by John Villeneuve
With the films, A Prophet and The White Ribbon, can AMPAS continue to ignore the best that this art form called cinema can aspire to? Can they smugly rationalize to themselves that they may see the merits in such films, yet, for whatever feeble reason, toss them to the junk heap while coddling mediocrity? Should they be allowed, without consequence, to promote their ignorance and irrelevance? No.
Not long ago this body of “arbiters?”, “number crunchers?”, “artists?” awarded the Best Song Oscar to a documentary for the first time in their history. A song which included the phrase, “I’ve been asleep, and I need to wake up…NOW!”. Hmmmm, somehow that resonates. A documentary, with a progressive song, that embraced our evolutionary times. It’s akin to Plato’s proverbial man who has melded new knowledge with the ancient, and, now, is ready to leave the cave.
You may have guessed that this is a rant, a primal scream of sorts, but this shriek is not intended to evoke allegiance to progress. Nor is it a Darwinian raspberry blown in the face of Intelligent Design. Fuck it…I can’t lie. It is! Do I want to be provocative? Hell yes.
It is no secret that a certain voting block in AMPAS is reluctant to evolve, to exchange their blinders for glasses, and open themselves to suggestions on how to see things afresh. Of course, they are not alone. Resistance to change is commonplace. My grandmother, a staunch Catholic, who died at the age of 90, three months ago, was married to her floral house coat in her final days. Alzheimer’s assured her that this old garment was constantly new. No one could convince her that it had worn out it’s welcome. In fact, she died in it. With grace, mind you. But I still could not help lamenting that she was trapped, against her will, in a static world. There was no hope left. She was comfortably numb to innovation. Change was her enemy.
Ultimately, she refused to be influenced any more. Her timing was in unison with the barrel approaching the edge of Niagara Falls. And, yet, a few days before she died, I experienced a sort of break-through. While she was laying in her home-care bed, oblivious to the mass of loved ones, coming and going, I found the opportunity to whisper to her, “are you ready for this”? And her voice trailed off as she murmured, “More, more”.
More? I will interpret that word as I chose. It is my prerogative. I believe she wanted more time to experience, to change, to look at things anew, like she had done when I was in my 20’s and had revealed to her that I was not the man she thought I was. For me, the moment of her meeting my partner, sly-eyed and without fuss, was cathartic. For her, I think it was like opening a window, because later she confided that she was learning to fly. Made me question if she had a secret stash of Tom Petty records.
Her growth was an elixir of sorts. It permeated, like perfume, everyone who shared my genetics and environmental space. Suddenly those aunts and uncles, cousins and neighbors, who were so close-minded and resistant, opened like an e.e. cummings rose.
So, what does any of this have to do with two sublime films? Nothing, I suspect. The question in this context has more to do with a willing voice, a voice with power, that can influence the minds of a seminal family unit, or to a grander extent, an assemblage of supposed paragons. For such privileged people, supposedly still in charge of their faculties, the choice between a dangerously new coat or a garment with faux flowers should be a foregone conclusion. And yet, my neurosis causes me to labour the point. So, my plea to these Zeus’ and Athena’s is this: please consider, seriously, A Prophet and The White Ribbon. Whatever your answer is, warranted and/or not, will color the course of cinematic excellence. Your response may be predictable. It may be a voice that stubbornly says, “I have the final word, and my vote is for the status quo”, or, “I like the familiar and the familiar likes me”. My answer to that is simple: midgets don’t stand on the backs of giants, unless the giant hoists them up.
Of course this powerful and storied group could continue to promote their inability to grasp innovation, audacity, and the bliss of originality. In fact, they may even get respect for their resistance. One thing that is certain is the birthers, tea-baggers and Glen Beck aficionados will be welcoming, with empty wallets, empty heads, and laurels for slight-mindedness. They will even help you to dust off your 6000 year old fossils and classic movies. If that is the legacy you are comfortable with, and believe in, then, by all means, stick to your convictions. But remember you will die. And when you do, you will be judged by your acceptance of, your recognition of, your lionization of, an old floral house coat. Only in de-evolution can a moth say “away with my brownness, give me my orange and purple spots…I want to be eaten and forgotten”. Ridiculous negations that proclaim and fetishize reluctance to change, risk being associated with obscurity. A kind of equivalency to margarine vs. butter which, surely, was at one time relevant. But, I am speaking, here, to the captains of industry, the makers of history, who, of late have promoted grilled cheese and pyrite. Are you at peace with honoring your self consciousness, your simplistic moral code, or, do you want to be remembered for “more”? More.
