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The Best Picture Winners: Crash (2005)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – the good, the bad and the sometimes not-so deserving.
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For the rest of recorded cinematic history, it may be debated and questioned as to why Paul Haggis’ cartoonish and overblown diatribe on the current state racial hated in America might have been bestowed the Oscar for Best Picture.  There are a thousand theories, but many have pointed to a measure of discomfort among the Academy voters with the favored frontrunner, Brokeback Mountain.  Were voters much more comfortable with an overcooked melodrama about racism than with a love affair between two men?  That’s a question for history.

I’ve seen Crash twice in my life and I can say that I admire what it is trying to do.  It is trying to focus on the multi-faceted portrait of racial paranoia that is still persistent in our culture – much of which is certainly very valid.  But geez!  This movie mangles and mishandles the layers in a way that ends up being retroactive to its purpose.  It’s handling of the white characters is overblown; it’s handle of minorities is degrading (particularly African-Americans) and by the end you don’t feel enlightened, you feel unclean.  Again, while I greatly admire that film’s purpose, I question its execution.  There are better ways to handle this material, and ultimately, this just isn’t it.

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Posted by on 02/10/2018 in Uncategorized

 

The Best Picture Winners: Million Dollar Baby (2004)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – the good, the bad and the sometimes not-so deserving.
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Review

 

The Best Picture Winners: The Lord of the Rings: The Return of the King (2003)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – the good, the bad and the sometimes not-so deserving.
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Review

 

The Best Picture Winners: Chicago (2002)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – the good, the bad and the sometimes not-so deserving.
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It had been 34 years since a big-budgest musical had won the Oscar for Best Picture and in that time only three musicals – Hello Dolly!, Beauty and the Beast and Moulin Rouge – had even been nominated.  In the last third of the 20th century it became clear that the era of the live-action musical was over.  What had once been a mainstay of the American cinematic landscape had now been almost exclusively relegated to animated features.

Chicago would, in a small way, help to pull the musical out of the doldrums.  Based on the 1975 Broadway production by Bob Fosse, John Kander and Fred Ebb that proved to be ahead of its time (and loosely based on fact) it told the story of Roxie Hart and Velma Kelly, two murderesses in the 1920s whose crimes become the fulcrum form shameless media celebrity.

At the time, audiences didn’t respond positively to the she’s cynical tone.  Fosse tried to recoup its losses by turning Chicago into his follow-up to the film version of Cabaret, but died before he could bring it to the screen.  The media-hungry age of the 1990s however would prove to be the perfect bit of musical cynicism as the show was revived and became the longest running revival in history.

The masterstroke of Rob Marshall’s 2002 film version is that it keeps Fosse’s choreography and replaces the episodic vaudeville style pieces by turning them into fantasies inside Roxy’s head so that the doldrums of her hum-drum reality are more easily juxtaposed with the fantasy going on inside her mind.  It was also a brilliant idea to give the project to Marshall, who was a veteran of the stage.

His genius comes in the fantasies as he stages the musical numbers without having them feel stagey – he makes them remarkably cinematic.  Take, for example, the great set piece “Cell Block Tango” – in which a group of female inmates sing about their dastardly crimes – it could have felt episodic but Marshall meshes it so well into the film that it feels organic.  Same goes for the brilliant “Razzle Dazzle” in which Roxy’s lawyer Billy Flynn (played by a miscast Richard Gere) sings about manipulating the media by turning them into puppets.

Outside of any critical misgivings (and I do have them), I couldn’t deny that I found the movie a lot of fun.  The music was infectious despite a story that wallows in the cynical muck.  But, as with any musical, if the tunes are working you don’t mind so much.

What would follow the success of Chicago would be a brief revival of the movie musical.  In the years that followed would come film adaptations of Rent, Into the Woods, Phantom of the Opera, Les Miserables and Mamma Mia.  It is hard to say that the movie musical has returned in full form because we still haven’t reached the age of original musicals, but there is still hope, and apparently still and audiences hungry to see them.

 

The Best Picture Winners: A Beautiful Mind (2001)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – the good, the bad and the sometimes not-so deserving.
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Review

 

The Best Picture Winners: Gladiator (2000)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – some good and others that are . . . well, like Gladiator.


The new millennium did not open with a great year for movies.  Oh, there were some gems like Almost Famous, Traffic, Best in Show and Memento, but the Academy voters overlooked all of them in order to reward one of the dumbest and most ill-conceived movies ever to be bestowed the Oscar for Best Picture.

What’s wrong with Gladiator?  You name it.  The story is inane.  The performances are laughable.  The production design looks like cut-scenes from a bad video game (I’ve never seen an uglier sky).  The Oscar winning visual effects look like they aren’t even finished.  The movie has an unhappy tone that makes Schindler’s List seem jolly by comparison.  Every character  seems to wallow in misery and/or vengeful hatred which wouldn’t be a problem if they weren’t as dull as a bag of hammers.  And on the level of Roman history this movie falls on its face; if a high school student turned this screenplay into an essay for history class they’d end up in detention.

The movie’s defenders claimed that it was a throwback to the forgettable sword and sandal epics of the 1950s like Ben-Hur and Spartacus, but I believe that had it been made at that time it would have been forgotten today and laughed into the dustbins of history by critics and filmgoers alike. Gladiator lacks any real passion or joy.  I realize that the film made $187 million at the box office and it has a legion of fans but I am not the film’s only detractor. I recently read the comment index for the film at the Internet Movie Database and I find that I am not alone.  I’d prefer to spend my evening watching Almost Famous, a nostalgic drama with heart, pathos and a lot of a great music.  Gladiator can go salire in lacum.

 

 

The Best Picture Winners: American Beauty (1999)

Oscar’s 90th birthday is just around the corner and to celebrate, every other day from now through March 4th, I will be taking a look at each and every film selected for his top award – the good, the bad and the sometimes not-so deserving.
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Reviews