Belfast revews

[Big Magilla]

That's a fair assessment, Sabin.

The only precursors that I expect to shed a light on the acting noms, though, are the Golden Globes (even if no one acknowledges them) and SAG. The critics are all over the map on those.

[Sabin]

Big Magilla wrote
It's a memory piece. It's like Ford's How Green Was My Valley , which Andrew Sarris linked to Citizen Kane, calling them "the beginnings of a cinema of memory" and calling Valley "notable for introducing Ford's visual statement of the past as a luminous memory more real than the present."

Like Valley, Belfast is a film seen through the eyes of a man of 60 looking back on his childhood as he remembered events that took place when he was eight or nine. It's not supposed to be a realistic account of the times.

There's no opinion, no emotional perspective on the memory he's sharing though.

I don't have a problem the fact that it's not a realistic account of the times. That's fine. My problem is that I don't feel like it's a particularly good memory piece. Some of the qualities that make it feel like a memory piece account for the most interesting qualities to the film but they also made it for me fairly emotionally unsatisfying.

Belfast remains a strange whiff for me. Because you brought up the tallies, right now I would forecast Belfast picking up nominations for Best Picture, Supporting Actor (Hinds), Original Screenplay as probably sure things. Because the Best Director race is light on frontrunners, I would say Branagh is probably a frontrunner as well. I would need more information from the precursors to forecast which supporting actors are in play, whether Balfe or Dench pick up steam. Who knows? Right now, I'm inclined to say that their roles aren't meaty enough.

So, that's four. Beyond that, I see it in line for several nominations but they all have asterisks by them.
* The Van Morrison song "Down to Joy" will likely benefit from playing over the opening credits rather than the end credits.
* The cinematography by Haris Zambarloukos is certainly stylized but occasionally distractingly.
* The editing by Úna Ní Dhonghaíle skips impressively over spans of time at an impressive tic but I'm not sure that's the kind of editing that ends up with a nomination. Lady Bird springs to mind. I was shocked that it failed to land a nomination because it moves so quickly. Films that feel like montages can have trouble.
* The production design is largely limited to one block, which certainly has personality to it but it might be too small in scale to be a sure thing. But as a period film it's in the cards
* The costume design lacked personality as well. But as a period film, it's in the cards.

Belfast reminds me of quite a few films from 2019 like The Irishmah, Jojo Rabbit, Joker, and Little Women with respectable floors and high ceilings. I could see Belfast picking up five or six nominations or eight or nine depending on enthusiasm. Right now, I would forecast five or six. It's just such a modest film. So... Picture, Director, Supporting Actor, Original Screenplay, Original Song, and Cinematography.

[Big Magilla]

It's a memory piece. It's like Ford's How Green Was My Valley , which Andrew Sarris linked to Citizen Kane, calling them "the beginnings of a cinema of memory" and calling Valley "notable for introducing Ford's visual statement of the past as a luminous memory more real than the present."

Like Valley, Belfast is a film seen through the eyes of a man of 60 looking back on his childhood as he remembered events that took place when he was eight or nine. It's not supposed to be a realistic account of the times.

I'll have to watch it again at some point, but my recollection is that Balfe had the most screen time of the adult characters with Dornan, Hinds, and Dench following in that order, but I could be wrong.

[Sabin]

Branagh is clearly going for the feeling of an unsentimental filmed remembrance and I might be more charitable towards the overall success of his vision had I truly believed in the seriousness of it as opposed to the earnestness of it. I mean, my goodness Van Morrison does some heavy lifting. Generally speaking, I'm a fan of what Branagh was trying to do more than what we ended up with. As both a writer and a director, he kept me at a distant consistently for different reasons pertaining to both elements of craft, which... I suppose I could get into in a list fashion of why neither worked for me, but chief among them there just wasn't a through-line that held me in any fashion. I felt as though a third of these scenes could be reorganized to no real ill effect. Scene for scene, you'd think you were watching a major vision, but strung together I found my patience seriously tested. Terence Davis he isn't. I don't care that this film side steps political strife for the interpersonal concerns of the family, but I care that Branagh wasn't interesting in dramatizing it. Or maybe he couldn't decide what story he wasn't to tell and just chalked it up to being "the story of a place." It's certainly an interesting choice but I was never moved or engaged, always watching, sometimes as if it was compelling drama, sometimes as if it was a commercial for a film I wasn't privy to.

Branagh is quite good with actors, although to me this is not one of the great films about children coming of age. Buddy comes across as an uninteresting moppet scene for scene. Due to the pacing of the film, the actors function best as an ensemble rather than individual standout performances. They're all quite good and fine with Ciaran Hinds faring the best simply by virtue of having the largest role. His scene in the hospital is plum.

