Month: April 2021

“It’s not enough to succeed — one’s friends must fail.” — Somerset Maugham.

By the same token it’s vaguely or mildly satisfying to correctly predict Oscar winners, yes, but the real joy (or my real joy) comes from knowing that certain Oscar prognosticators or advocates got it wrong.

Like when Green Book won the Best Picture Oscar — a nice, emotionally poignant film about a parent-child relationship on the road had triumphed, fine, but the joy was in knowing that the Green Book haters (including Ingkoo Kang and Guy Lodge and the Indiewire wokesters) had been told by an Academy plurality to go fuck themselves.

The only Oscar moment that will deliver any kind of real suspense tonight is the Best Actress face-off between Viola Davis and Carey Mulligan.**

The bottom line is commonly understand all around: this is not a good year to be a white Oscar nominee, and so Viola, whose performance in Ma Rainey was, is and always will be a chore to sit through, probably has it in the bag. Unless Frances McDormand takes it, and that, no offense, will be a totally deflating “oh, God” moment if there ever was one.

But I’m hoping and praying for a Mulligan upset, not just because she and Emerald Fennell caught some kind of bottled lightning with the chilly but hardcore Promising Young Woman, and not just because I’ve been a Mulligan fan since I first saw her in An Education in January ’09, but also because — it almost makes me giddy to think about this — Variety‘s Clayton Davis has totally written Mulligan off.

So if Mulligan wins, great. But the real ecstasy will come from imagining the look on Clayton Davis’s face when and if Mulligan’s name is announced. I know it probably won’t happen, but a little voice in my chest is going “please please please please please.”

** Yes, I 100% concur that Andra Day gave the richest, most-lived-in lead-actress performance but it’s not in the cards for her, largely because The United States vs, Billie Holiday is no one’s idea of a good film.

Approximately 25% of “Crushed Dream Factory,” a 4.24 N.Y. Times column by Maureen Dowd:

“People are talking about the Oscars this year.

“Namely, how they won’t be watching. A lot of people don’t even realize the show, once an edge-of-your-seat American institution, is Sunday.

“Movie stars don’t exist anymore. Movies have been swallowed by TV and streaming. The theaters are on life support; even the ArcLight on Sunset Boulevard, one of the most beloved movie palaces in a town full of cinephiles, could not be saved.

“Norma Desmond’s everlasting declaration — ‘It’s the pictures that got small!’ — has never seemed more true.

“Sex, glamour, excitement and mystery are relics of a bygone era. Hollywood is now focused on worthy, relevant, socially conscious and lugubrious” — i.e., woke stuff.

“As a Hollywood writer friend of mine said after she watched Nomadland: ‘That was not entertainment. That was Frances McDormand having explosive diarrhea in a plastic bucket on a van.'”

I have to be honest: I didn’t love Thomas Vinterberg‘s Another Round.

I actually found it a tad boring. All those 40ish Danish guys sitting around getting gently bombed by candlelight. Yes, life can feel looser and “happier” and goofier when you’re drinking over dinner and in the evenings. I did that for decades, and I know all about rollicking good times followed by morning hangovers. But from a cinematic perspective I was quickly fed up by all those shots of guys raising their glasses, raising their glasses, etc. There’s more to life than sipping fucking alcohol all the time.

And the story….what was that? Better to be a jovial drinker like Roosevelt and Churchill, says Mads Mikkelsen‘s “Martin”, than a non-drinking mass murderer like Adolf Hitler. So he decides that living a life half-buzzed or seriously buzzed is a very pleasurable way to go. Until he descends into sloppy, bleary-eyed alcoholism, etc. Speaking as a nine-years-sober person, I just couldn’t sink into it.

Variety‘s Owen Gleiberman is another naysayer.

I’ve yet to sit down and settle in with Barry Jenkins‘ Underground Railroad, a ten-part limited series that will debut on 5.14. 12 Years A Slave, Antebellum, Harriet…is it fair to call 19th Century escape-from-slavery films a genre? It’s certainly fair to say that Jenkins is primarily respected as a visualist.

Posted yesterday (4.23) by VulcanReporter: Warner Bros. plans to gradually shut down its physical media production department. [An assortment of] Warner Bros-produced films and TV series will still receive Bluray and DVD releases, although they won’t be produced by WB itself.

The Warner Archive Collection brand, which focuses on classic titles, is heretofore on a death watch.

Any way you slice it physical media is getting the heave-ho in favor of HBO Max.

For their failure to publicly trash producer Scott Rudin and wash their hands of him a la Michael Chabon, N.Y. Times reporters Michael Paulson and Cara Buckley have outed several name-brand creators and performers who’ve worked with the notorious producer.

They are Denzel Washington, Laurie Metcalf and Jennifer Lawrence; directors Wes Anderson, the Coen brothers, Noah Baumbach, Greta Gerwig and Alex Garland; writers Aaron Sorkin and Lucas Hnath; and producer Amy Pascal.

The implication (and please correct me if I’m reading this wrong) is that the Times disapproves of their silence. (The boldfaced subhead reads “In an era of outspokenness, many artists remain silent.”) Another interpretation is that these artists believe that despite their presumed disapproval of Rudin’s behavior with subordinates, they feel it’s bad form to stick the knife in or otherwise dismiss a creatively respected collaborator.

They’re all probably on the same page as billionaire Broadway financiers Barry Diller and David Geffen, both of whom spoke to the Times.

Diller: “I don’t condone, nor am I an apologist for, actions relating to his work in his personal office, [although] separate and special consideration” should be given “to his work outside of that office.”

Geffen: Rudin has “a psychological problem that he needs to deal with if he’s going to work in the future. If his behavior doesn’t change [then working with him in the future] would be an easy no, [although] I don’t think a death sentence is called for if he gets the help he needs and his behavior changes.”

Maher: “A funny thing happened on the way to the old-age home. Biden slayed the Orange Dragon, and is now spearheading the most transformative administration since FDR. With an approval rating of 59%. Biden upped his game. He got better at age 78. What a mind-blowing concept [to] the younger generation for whom writing someone off because of their age is the last acceptable prejudice. They hate every -ism except ageism. It’s completely forbidden to tell any joke about race, gender, religion, weight…but age? Have at it.”

“What a steaming cauldron of New Jersey-ness…a stew of delusion, bad taste, poor behavior, deception, pretentiousness, hunger, greed, longing, love, desire, hoped-for identity, community…what a ’70s thrash-around!” — from a piece I wrote within the last decade.