“Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn’t.” ― Mark Twain
Once again it appears that the Weinstein Co. could very well be headed for the big prize, their third consecutive Best Picture win with their scrappy little movie that could.
The recent trend away from more challenging fare towards more sentimental, feelgood films really started with Fox Searchlight’s Slumdog Millionaire. Its Oscar backstory was that it had almost gone straight to video but was suddenly discovered on the festival circuit — so when it started winning stuff, the shock of that added to the miraculous way the film itself turned out. There have been many feelgood movies that never won Best Picture leading up to 2008 — in fact, you could comb through Oscar history and find that voters used to think that happily-ever-after wasn’t a substantial enough ingredient to award a film Best Picture. But that changed with Slumdog. Though The Hurt Locker won the following year, the Slumdog model would return with a vengeance with The King’s Speech — an unlikely, British-born underdog that offered up a happy ending. It wasn’t a bad film but it was one many people “just loved.” Sure, it was about history, Britain in the 1930s, but it was really about a triumph of the male ego.
After all, having a stutter, while embarrassing, is no reason to shrink from the only important duty a crown requires, to rally the country in time of strife — in fact, one could argue that giving that important speech WITH the stutter would have gone a long way towards helping people with stutters, and and shown a strength of personal resolve to solider bravely forth in the face of feeble insecurities. But seeing Colin Firth weep, and then snap out of it with a great, moving performance, finally give his speech to convince the country to go to war to fight the Nazis? Wow. Pat him on the back for a job well done. But what was really at stake for the King? Embarrassment.
The Artist was a similar kind of thing — foreign production made on a shoestring, a brilliantly made film about a man’s withering ego — what was at stake? Embarrassment, loss of a career, but mostly embarrassment. But that movie had much more going for it — it was a magic trick that left people with the glow of happiness because the character found success at last. With the charming Jean DuJardin and little Uggie making the rounds, voters loved the movie and loved seeing them win. The Artist, though, unlike The King’s Speech was really winning everything dutifully down the line. The King’s Speech was what can happen when a lot of people get together to vote, like in the thousands.
Finally we get to Silver Linings Playbook, another film about a man whose down on his luck after he catches his wife cheating on him. After throwing around a few punches here and there, enough to add “recently incarcerated for jealous rage” to his match.com profile, he puts on a trash bag to lose weight and begrudgingly allows the world’s most beautiful woman to lure him into her loving arms. He finally agrees to go on meds (though sometimes just sucks the flavor off a pill and spits it out), is coached by his football-loving therapist (yes, everything rounds down to football in this movie). They flail towards a dance contest and the film, from the mid-point on, is as predictable as any romantic comedy you’ve ever seen. What saves it is David O. Russell’s smart-alecky dialogue and Jennifer Lawrence’s performance. But more importantly — male ego is spared and you leave the theater with that familiar sticky afterglow of love. It goes down easy, gives back more than it takes and might be the only kind of film that can win in 2012. Even though we don’t yet know the outcome of this race, the emotional pull of Silver Linings has been a threat since it first won in Toronto. It even beat Argo.
After Toronto, so many great movies hit theaters — Lincoln, Life of Pi, Zero Dark Thirty, Django Unchained. It seemed impossible that a relatively weak but lovable film could actually win against those majestic films. Doubts seemed to be confirmed when David O. Russell failed to get a Globe nod for director (only Driving Miss Daisy has ever won Best Picture in the musical/comedy category without a nomination for director), and more importantly, a DGA nomination. The DGA is 14,000 voters — that many people decided there were five better movies this year. Again, you must invoke the Driving Miss Daisy rule, as it must also be invoked for Argo.
But everything turned around with the Oscar nominations. Four acting nominations for Silver Linings Playbook plus a director nomination for David O. Russell. Though the directors nominated Benh Zeitlin and Michael Haneke, they also picked Russell over Bigelow and Affleck. Suddenly, Silver Linings emerged as Lincoln and Life of Pi’s biggest challenger.
Mind you, if either Silver Linings or Argo wins Best Picture they will have to make Academy history to do so. A rule will have to be broken. Where the heart is concerned, a rule is meaningless. But I do still wonder about those 14,000 DGA voters. That’s a lot of people to say your movie isn’t good enough to win Best picture.
From this point, the Oscar race can go a couple of different ways — it can split up all over the place, with a different movie winning every guild or one movie will rule them all.
