OSCARS 2004
Well, the 76th Annual Academy Awards are a full month
early this year, taking place in America on Sunday 29 February 2004. The
AV's film critic runs through the top categories and gives his opinion
as to who should take away the trophy. The biggest surprise of
our critic this year is his view on the Actor and Actress prizes. We may
need to sack him for going mainstream.
Written 28 February 2004
BEST PICTURE
THE LORD OF THE RINGS: THE RETURN OF THE
KING
LOST IN TRANSLATION
MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
MYSTIC RIVER
SEABISCUIT
It has to be Lord of the Rings, followed by Master and Commander,
Lost in Translation, Mystic River and Seabiscuit (which I did like but
should never have been in this category). The Return of the King stands
on its own as a great film and a modern masterpiece. The finest action
editing for a long time takes place in the middle of this film and the
movie is a great conclusion to the rest of the book. I found this
installment the most deserving of all three to win. If there's one other
movie that I would choose as deserving, it's Master and Commander. The
more I think about this film, the more it amazes me as an achievement.
It was genuinely thrilling throughout, expertly shot and executed,
brilliantly acted and perfectly edited.
DIRECTING
CITY OF GOD - Fernando Meirelles
THE LORD OF THE RINGS: THE RETURN OF THE KING - Peter Jackson
LOST IN TRANSLATION - Sofia Coppola
MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD - Peter Weir
MYSTIC RIVER - Clint Eastwood
This is one of those years where all are worthy, but how can you go past
Peter Jackson, the masterful visionary who brought us the best of the
Lord of the Rings trilogy in his final chapter. All of these directors
have done an amazing job, Fernando Meirelles for turning such a gritty
dark movie into art, Sofia Coppola living up to her father's name with a
sweet film, Peter Weir's technical mastery elevating the spirit and
Clint Eastwood's antidote to his own revenge films and contemporary
America in the age of terrorism.
ACTOR IN A LEADING ROLE
Johnny Depp - PIRATES OF THE CARIBBEAN:
THE CURSE OF THE BLACK PEARL
This movie would have been a complete disaster if not for the acting and
direction. Johnny Depp is principally responsible for elevating this
movie to a massive blockbuster status. The walk, the twitch and the
general campiness of the performance makes you wonder how mainstream
America actually fell over itself to buy tickets, but he just got the
balance right and really, deserves the award for Best Actor.
Ben Kingsley - HOUSE OF SAND AND FOG
Don't get me wrong, Kingsley's performance was excellent, but
even with a great piece of acting, can you overcome a long, slow,
somewhat painful experience of two people fighting over the same land
that's supposed to be a metaphor? Plus at a tragic moment in the script,
Kingsley reverts to OSCAR ACTING, surely passe now.
Jude Law - COLD MOUNTAIN
Jude Law was excellent in this movie, but really, Russell Crowe
should be here for his complete mastery of his role in Master and
Commander.
Bill Murray - LOST IN TRANSLATION
Bill Murray is a sensation. Lost in Translation is his movie with its
brilliant inventiveness mirrored in his paired back acting. If he wins
the oscar, it will be for the most thoughtfully restrained acting mixed
with impeccable comic timing. Bill Murray is probably the favourite for
the indie crowd, but I still think Johnny Depp's performance was the
best of this lot.
Sean Penn - MYSTIC RIVER
Sean Penn is what people would call "scintillating" in this movie - not
because of good looks - but it was that sort of performance, that
demands to be watched just as his character is portrayed. His reaction
to the death of his child is masterful, just as the movie is.
ACTOR IN A SUPPORTING ROLE
Alec Baldwin - THE COOLER
Have not seen this film
Benicio Del Toro - 21 GRAMS
I thought this performance was excellent, but what unique quality is
there here that we haven't seen before - what makes it stand out from
the other hundred and one conflicted characters struggling with their
inner demons?
Djimon Hounsou - IN AMERICA
His screen presence alone is worth the entry price to this amazing and
overlooked movie. Djimon is central in this movie as he plays a role
that could have so easily felt as manipulative and corny as it is. The
Ogre like E.T. character with a twist, the bringing of children into
this depressed and suicidal man's life lifts his spirit and in turn
helps resurrect a family suffering from grief. I reckon Djimon Hounsou
should win the oscar, but he won't!
Tim Robbins - MYSTIC RIVER
Well, all of these characters are really internally conflicted. Del
Toro, Hounsou and now Robbins' character, the abused boy grown up and
going mad. It's a fine, powerful performance. The beauty of Eastwood's
film is that it really is a fine cast where each central performance is
sensational without detracting from the movie. Having said that, Del
Toro and Hounsou's performances are just as good.
