or the overlong but hilarious 'The Fortune Cookie' which is Wilder past his peak but still delightful. Antonioni isn't going to win anywhere else so he gets it.
Oscarguy gets an easy one: 1964 Best Adapted Screenplay.
"How's the despair?"
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FilmFan720
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A shame, because Woody Allen really is quite delightful in Annie Hall. I think he is an underrated performer, and this is one of his best roles.Okri wrote: Between Allen and Travolta, I'll go with Travolta. It's an iconic performance that still ranks as one of his best. Not that that's saying much....
"Go into the world and do well. But more importantly, go into the world and do good."
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FilmFan720
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I like The Godfather II's score, but I agree this one has to go to Chinatown. I love the music to Murder on the Orient Express also, however, and almost gave it to that. Chinatown is a much more substantial piece, though.
Sabin: Best Original Screenplay 1966
Sabin: Best Original Screenplay 1966
"Go into the world and do well. But more importantly, go into the world and do good."
- Minor Myers, Jr.
- Minor Myers, Jr.
The Original BJ wrote:Surprised we haven't done this one yet: FilmFan -- Original Score 1974.
Jerry Goldsmith so needs to win for Chinatown. His superb score really enhances the mood of all the goings on in this brilliant film!
And Richard Rodney Bennett's score for the Christie film also greatly enhances the mood of that film.
Edited By Reza on 1222362474
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The Original BJ
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Ugh, thank God there are other people who can't the treacly little piece of shit known as Amelie. I hate that movie.FilmFan720 wrote:Sabin, I echo everything you say there, except I think you give Amelie too much credit (I can't stand the pretentious feel of that film!).
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Best Actor 1938
Charles Boyer, Algiers
James Cagney, Angels With Dirty Faces
Robert Donat, The Citadel
Leslie Howard, Pygmalion
*Spencer Tracy, Boys Town
I really like Tracy but absolutely loathe both his winning performances. So he is out! Donat is too goody goody and noble for my taste and Howard has a touch of Mr Chips about him here...too ''school masterish'' (I guess I'm more partial towards Harrison's later interpretation of the role). So it's between the dynamic Cagney and the smouldering Boyer.
Boyer wins out here for me for one of his most famous and iconic performances. He was a great star who deserved more acclaim.
OriginalBJ: Best Supporting Actress 1961
Edited By Reza on 1222358546
Charles Boyer, Algiers
James Cagney, Angels With Dirty Faces
Robert Donat, The Citadel
Leslie Howard, Pygmalion
*Spencer Tracy, Boys Town
I really like Tracy but absolutely loathe both his winning performances. So he is out! Donat is too goody goody and noble for my taste and Howard has a touch of Mr Chips about him here...too ''school masterish'' (I guess I'm more partial towards Harrison's later interpretation of the role). So it's between the dynamic Cagney and the smouldering Boyer.
Boyer wins out here for me for one of his most famous and iconic performances. He was a great star who deserved more acclaim.
OriginalBJ: Best Supporting Actress 1961
Edited By Reza on 1222358546
Hmmm....
Well, obviously Dreyfuss loses his oscar, though to whom?
I haven't seen A Special Day, so that's out.
I think the potential for a great performance is there in Equus. Burton obviously was familiar with the role, and it is a great one. Lumet manages to ruin it though. If Damien hadn't invented the Sidney Lumet Obfuscation award before this film, it would've been christened right after. I don't know if the material could at all play well on screen, but certainly not here.
Between Allen and Travolta, I'll go with Travolta. It's an iconic performance that still ranks as one of his best. Not that that's saying much....
Reza, Best Actor - 1938
Well, obviously Dreyfuss loses his oscar, though to whom?
I haven't seen A Special Day, so that's out.
I think the potential for a great performance is there in Equus. Burton obviously was familiar with the role, and it is a great one. Lumet manages to ruin it though. If Damien hadn't invented the Sidney Lumet Obfuscation award before this film, it would've been christened right after. I don't know if the material could at all play well on screen, but certainly not here.
Between Allen and Travolta, I'll go with Travolta. It's an iconic performance that still ranks as one of his best. Not that that's saying much....
Reza, Best Actor - 1938