The one award Silver Linings Playbook can’t win, though, is the DGA. If it gets momentum this weekend from the PGA and SAG, its momentum will then be stopped cold at the DGA. It goes head to head with Argo, Lincoln and Life of Pi in the adapted screenplay awards upcoming, both the Scripter and the WGA. If Lincoln wins both of those, Tony Kushner’s chances for winning the Oscar increase dramatically. To win Best Picture against Lincoln, Life of Pi and Argo, Silver Linings really needs to win Adapted Screenplay; after all, Crash won the WGA and the Oscar for screenplay.
If we are headed for a split like Saving Private Ryan vs. Shakespeare in Love, Spielberg might win the DGA. Who else could win there? Ben Affleck, if the Argo momentum is a real thing.
Argo could win the PGA, SAG and DGA but it still can’t win the Best Director Oscar. Life of Pi could win the PGA and the DGA but it can’t win the SAG.
Lincoln can win the PGA, the SAG, the DGA and the Oscar. But it doesn’t mainline the feelgood love drug.
I still think the numbers back Lincoln. And I think that means Lincoln will win the PGA, not Silver Linings Playbook. The passionate vote for Silver Linings might be overtaken by the passionate vote for Argo and the group overall will prefer Lincoln, I figure. I also think Stephen Spielberg will win the DGA. I do think Silver Linings will take SAG ensemble.
My prediction of the guilds upcoming:
PGA–Lincoln
SAG–Silver Linings Playbook-3, Lincoln-1
DGA–Lincoln
WGA–Mark Boal for Zero Dark Thirty (because the only other two nominees also nominated for Oscar are Moonrise Kingdom and Flight — Boal has to win it, right?) and Tony Kushner for Lincoln
Scripter–Lincoln
Eddie–Argo, Silver Linings
I will be watching to see what changes are made to this list. If Lincoln loses the Scripter or the WGA it probably can’t win Best Picture. Lincoln is driven by three major forces — acting, writing and directing. It really has to win all three areas to win Best Picture. I think it can and I think it will.
But it is the turning point in the Oscar race in the coming days. As much as I complain about them I have to tip my hat to the Weinstein Co. for being the smartest players in the game – they cracked the Oscar code and the formula works.
If Silver Linings manages to beat Lincoln, Argo, Zero Dark Thirty, Life of Pi, Beasts of the Southern Wild, Amour and Les Miserables it’s probably not going to go down very easily, and will likely be looked upon as a Rocky-like win. A lot of people liked Rocky and a lot of people love Silver Linings.
Argo builds up much cred for Ben Affleck who will have an easier time being nominated, and winning, if he gets another chance. The Oscar race has changed Benh Zeitlin’s career. In such a rich year of original, vivid films we saw Michael Haneke’s Amour named one of the best pictures of the year. That’s really something.
What happened this year was that American storytellers came roaring back. In the past it looked like we had lost the ability to be daring – that the need to top the box office had overtaken the need to tell a good story. They told great stories and were rewarded at the box office. If Lincoln, Silver Linings, Zero Dark Thirty, Life of Pi, Beasts of the Southern Wild or Argo wins this year they will win one for the home team. At the same time, the Oscars are infused with international filmmakers too. Though the ending of it all might feel anticlimactic, we must never forget the road we’ve traveled so far, and what an array of talent we’re lucky enough to judge like a horse race, something none of these films deserve.
We remind ourselves to remember that films are works of art – they are put in a contest to be voted on like roses at a pageant show. Losing the consensus vote ultimately means nothing. It doesn’t change how good a movie is; great works of great art make them look good that they had the wisdom of mind to choose rightly.
For me Lincoln sound so like the film practically MADE for Academy Awards and of course I don’t mean that in any way of insulting like “shameless bait” and so on.
It’s just their type of movies.
But Harvey…. knows what to buy, when to release and how to campaign.
He’s so aggressive at campaigning and it just baffles me that it still works!
It worked for The King’s Speech, it worked for The Artist, hell, it even worked for The Iron Lady!!!
And he does it again with Silver Lining Playbook and Argo. Hard.
Though, I’m not sure SLP will win BP this year. Harvey Weinstein or not. Argo on the other hand…. A strong possebility at the very least.
My feelings still stays on Lincoln. But we’ll see.
Lincoln was very much like a stage play. It’s the type of film you could have seen in the 1930s. That’s not bad at all. But it places a huge amount of emphasis on the performances. DDL was the central, essential role. He pulled it off so the film worked. If he doesn’t the film crumbles. I thought the script as good and I thought Tommy Lee Jones was very compelling. Didn’t care for Field as much but her character was annoying. Still, pulling off Licoln convincingly was the main challenge of the film. DDL did it, so it kind of was his show to win or lose.
