Re: Best Picture and Director 1979
Posted: Mon Jun 17, 2013 6:42 pm
I would say that this is probably one of the ten best Best Picture lineups -- the movies, overall, might not be glorious enough to move it into top five for me, but on the whole it's really solid across the board.
Of course, the omission of Manhattan -- and Woody in Director, for his most visually impressive work ever -- is criminal. Not sure if I would definitely vote for it had it been on the ballot, but it certainly would have been in the conversation. I also really like The Marriage of Maria Braun, Fassbinder's peak as a filmmaker, as well as a lot of the movies that ended up down-ballot.
It's rare that the lone director nominee is the worst on the slate, but I think Edouard Molinaro definitely is. I think La Cage aux Folles' set-up isn't without interest -- I find the stage musical it inspired a lot more entertaining, with themes that are still relevant -- but the way (the soon-to-be-Criterion-minted) movie was directed is just ridiculous. What should have been a light, drawing-room farce ends up feeling totally leaden, with jokes delivered with sledgehammer emphasis, and a tone that grows more and more over-the-top as the narrative goes on. And visually, it's utterly undistinguished. Given the available alternates this year, this nomination is ludicrous.
Of the Best Picture nominees, I think I like Norma Rae the least, but I find a lot to admire about it. Its best element, of course, is the terrific Sally Field performance, in all its foul-mouthed, blowsy glory, and I love the way neither the actress nor the script shies away from highlighting the less appealing aspects of her character alongside her heroism. And generally, that's what I like about the movie overall, that it treats the central conflict in a well-grounded, realistic manner, rather than in simplistic blacks and whites, while still managing to present a politically sharp, pro-union message. It doesn't quite tip into Great Movie territory -- it's more a great performance showcase -- but it's pretty strong for the runt of the litter.
Breaking Away is such a lovely coming of age movie, that juggles a lot of different tones without ever feeling disjointed. There's a lot of heart to the story, most evident in the relationship between Dennis Christopher and his parents (lovingly embodied by Dooley and Barrie). But there are a lot of laughs as well, and the scenes of Christopher and his pals shooting the breeze feel so natural in their laid-back charm. There's also a compelling sense of danger in some scenes -- most notably the boys diving into the quarry -- as well as melancholy, in a story about a group of young guys trying to figure out what to do with their lives when economic circumstances aren't always in their favor. But, of course, it's rousing as well, with a final bicycle race that really lifts your spirits in a manner that feels completely earned rather than manipulative. Peter Yates streamlines all of these elements into a very engaging narrative, and manages to create a realistic, lived-in portrait of small town life in the process. In the end, it may be a little bit small for my votes, but it's another very strong movie on the ballot.
It always surprises me when a movie like Kramer vs. Kramer is viewed by some as a great-great FILM. I think it falls short of that status, both in terms of its ambition (which is somewhat small) and its visuals (Robert Benton has never struck me as a director with much interest in images). But as a piece of writing and acting, it's pretty perfect. I love the way the film creates such an even-handed portrait of its central conflict -- of course the audience can't help but sympathize with Hoffman's character, who was there for his child when his wife wasn't. But at the same time, Streep's actions are completely understandable, and it's to the movie's great credit that her character comes off not as a villain, but as yet another casualty in a heartbreaking situation. And the performances -- by Hoffman and Streep, especially -- are among the best those wonderful actors have ever given. Like next year's winner, it doesn't feel as major to me as some of its competitors, but it's a nuanced and affecting work nonetheless.
I will defend All That Jazz in the face of the haters any day. I think it is -- along with Cabaret and Nashville -- one of very few musicals this decade that really tapped into the quintessential energy of '70's cinema. The opening "On Broadway" segment is dazzlingly mounted and cut (and features the hilarious exchange "Fuck him, he never picks me!" / "Honey, I did fuck him, and he never picks me either!"), and that's just the great beginning to a film that captures both the excitement and grit of the musical theater world about as well as any movie I've seen. And the other musical numbers are pretty wonderful, too, from the amusingly bizarre "Air-otica" number to my favorite moment in the film, "Everything Old is New Again," which so beautifully captures the normal family life that Joe Gideon only experiences in fleeting moments. The movie is quintessential Fosse -- sizzlingly choreographed, full of exciting stylistic engagement with the film medium, and deeply cynical. And I guess I don't find the ending the train wreck that others do -- it definitely goes on too long, but I think Roy Scheider's descent into madness/death features one memorably mounted number after another, and it's full of such wild ambition that I have to admire it. I'm even disappointed that, despite really admiring all three of Fosse's nominations, I end up voting against all of them simply because I like other movies more.
It may be that I got to Apocalypse Now after it had become an officially great movie, but I found it a pretty overwhelming experience. From a script standpoint, it's fascinating to see how Coppola took Heart of Darkness and refashioned it for Vietnam, keeping elements that underscore the war as a type of imperialist endeavor but packaging them into a new narrative that feels bracingly fresh. And though I think the first two Godfathers are better films overall, Apocalypse Now might represent Coppola's greatest visual triumph, as it's full of striking images that have become hugely iconic (the opening explosion set to "This is the End," the Ride of the Valkyries helicopter attack, the soldiers surfing, the terrifying shot of Brando's head emerging from the water). The central narrative is engrossing and unsettling, and as Martin Sheen gets deeper and deeper into the jungle, the film becomes more and more a hallucinogenic nightmare. I do agree that at times the movie overreaches, but, as with The Deer Hunter last year, I tend to have such great enthusiasm for films that just go for broke like this, with storytelling that feels so urgent and images that genuinely dazzle. I've never seen the Redux version -- I know there are those who think it improves upon the theatrical cut, and those who think it becomes needlessly drawn out -- and perhaps at some point I'll get around to seeing that expanded version. But I tend to think the '79 version never needed much improvement, and it gets my votes as Best Picture and Director this year.