Whatever your answer is, I will still pull back the curtain (it has flowers on it), and present to you:
The White Ribbon, and,
A Prophet.
For your consideration (of course).
45 Responses for "The Neurotic is Intelligent and He Has Doubts"
Well, “A Prophet” is only eligible in the foreign film category since it’s release date is February 2010. “The White Ribbon” still has a chance, though it might not be AMPAS cup of tea.
“It’s akin to Plato’s proverbial man who has melded new knowledge with the ancient, and, now, is ready to leave the cave.”
When the lessons of Plato’s Cave were invoked in my favorite Bertolucci film, things didn’t turn out so great for Professor Quadri.
I admire your passionate argument. I’ll go wait in the car.
I take your point, Martin. But I was aiming slightly lower. I just want to see both films in the Best Foreign Film category, because, I believe, one of them may not make it.
@ Ryan
You better be driving.
Where to? The Piggly Wiggly?
(sorry, that was hokey)
What I meant to say (the above is vague) is, not being a conformist, I have yet to learn to drive. So…
you better be driving.
anywhere but Wal-Mart.
Ryan, that was the most freaking awesome FYC I’ve ever read. No studio could have thought that up or written it with such passion. Although I have yet to see these two films, I completely agree with your sentiment. Why stick to the old, predictable, and the sanitized, instead of recognizing art, no matter how challenging, not matter how unique, no matter how downright scary it might prove to be to some people? We’ve elected an African-American to the White House who has promised to bring change to the country. Although his plans may not have been as successful as initially hoped, the inspiration and hope he has inspired amongst the population is an accomplishment in itself, especially amongst those who never thought a person like them, a person of color, would ever hold such a prestigious title. Things are changing in this country; it’s time the Academy followed suit.
YES!! Well said in every way! It’s seriously about time the Academy wakes up and realizes that foreign cinema is the best cinema that exists today. I mean these are only recent examples but I mean c’mon…Pans labyrinth, Gomorrah, Let The Right One In, Downfall, Y Tu Mama Tambien, 4 Months 3 Weeks 2 Days, City of God, The Lives of Others, The Diving Bell and the Butterfly, and of course the one film they were smart about Crouching Tiger Hidden Dragon. If they chose these movies as the 10 nominees I think I’d die, resurrect and have the biggest celebration party ever all cinephiles would be invited!
“not being a conformist, I have yet to learn to drive. So… you better be driving.”
ah, I get it now.
Conformists don’t need to get the joke before trying to play along. Likewise, they’re usually just along for the ride. So it’s going to get crowded in the back seat when Stephania Sandrelli tries to wedge in. (She’s proof that even the petty bourgeoise know how to party.)
“Ryan, that was the most freaking awesome FYC I’ve ever read.”
Our brand new guest contributor John Villeneuve wrote this, Nick.
I can only take credit for waving the magic wand over his head.
All I ask is that John raises the bar high enough so that I don’t bump my head going under.
[These two movies will knock you back in your seat when you see them. They're "Best of the Decade" caliber.]
The White Ribbon is destined to be considered a classic – it’s such a serious film, sans moralizing and without the posing-as-serious that defines much of so-called “serious” film in Hollywood. It hardly matters whether the Academy recognizes it or not. It’s, to all intents and purposes, beyond that.
As for Un Prophete – I really enjoyed this film, it is made with real nerve and muscle and a marked degree of subtlty that is also absent most Hollywood product.
I think the Academy, for all that, got it dead wrong with CTHD. I loathed that film, and it’s influence, still being felt to this day, is retrograde. There hasn’t been a decent martial arts flick since that wasn’t destroyed by the ridiculous take Ang Lee took in that silly movie. It’s moralizing, it poses as serious, and it’s not in the slightest subtle. Of course Hollywood loved it.
Really? God, I need to start reading the Author’s name instead of jumping to conclusions all the time. *face-palm*
Mr. Villeneuve, a fantastic write-up. Everything I said in my original post is meant for your eloquent writing. A job well done indeed, sir.
And Best of the Decade? Really??? O__O I *must* see these then. Therein lies the conundrum of these movies not being released anywhere near where I live. God damnit. >:( When these come to DVD, I’m getting them ASAP.