[Reza]

I say 8 or 9 is its ceiling (and that's having a VERY good day). You want to bet me?

This almost sounds like a threat. The Last Duel came to mind with both of you in heavy armour charging at each other on horses.

[Reza]

And the overall subject matter seems a bit wispy -- the political strife doesn't feel fully integrated into the plot-line; it's only raised periodically when the narrative needs a kick, and then to provide an ending. And much of the family situation doesn't really land with full-force -- I had the sense things were being glided over, and not in a good, keep-it-mysterious way, but in a "we're keeping it vague so the banality is concealed" way.

I think Branagh intentionally keeps things vague - the on and off political strife and the family dynamics - since it was all seen through the eyes and ears of a child who deals with all this vaguely but is more interested in his dynamics with his school friend.

I enjoyed the film but I agree that its a piffle of a film and instantly forgettable. If it does win the top prize it won't be as grotesque a moment as the past wins of Rainman and Forrest Gump.

[Big Magilla]

I'm thinking 8 to 10 is probable but something has to eventually beat the record 14 held by All About Eve, Titanic, and La La Land.
West Side Story could come close but it wouldn't get either visual effects or song nominations. It's also doubtful that it would get four acting nods. Rachel Zegler seems the most likely but she's in a tight field. Ariana DeBose is also possible, but I think Rita Moreno is unlikely. David Alvarez and Mike Faist in supporting actor are long shots.

[Mister Tee]

And, yes, 15 nominations is indeed possible.

I say 8 or 9 is its ceiling (and that's having a VERY good day). You want to bet me?

ON EDIT: Reading over your sentence on Chitty Chitty Bang Bang, I can see now what you meant, but it wasn't clear to me, the way you wrote it.

[Big Magilla]

Here we go again with the misquotes. I never said Chitty Chitty Bang Bang wasn't cheesy, I said the scene in Belfast where the family watched it wasn't cheesy. In the trailer, Dench is seen guffawing at the sight of the car taking flight. If that occurs in the film, I must have blinked and missed it. Rather, the family all bends over as the car goes over the cliff and straightens up relieved when the car takes flight.

And, yes, 15 nominations is indeed possible. Will it happen? Who knows? I think it will have difficulty winning in most of those categories against West Side Story, The Power of the Dog and whatever else it competes with, but a slew of nominations does seem to be in the bag.

[Mister Tee]

Well, this film certainly has hit its target audience with you two. "Could easily get 15 nominations"? Wow -- pass me some of them drugs. (And, side issue: if you can give me some context where Chitty Chitty Bang Bang isn't cheesy, I'd like to know about it.)

I'm more or less in okri's corner. It's a perfectly nice film, and, in the face-off of Easy Listening efforts, I prefer it to King Richard if only because Branagh demonstrates he can still (despite some awful work for decades) be a decent director -- he renders quite a few memorable images along the way, and gets generally solid performances.

The script, on the other hand... It has its moments: some dialogue (especially from Ciaran Hinds), some nicely observed moments. But there's also some shtik along the way (scenes where I could predict the outcome, or even the next line, because I've seen the same movies Branagh has). And the overall subject matter seems a bit wispy -- the political strife doesn't feel fully integrated into the plot-line; it's only raised periodically when the narrative needs a kick, and then to provide an ending. And much of the family situation doesn't really land with full-force -- I had the sense things were being glided over, and not in a good, keep-it-mysterious way, but in a "we're keeping it vague so the banality is concealed" way. It's better, I suppose, than having all that banality jammed in our faces, but it kept the film from feeling hefty enough to even consider as one of the year's best efforts. A few hours later, I'd more or less forgotten it.

But, as I said, the performances are mostly good -- though I didn't find Balfe lived up to the major hype I've heard about her; I honestly had trouble hearing some of her dialogue, and the only justification I can find for a nomination for her is that scene with Dornan on the bus. Dornan was fine, though I didn't see him having a scene that would grab him a nomination (though his "Everlasting Love" rendition was a joy, one of the high points of the film). For me, Ciaran Hinds was the easy standout: it's a meaty gift of a role for an actor who's been doing good work for many years, and his interplay with Dench was a pleasure to watch.

[Reza]

I also loved the film and while the cast is very good I don't see why Jamie Dornan, Ciarán Hinds and Judi Dench are being touted for Oscar consideration. Caitriona Balfe, a lovely willowy figure, deserves a nod but not for any of her showy scenes. For me she stood out at the end where Dornan serenades her and she is seen swaying and dancing - a stunning image.