I don’t know what movie you were watching cause Sally Field held her own every moment she was on screen with DDL and so did Tommy Lee Jones. I don’t think you could call it the Daniel Day-Lewis show by any stretch of the imagination.
Yes, Perks is a great film and definitely outshines SLP in every way. The fact that it was #3 means there were two films I enjoyed more which means it’s an amazing year.
Heck, when I got to thinking where to put Keep the Lights On and fitted it in at #7 I was kinda shocked, it’s definitely good enough for #3 for most years and it would be number one in several years over the past three decades.
Actually it would be cool if SLP won. Some of the people on this thread would haved a nervous breakdown. That would be worth seeing. Twice.
Silver Linings Playbook was the most interesting film I saw this year and the only one I saw twice. And I’m still not totally sure what to make of it. It was just a striking oddity. The tone of the film and the performances shift with maniac abandon. It’s an unusual hybrid movie and the acting was so good that you go with it. The caste acted their asses off in a way that reflects Russell’s style.
Do I think it will win Best Picture? No. But it still made the biggest impact on me of the current contenders. On paper it was not supposed to work and it did.
Lincoln is a strong choice but it can be viewed as the DDL show. I’ll go with Argo. Heck anything but Les Miz.
I loved Blue Valentine. The leads were so connected and every moment made me feel like a lucky voyeur who stumbled onto something private and personal.
“apparently many god.” I meant “got”. Wow. I must be tired. Screw it, yea. Lets go with the first one. What many “god”.
I’ve said it before and I’ll say it again Perks of Being a Wallflower gave me what I wanted from SLP and what apparently many got. I felt like a million bucks after Perks. Moving, sad, funny, and beautiful. It’s also not as conveniently plot driven as SLP cause I hate to break it to people, but life is not like SLP.
And to encourage some people to see some less known films, I will give you my current top 10 for 2012!
Zero Dark Thirty
Oslo, August 31st.
The Perks of Being a Wallflower
Les Miserables.
Liberal Arts
Once Upon a Time in Anatolia
Keep the Lights On
How to Survive a Plague
Safety Not Guaranteed
Take This Waltz
What an interesting comparison, Blue Valentine and Silver Linings Playbook! The two are extraordinarily different, but, yes, if you were to watch SLP after BV, you would never believe SLP even for a minute. You’d have to turn it off instantly!
Just got done watching Keep the Lights On, a film far, far, closer to Blue Valentine than SLP. If you liked SLP I would suggest you skip Keep the Lights on. If you hated SLP than I guess Keep the Lights on would be for you.
While I wasn’t exactly sure where Paul’s head was at in the final scenes (I’m not sure we’re supposed to know) I can still call this a brilliant and true film. Applause!
Watched SLP again since November. Don’t get it. Say what you will about The Fighter, but those characters were able to overcome their differences and support Mickey without ulterior motives. “I was trying to be romantic.” -Pat. Oh boy we got two characters with the mentality of a 16 year old when it comes to love.
Why couldn’t Weinstein get Blue Valentine nominated for BP? You know a flick with actual real people that go through real hurdles. I’m not saying it’s a great relationship, but it actually seems less doomed than SLP even if SLP ends with the happy ending.
As far as recent BP dramadies go like Juno, Up in the Air, The Kids Are All Right, and The Descendants, this is way behind. While not all of those films are perfect, they occasionally had honest and revealing moments and were more character driven than contrived plot driven.
You’re film is in trouble when you have….
1. Characters exchanging letters
2. A bipolar character going to a football game where he will inevitably get into a fight
3. A late reveal that shows the mother and the low self-esteem Tiffany were working together when we could have had scene where Tiffany stopped by to see the mother instead, but then I guess we wouldn’t get the “gasp” reaction from the audience. (Why would Pat Sr. being tell Pat to stay away from Tiffany? Clearly he knows his wife has played a part in this. Maybe it’s best Pat Sr. and his wife get on the same page for their son)
Oh and there is so much more.
Peers support continues for Naomi Watts:
http://www.youtube.com/watch?v=tscppNMp67Q
Bruce Davidson adds his support of Naomi Watts for the Oscar Best Acting Award, and Daniel Day-Lewis.
Can someone please explain to me how the Weinstein Company is able to achieve what they do come awards season when everyone knows they campaign so heavily and aggressively? I just don’t get why voters aren’t turned off by their tactics. I enjoyed Silver Linings Playbook, but it’s not Oscar worthy. If this movie ends up winning, I don’t think I’ll believe in what “Oscar” is supposed to stand for ever again. Of course, I guess I should have stopped believing that a long time ago. But this movie doesn’t deserve to win. It’s a rom com with a cheesy dance sequence and a pretty cheesy ending also.