Ken Watanabe - THE LAST SAMURAI
Thank God for Ken Watanabe in this movie. A long and overblown movie
made excellent by this great portrayal of courage and honour.
ACTRESS IN A LEADING ROLE
Keisha Castle-Hughes - WHALE RIDER
I'm not saying she should win it because of the down under thing, but
just think of how ordinary this movie would have been without Keisha's
magical portrayal. It's very rare where cynical critic gets goosebumps
from a performance, and this was certainly one of those. Her power and
strength make her the ultimate child star for a feminist era.
Diane Keaton - SOMETHING'S GOTTA GIVE
Diane Keaton is back and turning the tables on the whole 60 year old
man, 20 year old chick thing. But really, Keaton's problem is that
nothing compares to her absolutely amazing turns in Woody Allen films
such as Annie Hall and Murder in Manhattan.
Samantha Morton - IN AMERICA
A well deserved nomination for a great actress. PErhaps no actress can
convey as much with her eyes as Samantha Morton. Having sheared hair and
again a really strong sort of external presence, MOrton achieves a
classic beauty through the delivery of her performance as a grieving
mother trying to get through for her family.
Charlize Theron - MONSTER
Have not seen thanks to stupid Australian distributors.
Naomi Watts - 21 GRAMS
Naomi Watts is sensational in this movie. I just want to know how they
shot this movie but it's the perfect sort of oscar role for her and she
delivers everything - the grief, tantrums, sex - it's all there.
ACTRESS IN A SUPPORTING ROLE
Shohreh Aghdashloo - HOUSE OF SAND AND FOG
Shohreh is very good here bringing in a dignified presence in
juggling duties to her family and to honour.
Patricia Clarkson - PIECES OF APRIL
Have not seen
Marcia Gay Harden - MYSTIC RIVER
This is the least powerful of all the acting in Mystic River, Harden
playing the conflicted wife who does a Judas on her husband. It's not a
forgiving role because the audience ends up hating her in a sense, but
she basically runs around for half the film in hysterics. That's always
a bit of fun. The actress who played Sean Penn's wife should have been
nominated and should have won just for her final scene with Penn in the
bedroom. Outstanding work there.
Holly Hunter - THIRTEEN
Haven't seen.
Renée Zellweger - COLD MOUNTAIN
Many people would say Zellweger was the only interesting thing in
COld Mountain. Given the competition, she'll probably win.
CINEMATOGRAPHY
CITY OF GOD
COLD MOUNTAIN
GIRL WITH A PEARL EARRING
MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
SEABISCUIT
If there is a God, MASTER AND COMMANDER has to win the award. How
could you deny this amazing piece of filming not to succeed in
conditions that would be so technically difficult to achieve. City of
God is also a major achievement being a small budget movie.
FILM EDITING
CITY OF GOD
COLD MOUNTAIN
THE LORD OF THE RINGS: THE RETURN OF THE KING
MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
SEABISCUIT
Can't go past MASTER AND COMMANDER, even though the middle two hours of
Return of the King was perfection.
MUSIC (SCORE)
BIG FISH
COLD MOUNTAIN
FINDING NEMO
HOUSE OF SAND AND FOG
THE LORD OF THE RINGS: THE RETURN OF THE KING
I don't know, this year was very weak for score writing. I'd go Big
Fish, but there's nothing in there that stood out, nothing like John
Williams' brilliant A.I. score.
WRITING (ADAPTED SCREENPLAY)
AMERICAN SPLENDOR
CITY OF GOD
THE LORD OF THE RINGS: THE RETURN OF THE KING
MYSTIC RIVER
SEABISCUIT
American Splendor was excellent and the adapted screenplay would have
been an outstanding achievement, so I think it should go to American
Splendor.
WRITING (ORIGINAL SCREENPLAY)
THE BARBARIAN INVASIONS
DIRTY PRETTY THINGS
FINDING NEMO
IN AMERICA
LOST IN TRANSLATION
This could well go to Lost in Translation. Soffia Coppola's work was
perfect - how else could you explain such a finely timed movie which
fits in like a glove with its characters. ANd then there's IN AMERICA,
the sweet E.T. quoting masterpiece. I haven't seen the first two movies,
so I can't comment on their prospects.
POST OSCARS COMMENTS:
Obviously I was wrong in every acting category. I can say though that after watching Monster - Charlize Theron well and truly deserved the oscar for an amazing performance. The character was so good it was mesmerising. Christine Ricci should definitely have been nominated.