Of course, the omission of Manhattan -- and Woody in Director, for his most visually impressive work ever -- is criminal. Not sure if I would definitely vote for it had it been on the ballot, but it certainly would have been in the conversation. I also really like The Marriage of Maria Braun, Fassbinder's peak as a filmmaker, as well as a lot of the movies that ended up down-ballot.
It's rare that the lone director nominee is the worst on the slate, but I think Edouard Molinaro definitely is. I think La Cage aux Folles' set-up isn't without interest -- I find the stage musical it inspired a lot more entertaining, with themes that are still relevant -- but the way (the soon-to-be-Criterion-minted) movie was directed is just ridiculous. What should have been a light, drawing-room farce ends up feeling totally leaden, with jokes delivered with sledgehammer emphasis, and a tone that grows more and more over-the-top as the narrative goes on. And visually, it's utterly undistinguished. Given the available alternates this year, this nomination is ludicrous.
Of the Best Picture nominees, I think I like Norma Rae the least, but I find a lot to admire about it. Its best element, of course, is the terrific Sally Field performance, in all its foul-mouthed, blowsy glory, and I love the way neither the actress nor the script shies away from highlighting the less appealing aspects of her character alongside her heroism. And generally, that's what I like about the movie overall, that it treats the central conflict in a well-grounded, realistic manner, rather than in simplistic blacks and whites, while still managing to present a politically sharp, pro-union message. It doesn't quite tip into Great Movie territory -- it's more a great performance showcase -- but it's pretty strong for the runt of the litter.
Breaking Away is such a lovely coming of age movie, that juggles a lot of different tones without ever feeling disjointed. There's a lot of heart to the story, most evident in the relationship between Dennis Christopher and his parents (lovingly embodied by Dooley and Barrie). But there are a lot of laughs as well, and the scenes of Christopher and his pals shooting the breeze feel so natural in their laid-back charm. There's also a compelling sense of danger in some scenes -- most notably the boys diving into the quarry -- as well as melancholy, in a story about a group of young guys trying to figure out what to do with their lives when economic circumstances aren't always in their favor. But, of course, it's rousing as well, with a final bicycle race that really lifts your spirits in a manner that feels completely earned rather than manipulative. Peter Yates streamlines all of these elements into a very engaging narrative, and manages to create a realistic, lived-in portrait of small town life in the process. In the end, it may be a little bit small for my votes, but it's another very strong movie on the ballot.
It always surprises me when a movie like Kramer vs. Kramer is viewed by some as a great-great FILM. I think it falls short of that status, both in terms of its ambition (which is somewhat small) and its visuals (Robert Benton has never struck me as a director with much interest in images). But as a piece of writing and acting, it's pretty perfect. I love the way the film creates such an even-handed portrait of its central conflict -- of course the audience can't help but sympathize with Hoffman's character, who was there for his child when his wife wasn't. But at the same time, Streep's actions are completely understandable, and it's to the movie's great credit that her character comes off not as a villain, but as yet another casualty in a heartbreaking situation. And the performances -- by Hoffman and Streep, especially -- are among the best those wonderful actors have ever given. Like next year's winner, it doesn't feel as major to me as some of its competitors, but it's a nuanced and affecting work nonetheless.
I will defend All That Jazz in the face of the haters any day. I think it is -- along with Cabaret and Nashville -- one of very few musicals this decade that really tapped into the quintessential energy of '70's cinema. The opening "On Broadway" segment is dazzlingly mounted and cut (and features the hilarious exchange "Fuck him, he never picks me!" / "Honey, I did fuck him, and he never picks me either!"), and that's just the great beginning to a film that captures both the excitement and grit of the musical theater world about as well as any movie I've seen. And the other musical numbers are pretty wonderful, too, from the amusingly bizarre "Air-otica" number to my favorite moment in the film, "Everything Old is New Again," which so beautifully captures the normal family life that Joe Gideon only experiences in fleeting moments. The movie is quintessential Fosse -- sizzlingly choreographed, full of exciting stylistic engagement with the film medium, and deeply cynical. And I guess I don't find the ending the train wreck that others do -- it definitely goes on too long, but I think Roy Scheider's descent into madness/death features one memorably mounted number after another, and it's full of such wild ambition that I have to admire it. I'm even disappointed that, despite really admiring all three of Fosse's nominations, I end up voting against all of them simply because I like other movies more.
It may be that I got to Apocalypse Now after it had become an officially great movie, but I found it a pretty overwhelming experience. From a script standpoint, it's fascinating to see how Coppola took Heart of Darkness and refashioned it for Vietnam, keeping elements that underscore the war as a type of imperialist endeavor but packaging them into a new narrative that feels bracingly fresh. And though I think the first two Godfathers are better films overall, Apocalypse Now might represent Coppola's greatest visual triumph, as it's full of striking images that have become hugely iconic (the opening explosion set to "This is the End," the Ride of the Valkyries helicopter attack, the soldiers surfing, the terrifying shot of Brando's head emerging from the water). The central narrative is engrossing and unsettling, and as Martin Sheen gets deeper and deeper into the jungle, the film becomes more and more a hallucinogenic nightmare. I do agree that at times the movie overreaches, but, as with The Deer Hunter last year, I tend to have such great enthusiasm for films that just go for broke like this, with storytelling that feels so urgent and images that genuinely dazzle. I've never seen the Redux version -- I know there are those who think it improves upon the theatrical cut, and those who think it becomes needlessly drawn out -- and perhaps at some point I'll get around to seeing that expanded version. But I tend to think the '79 version never needed much improvement, and it gets my votes as Best Picture and Director this year.