I just don’t get why voters aren’t turned off by their tactics
I’m certain that a large percentage of the Academy are turned off by it. (Notice that Weinstein films haven’t won every year since 1995).
How come 47% of Americans aren’t turned off by GOP vote-grab tactics?
I don’t hate Lincoln or anything because I think it’s a great movie with such a strong and convincing performances by Sally, Daniel and Tommy. But be very honest here, the story itself is quite boring and slow and I can see why people keep saying that. It obviously based on history so it can’t be changed too much… But look at Argo, it does make thing more interesting with the way the story unfolds itself. This is a movie after all… And by the way, don’t use Lincoln’s theater performance to imply that it’s interesting. A lot of people are gonna watch it because of Steven Spielberg and the famous cast the movie has… Also, this is awards season… Those Oscar-nominated movies are everywhere… Some people just go with flow…
So good to see my fellow SLP-lovers out there. Jerry, you nailed it on Russell’s artistic career trajectory. Perfectly put.
And I agree – SLP is destined to become a classic film, the kind of romantic story both men and women, cinephiles and casual film goers, will respond to. It’s the ‘As Good As It Gets’ of the last 15 years.
You count Life of Pi – with its international box office, co-production status, Canadian novelist, Asian director, story of a young Indian man – as a win for the home team (presumably America)… and yet Mr. Tarantino’s Django is left off the list? I think he counts as a bit more telling a story of the Civil War South, using American actors across the board (except Waltz), crafting the story himself, and bathing it in the excitement and entertainment that America loves.
I should have said ^ “liked SLP BETTER”
I liked it fine, 7/10/ But I think it could have been better with some different dir/writing decisions. Just my opinion.
I think I would have liked SLP if a) they addressed their age difference b) I saw more evidence of Cooper falling in love with Lawrence throughout the second half of the film c) if they were getting 5s, then the competition needed to be getting 9s.
I also wonder if I would have liked the movie more if it came out in, say, the Summer, and without awards expectations.
Vince: nice
I get the feeling that Sasha is rooting for Lincoln, maybe that’s clouding her judgement/wants to influence the race.
Well, she ain’t no Weinstein and will see if she’ll get it right…
“Lincoln only has momentum because it’s about Honest Abe. As a film and story, it’s boring to many. Life of Pi only has momentum because it’s supposed to make me believe in God, I think. Other than that, I’ll repeat again, it’s a 2-hour screensaver.”
Loved this, CB <3
I think it's REALLY REALLY FUNNY how people fights and discuss about Lincoln, Life of Pi, Argo or SLP getting an Oscar, which one is the "best" movie. C'mon, guys. It's just a funny horse race. The Academy Awards are not about the "best" or the "deserving", otherwise we would be talking about "AMOUR" or "HOLY MOTORS" – called by critics of different countries as one of the most originals achievements of the last years and the movie that will be remembered in the future -, "No" – a masterpiece that is nominated in foreign – or BEYOND THE HILLS! Have you guys seen "Beyond the Hills"? It's far better than any movie nominated at the Oscars.
Stop being rude, let's just have fun.
Unlikely Hood, It’s too bad that just didn’t just dub in references to the song ala Jennifer Lawrence’s Daniel skit on SNL.
Ryan Adams quoting another reader: “no one I know has seen Lincoln twice.”
Then his response: “I paid to see it 3 times. 2nd and 3rd time I brought friends along to share it with me.
Maybe I don’t count, CB, since you “don’t know me”
Or maybe there’s something really seriously wrong with all the people you know?”
I have paid to see LINCOLN five times, and always with a new group of people, though my wife was always with me on all the viewings. So yeah, don’t know where this guy is coming from.
I was at a dinner party and I’m glad daveinprogress said what I wish I would have.
In Hugo Melies says “happy endings only happen in the movies.” but then he’s proved wrong. I have a feeling such a denouement is coming. By this I don’t mean a silly dance competition – I mean Lincoln winning it all.
James –
You mention My Cherie Amour and I just want to air a grievance that I’ve not seen anyone discuss. Did anyone else notice that My Cherie Amour was never actually referred to by name, nor did anyone start to sing or lip-synch a lyric or hum it or just go la la la la la la (a la Eddie murphy)? The first time Pat said “our wedding song” I thought, ok fine, the producers hadn’t cleared the rights to any particular song during principle photography, no big deal. But the fucking tenth time he said “our wedding song” I felt: ok now this movie is just cheap. Don’t make a song into a big big deal when you don’t even know what the song is.