“When these come to DVD, I’m getting them ASAP”
With Criterion giving deluxe treatment to Revanche, Un Conte de Noël, and Gomorra this year, I’d say The White Ribbon and A Prophet have earned their spine numbers too.
…and that is why the “American” Academy Awards hold no merit on the overall scope of cinema.
“Things are changing in this country; it’s time the Academy followed suit.”
“It’s seriously about time the Academy wakes up and realizes that foreign cinema is the best cinema that exists today”
I love the way you guys think. Bravo.
“I think the Academy, for all that, got it dead wrong with CTHD. I loathed that film, and it’s influence, still being felt to this day, is retrograde. There hasn’t been a decent martial arts flick since that wasn’t destroyed by the ridiculous take Ang Lee took in that silly movie. It’s moralizing, it poses as serious, and it’s not in the slightest subtle.”
I’m not really sure of what you are trying to say, here, Dan, Personally, I don’t think Crouching Tiger was bad; in fact, I believe it was deserving of its win. It is based on Jane Austin’s Sense and Sensibility, which is subtly personified. Hardly a bombastic potboiler. Aside from that, I am not, in any way, grieving the loss of martial arts movies.
I also don’t understand why CTHD gets all the hatred when we’re discussing how out of touch the Foreign Film Committee is. There have been far more conventional and worse films to win – THE COUNTERFEITERS, for one. Took a great subject and trivialized it with the presentation.
I agree Seankgallagher. I didn’t think they could ever choose a more nondescript film. But voila, they topped themselves with the soap opera, Departures.
Who is this John V? Because I think I just fell in love.
I like this shot of punk rock injected into AD.
Keep it coming!
Sid, Johnny, and Joe…at your service.
John, I love Jane Austen, and believe Ang Lee directed the worst possible adaptation of S&S based on Emma Thompson’s cheesy, exposition-laden and ridiculous script. Which, of course, Hollywood loved.
In fact, I don’t think there’s a film-maker today who I consider more glib, shallow and self-congratulatory than Ang Lee. I’ve written about what’s wrong with Ang Lee before on this site, mostly regarding Brokeback Mountain – which suffers from the same dismal qualities of its source. (The short story reads like fan fiction.) Consider – only Ang Lee could have turned S&S into camp. You could forgive him for camping it up in CTHD, but Austen? That’s a little tougher to take.
Do you want these two movies to be in the top 10 or are they only eligible for Foreign Film Category.
I like foreign films and have no problem reading subtitles to understand them if need be. Couple foreign directors that I like are Park and Joon-Ho Bong. Old Boy is still one of the best films I have seen.
The problem is AMPAS probably won’t pay attention to great foreign films until they are remade by America ns(who mostly mess it up). E.G. Brothers is a remake.
I have always heard good things about White Ribbon and Un Prophete and hope to see them.
The Academy Awards are for promoting Hollywood, American cinema in general, and to a lesser extent, by default of a common language, almost by accident, Anglophone cinema, which is why traditionally British movies and talent have been so represented at the Oscars. I can understand why people baulk at the cultural hegemony that the Academy Awards represent, but I don’t think that helps to see things in their perspective. The Academy Awards are first and foremost a celebration of American cinema and cinematic culture and that will never change. This is why festival prizes, especially Cannes and Venice, resonate more deeply in terms of recognition for cinema as a world culture. And every significant cinematic industry has its own awards ceremonies (although interestingly the BAFTAS also exerts the Anglophone impulse by rewarding American movies in its mainstream categories – Britain bridges Europe and America in cinema as in many other ways but thats another debate altogether)
The shortlist for the European Film Awards this year is phenomenal and in the round, I don’t think you will see as strong a shortlist for any film prize this year up to and including the Oscars — it has just been an incredibly fruitful year for the art of European cinema. The shortlist shows a collective European cinematic art curious to its present (Fish Tank, A Prophet) its past (The White Ribbon) , and the world outside its borders (Slumdog Millionaire). The films also show a level of technique and originality that is truly exciting and enlivening, they maintain your belief in the greatness and life of cinema as an art. What I would like to see is the introduction of a category at the European Film Awards for best non European movie – which will of course be open to American directors.
So, I don’t think the Academy Awards has to change. It is what it is. We just need to put it in the fullest perspective, and acknowledge great cinema, and all of the prizes accorded to great cinema collectively.