I love Balfe from Outlander. Have never understood why she has never been in the running for an Emmy for that. She's been nominated by the Globes and won a BAFTA in its first season but not a single nod from Emmy. Here, though, as good as she is, I don't think she's as much of a surprise as Dornan who has been good before, but never this good. Hinds is great, wish there had been more of him in the film. Dench hasn't been this good in years. Even though she's old enough to be Hinds' mother, they make a delightful elderly couple, and her last scene is a killer, highly reminiscent of Barbara Stanwyck in Stella Dallas and Ava Gardner in Show Boat.

Had to look up Outlander. Had no idea what it is as I rarely watch episodic tv especially ones that go on and on for seasons galore. It seems to be like one of Barbara Cartland's historical fiction bodice rippers.

Also had never heard of Balfe before so looked her up as well. It seems I've seen her in Money Monster and Ford vs Ferrari.

[Big Magilla]

I also loved the film and while the cast is very good I don't see why Jamie Dornan, Ciarán Hinds and Judi Dench are being touted for Oscar consideration. Caitriona Balfe, a lovely willowy figure, deserves a nod but not for any of her showy scenes. For me she stood out at the end where Dornan serenades her and she is seen swaying and dancing - a stunning image.

I love Balfe from Outlander. Have never understood why she has never been in the running for an Emmy for that. She's been nominated by the Globes and won a BAFTA in its first season but not a single nod from Emmy. Here, though, as good as she is, I don't think she's as much of a surprise as Dornan who has been good before, but never this good. Hinds is great, wish there had been more of him in the film. Dench hasn't been this good in years. Even though she's old enough to be Hinds' mother, they make a delightful elderly couple, and her last scene is a killer, highly reminiscent of Barbara Stanwyck in Stella Dallas and Ava Gardner in Show Boat.

[Big Magilla]

It is the feel-good film of the year with an important message about tolerance. Should be an easy win unless the Academy wants to create a record of having a remake (West Side Story) also win Best Picture. The latter thought seems to be gaining a bit of momentum also.

I don't think they would vote for West Side Story just to create a record. That would merely be the icing on the cake if it should happen.

Good timing for the Spielberg remake. Had it been released last year as intended, while Sondheim was still with us, it wouldn't have had the same emotional contributing factor as having had its premiere a few days after his death as well as a few days before Rita Moreno's 90th birthday 60 years after the opening of the original.

[Reza]

I also loved the film and while the cast is very good I don't see why Jamie Dornan, Ciarán Hinds and Judi Dench are being touted for Oscar consideration. Caitriona Balfe, a lovely willowy figure, deserves a nod but not for any of her showy scenes. For me she stood out at the end where Dornan serenades her and she is seen swaying and dancing - a stunning image.

It is the feel-good film of the year with an important message about tolerance. Should be an easy win unless the Academy wants to create a record of having a remake (West Side Story) also win Best Picture. The latter thought seems to be gaining a bit of momentum also.

[Big Magilla]

It's a lovely film. Watched it pay-per-view last night interrupted by two phone calls, one of which lasted so long I lost the connection but managed to restart it and fast-forward to where it had left off.

It takes place during "the troubles" but is about the resilience of a family to survive despite the terrible things going on around them. The five lead actors are all terrific. Lots of film references. The Chitty Chitty Gang Bang scene looks cheesy in isolated footage from the film, but it doesn't in context.

Jude Hill standing in for Branagh as a child (although fictional names are used) is very good, but his elders are even better.

Caitriona Balfe is ferocious in the scene in which she takes her son by the hand to return an item to the store in which he participated in a looting only to have him and herself almost killed by the terrorist leader who wouldn't let them return it. Jamie Dornan is the best screen dad in connecting with his kids since Gregory Peck in To Kill a Mockingbird, and he sings, too!

Ciaran Hinds is wonderful as always as the grandfather dying of black lung disease. Judi Dench turns in another great performance as the movie loving grandmother. She gets the last line followed by the last closeup just before the end credits. It's no wonder festival audiences cheered this one and voted it their favorite of the festival.

I read an interview in which Dornan said he asked Dench if she went to the movies a lot like her character. Surprisingly, she said she didn't. She said she saw Snow White and the Seven Dwarfs, Pinocchio, and Bambi as a kid and they scared her, so she never got the habit. He asked if she had seen The Godfather. She said, "heavens, no!".

It could easily nab 15 Oscar nominations - Best Picture, Director, two Supporting Actresses, two Supporting Actors, Original Screenplay, Cinematography, Editing, Production Design, Costume Design, Makeup, Visual Effects, Sound, and Original Song. How many it can win remains to be seen.