It’s just more evidence of the half assed sitcommy nature of SLP. 100% agree with whoever upthread said that Russell has another great film in him but this so ain’t it.
@Zach M. – Many people here (including me) think Phoenix deserves and should win the award this year. Yes, Lincoln is not Daniel Plainview but the oscars have its won balance. I mean Lincoln is a great character in American history and people want to award that performance.
Up in the Air in 2009 was a feel good movie, it had the DGA nod and Globes BD nod (SLP did not have that) and it scored three acting nominations and ultimately it won nothing. You might think that SLP will win something – if so, their best chance is supporting actor for DeNiro. Adapted screenplay would be a long shot.
I liked Lincoln, though far from loved it. I haven’t been a fan of Spielberg’s work since 2002 (still yet to see Munich, granted), Tintin was blander than a saltine cracker, and War Horse was a saccharine schmaltzfest. Lincoln was a step in the right direction, he clearly had more passion for this project than both War Horse and Tintin, but I still think it was fairly uneven.
I will give credit to Spielberg for going against his own “type” and appearing to step outside of his comfort zone; Lincoln is the least-“Spielbergy” film he’s ever made. And for a good part, the dialogue-intensive film is often engaging and interesting, though I’ll go ahead and say it, I think it was also a bit tedious at times. Not all the time, but I think the film would occasionally lose its focus (IMO, too many characters were spotlighted, including some that really added nothing of value to the story overall. Looking at you, JGL). I say this not because I have a staggering dislike of dialogue-driven films, as so many Lincoln naysayers are accused of. In fact, the talkies are often my favorite films of the year;The Social Network remains one of the most hypnotic and enthralling moviegoing experiences I’ve ever had (still very bitter about The King’s Speech), it occupies a spot in my top 3 of all time, and I can say this with confidence, Lincoln is no The Social Network.
Questioning if whether or not a film “should” win an Oscar is an exercise in futility; Oscars are never about what “should” win, but what “will” win. Should DDL win Best Actor? In my opinion, no. He is great, no doubt, but this wasn’t a Daniel Plainview role for him. He transforms himself, but the film is so distant from Lincoln the person, and that’s one thing I was really hoping the film would explore with an actor like DDL at your disposal. Joaquin Phoenix “should” win the Oscar this year. He accomplishes things I’ve never seen any actor do before, and delivers what I think is the most memorable and uniquely compelling performance of any actor this year. Will he win? Of course not, DDL will.
“Should” Lincoln win Best Picture? It probably goes without saying, but if it were up to me, no. There are far more deserving films worthy of the title, some not even on the Best Picture shortlist. I’d easily pick Argo, Zero Dark, Amour, maybe Life of Pi, and even Silver Linings, before Lincoln, because I think there was a lot of missed opportunity in the Lincoln story and I know Spielberg can do better.
Alright, so I’ve expressed a moderate-to-mediocre opinion on Lincoln. Have I lost my credibility with Awards Daily yet?
Sorry about that last typo, the last line should read: “While Lincoln would be a fine winner, I don’t believe it to be the Best Picture of the year, and if it doesn’t win, I don’t believe a lack of hope or happiness for the viewer when the end credits begin to roll will be the reason.
I am not entirely sure why Sasha keeps insisting that Lincoln doesn’t have the “feelgood love drug.” I left Lincoln feeling very good. Lincoln exemplified idealized view of the power of the American spirit. It reaffirms the notion that when things are bleak, the great and moral minds and leaders of America will rise to the occasion and the nation will endure. It provides viewers with extended looks at past heroes like Thaddeus Stevens, and of course, adds to the mighty legend of perhaps, our greatest hero, Abraham Lincoln. Is this not as warm and fuzzy as you would want to feel? Lincoln is a wonderful film and to me, certainly gives the audience plenty to feel great about.
Sasha, you’re not going to like this, but having said all of that, Lincoln was not my favorite film of the year and, to me, lacks the gripping, raw force of Zero Dark Thirty, the crisp fluidity of Argo, and the simple yet existential beauty of Life of Pi. While Lincoln would be a fine winner, I don’t believe it to be the Best Picture of the year, and if it doesn’t win, I don’t believe it’s not for lack of hope or happiness for the viewer when the end credits begin to roll.