And this years Oscar award for best foreign language film, I find impossible to decide between the two stone-cold masterpieces we have in Haneke and Audiard’s work. For me, this will be the most anticipated award of next years ceremony.
I would be less pissed off at “The Counterfeiters” winning Best Foreign Language film if it didn’t replace other, more worthy films like “The Diving Bell and the Butterfly”, “Persepolis”, “The Orphanage”, and “4 Months, 3 Weeks, 2 Days”. How did you screw *that* one up Academy?
I think both films will definitely be nominated in the best foreign film category. I’ve seen both films and they are both very good films, though not exactly my cup of tea. I think The White Ribbon has the best shot, though. While I don’t think it’s Haneke’s best film, it is a gem to watch. There are some scenes that are near perfect and the film looks amazing. Great Cinematography. Still, I don’t think either has a shot at the Top 10 for Best Film. I’m not sure if any film does, though I would vote for Broken Embraces. (I’m a sucker for Almodovar!)
Nick, The Diving Bell and the Butterfly was not a foreign film, therefore it was ineligible for the category. Like Letters from Iwo Jima.
@ M
I would love to seem both in the Top 10, but that will never happen. Besides only The White Ribbon is eligible.
Have you seen Chan-wook Park’s, Thirst? It is even more outrageously wonky than Oldboy.
“The Academy Awards are for promoting Hollywood, American cinema in general…So, I don’t think the Academy Awards has to change. It is what it is”
Joolz, I agree with you in regards to nominees in all the other categories, but in the Foreign Film section they should be nominating the best, which they have not been doing for quite some time now. Think Gomorrah, Infernal Affairs, and 4 Months, 3 Weeks, and 2 Days.
Natural, are you serious? It was in french, was about a french man, featured french actors, and it was not a foreign language movie? The reason it was ineligible was the Academy’s bullshit rule of letting the different countries submit only one film. France chose Persepolis, and Diving Bell got the can. But if France went with Diving Bell, they would’ve won, no doubt about it.
I thought it was an American production?
EDIT: Yes, I looked it up, and it was partially a product of Miramix (US). I don’t completely know the rules for eligibility in the Foreign Film category, but I think this made it ineligible.
The Diving Bell and the Butterfly, Wikipedia:
“Because the film was produced by an American company, it was ineligible for the Academy Award for Best Foreign Language Film.”
Hope this settles things.
Yes, thanks. I thought so.
To John Villeneuve (who I can only assume is a reader here).
A primal scream? Dude, just chill, I know you love Oscars but I think you are taking this thing a bit too seriously.
Maybe step back and reassess how seriously you’re taking it, Kad.
Thanks Natural and John for the clarification. This only makes the snub more retarded than it already is.
Jesus Christ, when the Academy fucks up, they fuck up big time. >:(
To also help clarify the Diving Bell question: it was completely Schnabel’s decision for the film to be in the French language (script was orignally in English), he even learned to speak French before beginning the film.
This probably adds to the confusion.
“This probably adds to the confusion.”
Here’s some more confusion. I think the French committee that choose to put their eggs all in one basket (submitting Persepolis for both Animated and Foreign) were a little negligent, here, as well. Since Persepolis was all but guaranteed a Animation slot and Diving Bell was deemed ineligible, it puzzles me why they didn’t enter La vie en rose for Foreign Language (not that I liked La vie en rose, but the Academy surely did).
“To John Villeneuve (who I can only assume is a reader here).”
Yes, Kad, I am a guest reader. Sasha and Ryan were kind enough to allow me to read their blog. So how did you get here?
“Yes, Kad, I am a guest reader. Sasha and Ryan were kind enough to allow me to read their blog.”
To further clarify, Awards Daily belongs exclusively to Sasha Stone and has ever since she invented Oscar blogging in 1998. I’m just a guest here too. One of those sorts of guests who brings lots of baggage and moves in. Like Capote with Joanne Carson or Mankiewicz at Hearst Castle.
In fact, I’m more of a live-in maid.
Correction…I am the maid’s astrologist and I live in a very bad neighbor-hood.
aha!
I’m Jeeves and John is Hugo Barrett.
Predating us both, there was once a Mrs. Danvers. But he left to start his own blog.
Excuse me Mr. Jeeves, I have that martini and eye-brow pencil you requested. (arrrgh…I feel a primal scream coming on).
Meet me under the Friedrichstrasse S-Bahn tracks.
I’m not falling for that one Alexanderplatz.
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