As I bought tickets for the Chicago International Film Festival today, I found myself prioritizing films based on their buzz, neglecting smaller pictures that may sound good but won’t be in the awards conversation for the year. It comes to a point where you have to embrace the hysteria around Oscar prognostication and take part in the conversation to the fullest extent possible.
Fortunately for me, the Oscar conversation seems to be taking place outside of the festival realm. It gives me greater reign to actually look at films with little to no shot of entering the conversation due to lack of distribution or obscurity. But for films that have been garnering traction over the past few months at Toronto, Telluride, Cannes, and Venice, there’s a sense that it’s simply not enough. Whereas films like The King’s Speech or Slumdog Millionaire had an irresistible-force aura to their festival runs, no film really stands out over the festival circuit to lay claim to the prior two films’ crown. The Ides of March debuted at the Venice Film Festival and had its fair share of acclaim, but hardly the sort of fanatic diehard reception that a Best Picture nominee typically receives, let alone a potential winner. Steven McQueen’s Shame seems to be an actor’s showcase for Michael Fassbender and Carey Mulligan, but its appeal as a Best Picture contender is strictly contained to the art-house crowd. Madonna’s W.E. was a bust. Roman Polanski’s Carnage has failed to impress.
What were left from the festival rubble are Alexander Payne’s The Descendants, Tomas Alfredson’s Tinker, Tailor, Soldier, Spy, and Michel Hazanaviccius’ The Artist. The three films are anchored by strong leading male performances, and while they are at this point, likely nominees, neither is on solid footing.
The Artist debuted at the Cannes Film Festival and has garnered universal praise. The film will undoubtedly garner enough passion votes to secure a nomination come the big day, but I sense a backlash forming. This is largely in part due to where it stands in the minds of the voters – as new films enter the conversation by the week (Moneyball this week, 50/50 next, etc) there seems to be a decline in the film’s staying power with audiences. The fact that it did not win the Audience Award at Toronto (an award that was bestowed on Best Picture nominees and winners like The King’s Speech, Precious, and Slumdog Millionaire) does not bode well for The Artist’s standing. And given that the film may come across as gimmicky for its own sake, its positioning is nowhere near as secure as one is led to believe. But then again, The Weinsteins are behind the film, so I’m probably just imagining it all.
The Descendants fits a specific pedigree of indie filmmaking that tend to get nominated once a year (Little Miss Sunshine, Juno, The Kids are All Right), but it has already been acknowledged as a lesser effort from those who saw it at Telluride. It’s still riding a wave, but I have reserved expectations on its potential once it gets a wider release. Its comedic roots aren’t going to do it any favors, nor will the fact that Payne has already been recognized (albeit, in the Adapted Screenplay category). There is typically a time when individuals get recognized for their efforts – this was the case with Jeff Bridges in Crazy Heart, Sandra Bullock in The Blind Side, the Coens for No Country for Old Men – it’s not meant to dismiss the accomplishments of the individual performance or direction, but rather it serves as a lifetime achievement award. Simply put, Alexander Payne’s time doesn’t seem to be just now.
Tinker, Tailor, Soldier, Spy has the benefit of a British contingent to bolster its chances and has a good awards-story in Gary Oldman getting a role that will finally get him recognized with a nomination. It, for all intensive purposes, achieves a particular role of what to expect in a “Best Picture” nominee, and from there, I’d say it’s in better position than The Descendants The buzz for the film seems to have run stagnant for the past few weeks since its debut at Venice, which I take as a positive – I doubt Focus Features would to bust their load from the onset. Instead, there seems to be a conscious effort to keep Tinker, Tailor, Soldier, Spy in a quiet buzz period, before releasing it to a wider audience come December.
The Festival Darlings
- “The Artist”
- “The Descendants”
- “Tinker, Tailor, Soldier Spy”
Alt: “The Ides of March”
Then we have the summer crop. The summer gave us some concrete possibilities of other nominees with Tate Taylor’s The Help, Woody Allen’s Midnight in Paris, and Terrence Malick’s The Tree of Life leading the charge. I’d wager all three movies have the potential to make it to the end of the race, as they all tend to rouse a sort of passion vote that is a requirement in meeting the 5% (of first-place votes) needed for a nomination in the category. This works particularly well for The Tree of Life, as its polarizing status won’t necessarily do it any harm come the end of the race – there are those who love it and hate it, and only those who love it will be acknowledged come nomination time. Amongst outside contenders, the only one that bares any possibility seems to be the final addition to the Harry Potter franchise – given its critical acclaim, there’s a sense that the film could sneak in for a nomination. I think not – unlike The Lord of the Rings franchise, none of the previous Potter incarnations have garnered above-the-line awards recognition. I sincerely doubt that will change.
- “The Help”
- “Midnight in Paris”
- “The Tree of Life”
Alt: “Harry Potter and the Deathly Hallows Part 2”
So we have six. This leaves us with the possibility of yet another four. Here’s where things get particularly tricky as we explore a great deal of unknowns. The general consensus has placed Steven Spielberg’s War Horse as the one to beat, and quite honestly, it’s not hard to see why. It’s a period piece, set against the backdrop of a war, with Spielberg at its helm. I talked about it being someone’s time earlier in this piece, and if anything, this season seems to be geared toward rewarding Spielberg yet again – his time seems to be here yet again.
Remaining amongst the unknowns include Clint Eastwood’s J. Edgar. I’m hesitant to lobby for Eastwood’s place in the Academy’s circle, particularly given that he has been largely shut out of the larger awards for the past few years with Invictus, Changling, and Gran Torino. But then again, so has Woody Allen, and Midnight in Paris was a return to form, so it’s hard to make such blanket statements with no word on the actual quality of the film.
Jason Reitman’s Young Adult is bypassing the festival circuit entirely, leaving one to question where the film stands at all. It’s written by Diablo Cody, which begs more questions than answers. Reitman’s previous two films have garnered directorial and Best Picture nominations, which lends itself to the same logic that has people believing that Stephen Daldry’s Extremely Loud and Incredibly Close is a lock for a nomination. My take: neither film will make much of an impact come nomination time, but if there’s one that might, I’d go with Reitman’s film.
A big question mark that remains in the Oscar season and one that I sense could truly make a play that pundits are ignoring, is Martin Scorsese’s Hugo. The trailer displays incredible detail in the craft department, though there certainly seems to be a nostalgic essence to the film that could resonate with voters. Again, like with War Horse, J. Edgar, Young Adult, and Extremely Loud and Incredibly Close, we’re in a wait and see mode with these films, but the possibility definitely seems there.
- “War Horse”
- “J. Edgar”
- “Young Adult”
- “Extremely Loud and Incredibly Close”
And that concludes my first column of what I hope will be a weekly column that looks at the Oscar race. In the meantime, the site will be going through periodic updates as I attempt to create a more interactive and in-depth Academy Award interface. The focus of the site will still remain on my reviewing of the films I see (with a new post coming soon) but hopefully I’ll be able to supplement that with my own obsessive thoughts on the Oscar race.