Hey Sasha–
What DaveinProgress said, I wholeheartedly echo. Back in December, I got very excited about two films in particular: ZERO DARK THIRTY and LINCOLN. I got excited because these films were actually about something! And they were well-crafted on every level–acting, directing, writing and every tech aspect were impeccable. I got that feeling watching both where I knew there was hope for the medium (pretentious but the truth). I was excited because I felt there was no way that pablum-ized, feel-good hokum could overtake the year. There was no THE ARTIST to entrance AMPAS. There was no KING’S SPEECH lurking to make everyone feel good about their fucking miserable lives. What happened to catharsis??? I grew up (in the 80s) watching seventies films like NETWORK and NASHVILLE and CUCKOO’S NEST and CABARET and DAY OF THE LOCUST and…fill in the brilliant title–all films that did not have any type of conventional happy ending but films that made you feel good about being alive nonetheless because they challenged you and made you think about your place in the world. THE SOCIAL NETWORK did that. HUGO did that. ZERO DARK and LINCOLN do that. So I had hope. And then the ZERO takedown began. Followed closely by the LINCOLN smear. I have no idea what is wrong with people (film journalists and bloggers in particular) that they can’t stand by films they purport to love. All I know is I feel a sense of shame and doom. But…even reading so much of the crap that’s spewed in comments here and elsewhere, I still have hope that the Academy will one day return to rewarding good films that are about ideas and have something to say about the world we live in.
I don’t often blather on here so forgive me but I felt compelled.
For now I still have some hope Chastain can rightly beat Lawrence’s ass. That Day-Lewis and Sally Field (no fucking “s” assholes) can rule the day. That Kushner and Boal find their way to the podium. That Spielberg triumphs. And that LINCOLN or, by some ridiculous miracle, ZERO DARK THIRTY triumph. I’d even settle for some of the above. Thank God Adele is performing so something will stop me from knocking over my Bravia if feel-good rules the night.
Keep up the fight. I can’t help but mind. I will always mind.
For me, the only movie I can see the Academy choosing as Best Picture is Lincoln, which I loved (though it was not my favorite film of the year). I think you have to take the refusal to nominate Ben Affleck as a sign. I think Zero Dark Thirty has a lot of problems, since it claims it is based on a true story but veers comically away from the facts in several places. Amour was genius, but austere, and has Best Foreign Film available as a consolation prize. I liked Silver Linings Playbook, but I don’t remember it. Life of Pi was fascinating, and beautiful, but the framing device ultimately let the whole movie sag a little. Django Unchained….Beasts of the Southern Wild…I’m not seeing anyone throwing their votes away on those two films. I do think people have completely underrated the appeal of Les Mis, which I also loved (though not without a consciousness of its flaws). And – uh – I am one of those people who saw Lincoln twice. I say one because there are a lot of people who have seen it twice. A whole lot of people. And it has twelve nominations. Why? Because it was boring? I am perfectly willing to believe the subject matter and the stakes don’t conform to the attention span of most Americans, who know as little about history as they do about math. But the Academy voters are so old, many of them probably voted for Lincoln! I mean, for President! Seriously, the movie is incredibly good and only has one less acting nomination than Silver Linings and that’s because there was no female lead. Spielberg did a genius job of filming a brilliant script. One little point I have not seen mentioned anywhere. The film begins with Lincoln seated, in his Memorial Pose; he listens to soldiers of both races back away from him speaking some of the words carved in the marble of that memorial. Kushner hands us Lincoln the Myth. Daniel Day-Lewis rises, breaking the marble, and becomes a living man, complete with flaws and troubles with his family and an impossible task that requires more sacrifices than most humans could make. He makes the grave decision to continue a war when he could make peace because he wants to end the scourge of slavery. And then, having paid for this decision with his life, Kushner returns the human Lincoln to the flame of myth, using the other words from the Second Inaugural, also carved into the marble of the memorial. It is the most brilliant framing device I have ever seen on film, and everyone associated with Lincoln did a great job of showing just how difficult breaking a horrifying status quo could be. Whether or not Lincoln wins the Oscar, it will always be a great movie – a work of art that accidentally succeeded commercially – and one of the very best written films of its kind. And the people who were bored by Lincoln? I hate to say this: but you’re probably all a little boring yourselves.
Strange, how ZD30 has lost momentum, even though Kathryn is all over the media giving interviews. Anyway for Oscars Best Picture, I’m sticking with BOTSW because it fits all that Sasha described: Little movie with heart, unknown actors, unknown director, a real Cinderella story for a movie. I think it will surprise the pants off of everybody.
SAG – Lincoln
The others, I don’t know, but I’m po’d that Zemeckis for Flight is not being considered for anything.
The others, I don’t know, but I’m po’d that Zemeckis for Flight is not being considered for anything.
Agree. Wish it was one of the ten BP nominees.
“Avatar was not an engaging movie.”
Its theatrical engagements broke many BOX OFFICE records. Please stop spreading falsehoods about James Cameron’s Avatar: The 3D Experience Of A Lifetime.
Now if you’ll excuse me my cartoonish police officer who is always right around the corner where ever I am is stopping by.
Fair enough Sasha. Apparently I also need to spell check before I hit submit.
Sasha you need find to find a silver lining. Would you like me to write you a fake letter?
Sasha you need find to find a silver lining. Would you like me to write you a fake letter?
I really don’t. But thanks. I’d rather poor hot wax on my head and pull my hair out after it dried.
Rufus,
I cannot get upset over what you said especially since you have that picture in your profile:) and lets not discuss my intellect here as i dont need to prove anything to you or anyone else….
Yeah some of those cinematic geniuses think SLP ahould win BP. Not will win, but should win.. Over Lincoln, ZDT, LIfe of Pi and even Argo. Thank god i am not one of those cinematic geniuses….
PGA: Argo
DGA: Argo
Oscar best Pic: Argo or Licolm
SAG Ensemble: not sure, but it means nothing for oscar best pic.
🙂
Avatar was not an engaging movie.
Aragorn, you say that people who found Lincoln boring are suffering from the “Twilight Effect.” But you neglect to consider something, maybe the people who find Lincoln to be boring desire something more substantive in their “films of ideas.” Perhaps, Aragorn, you are the one with a stunted intellect and the others are cinematic geniuses.
I point this out not because I dislike you, but because I find your position to be completely arrogant.
We’ll see what happens, but I honestly think that the impact that the guilds have on final outcomes has been seriously diminished by the change in dates and that was proven when the nominations were announced.
I also think the Academy had this in mind when they made that date change…
Silver Linings Playbook winning Best Picture? This just made my day! It truly deserves it.
This whole week My Cherie Amour has been on everywhere I go. It’s crazy.
This whole My Cherie Amour has been on everywhere I go. It’s crazy.
Inside Baseball from a Cubs fan.
To twist a Lawrence of Arabia quote: well, we can’t all be Yankees fans.
And I second what daveinprogress just said. It can get to you – don’t let it.
“I honestly don’t see any evidence to support a Silver Linings surge.”
Ávila Souza Oliveira – I don’t know where you are, but here in Canada on the US feeds, the SLP ads are swarming like a plague of locusts, just like they did for The King’s Speech. Only this time, they make sure it’s known that this is the first film in ## years that is nominated in all acting categories. On the tabloid shows, like ET, they’re having contests to spend the day with the cast while every “host” and “hostess” slips in a few lines about what a great movie it is.
(BTW – when did Rob Marciano decide that this shit was better than standing on a slant in hurricanes, wet clothes all clingy and that baseball cap? He was the only reason I watched the coverage.)
Sasha, i may have offered a comment similar to this one a year ago and two years ago, when the outlook was not good and movies that you were so impassioned about were being overlooked by the major awards.
When I returned to this site several weeks ago, having been absent all year, i was struck by the almost palpable feel of the joy and passion that was emanating from your threads about Lincoln, Zero Dark Thirty especially. The season was gearing up for nomination overload, and as a follower of your writing and site for many years, I was curious as to what the barometer was for this particular year.
I am always saddened when i read (or read between the lines) your resignation today from the investment in the race; the very raison d’etre of your site and i suspect life long engagement with films and the Oscars.
You probably wrote it at some point, but i take this away from YOU when i get submerged in the rights and wrongs of who is and isn’t included/bestowed etc at the end of the day – love the movies you love and wax lyrical about them. (Not your words of course, but my way of expressing that).
The advocacy that you imbue the site with and the often robust discussions that follow are the essence of this blog. I don’t even feel right calling it a blog. It is more than that. Yep, we all care about who is and who isn’t nominated and exalted with the big prizes, but beneath that is that cherishing of the celluloid experience. Don’t lose sight or heart of that. That’s what propels a new generation to love and honour movies in ways that AMPAS can never do as a 6000 member exclusive pompous institution.
Hugo, The Social Network, Lincoln – any number of movies that have come out that invigorate the artistic process and advance storytelling, are memorialised and preserved for ongoing enjoyment. They stand the tests of time. I hope i’m not sounding too much like a big brother, but don’t give up just yet. This season is still a work in progress.
Thanks Daveinprogress. I really appreciate it. The truth is that for all of the readers who chafe and irritate there are so many more good ones. I love reading the comments when they’re so insightful as yours. So thanks.
People really need to stop this anti-SLP attitude b/c in the end it was a good movie, not the “best” but a good movie. Yes I agree that Lincoln made 162 million and still counting but a movie’s box office success should not correlate to it winning best picture at the Oscars, heck after all Avatar made 10x more than Lincoln but it still didnt win. Lincoln was one of the better movies of the year but it deserves to win NOT b/c it was a box office success but b/c it was a well rounded piece of cinema. There is a difference between those two and people just need to get it right.
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Warner is an underappreciated Oscar player.
Argo/SLP is a fair contest between Warner and TWC…. the films themselves are equally OK Oscar contenders. The contest is about which studio can deliver the most heat. Harvey cares more than the conglomerate, but the Warner conglomerate has infinitely more available power.
re: Pierre
as the beloved Kate Winslet doesn’t appear in even one frame.
A spectre is haunting Avatar – the spectre of Oscar-winning screen legend Kate Winslet (Titanic, Iris).
I wish I had a dollar for all the people who keep coming up to me, and feel compelled to say to me ” I LOVED ‘Silver Linings Playbook.’!” I didn’t but I liked J.Law.
I think with the Weinsteinmachine working its’ magic this year I could win Best Actress, Best Supporting Actor and yes, maybe even Best Director.
Best Picture is going to go to “Argo” Harvey can’t have EVERYTHING. Can he?
You can say many things about Lincoln. But boring??? Really? I was sooo excited througout the movie for different reasons. Sometime a smart dialogue, sometimes great acting by DDL or others, sometime James Spider’s character or sometimes just the look in the eye of the black maid. And during the voting scene. I was at at the edge of my seat, much more exciting than many other so-called action thrillers.
Again, you can say many things about it but boring aint one of them…i think this is Twilight effect. Many people are just used to meaningless action with stupid story and dialogue that anything that requires listening, following a smart dialogue and some level of smartness is seen as boring. Oh well. Their loss….
it is physically impossible for anyone to call Avatar b*ring.
And that’s a miracle, Watermelons, as the beloved Kate Winslet doesn’t appear in even one frame.
And phantom, I agree with you completely.
The Rotten Tomatoes people are basically the same as the Broadcast Film Critics and the Online Film Critics. They all jumped ship like rats when Zero Dark Thirty was embroiled in controversy and THEN they started huddling around Argo. Sad.
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Possibly the HFPA too. I completely agree! Have some damn integrity!
It’s like Tom O’Neill says, everyone wants to be on the winning team.
I really hope Silver Linings Playbook (or Amour) wins everything!
Lol.
All this hate towards Silver Linings Playbook has made me love this film even more
An example of free thinking individual who knows why he loves films and ought to be held up to a certain high standard. This is how we should always appreciate great cinema: only loving what other people hate. Middle schooler are you?
@Larry LMAO Amen! Can’t we all just get along?
Try as you might, sonny, you can’t stop what’s coming. So gird your loins for next year right now. If I see you with the same comment next year, I’m gonna say “I told ya so”
you cant stop whats coming??
come on you have been using the same quote 15 thousand times since No Country came out… how about being more creative???
thank you
you cant stop whats coming??
come on you have been using the same quote 15 thousand times since No Country came out… how about being more creative???
thank you
How about taking a long walk off a short pier?
Cliif’s Notes of Lincoln Criticisms.
1) The film is a fantasia rather than an exegesis.
Is that good enough for ya, Gustavo?
@JJ
*Les Miserables
Lincoln also had beautiful ensemble work.
Lincoln also had beautiful ensemble work.
Yes, it is. The best of the year.
SLP is winning SAG over Hot Meserables because EVERY performance was good and each performance truly supported the other performances within the context of the film and in individual scenes.
Hot Mes had a bunch of weird, isolated performances in a disjointed film. And Crowe RUINED those beautiful songs. He didn’t even seem threatening or authoritative in his role. I’m sorry people are so thin-skinned about Hot Mes right now but, in time, you’ll see this movie got it wrong.
I honestly don’t see any evidence to support a Silver Linings surge.
And I HOPE it doesn’t happens!
Boy, after reading all the comments here and on other threads, the slogan of this website should be “The trick is getting along with other Oscar fans…”. 🙂
Boy, after reading all the comments here and on other threads, the slogan of this website should be “The trick is getting along with other Oscar fans…”.
Right? When you say “the trick is not minding” you’re imagining, I hope, G. Gordon Liddy holding his palm over a flame. The trick is not minding that it’s burning a hole through your hand.