Oscars 2023: Grab Your Popcorn
Things have got so hectic (as the young people say) they’ve actually taken the step of setting up a crisis team this year.
Why wouldn’t you tune in, just to see this year’s snafu?
Best Picture
All Quiet on the Western FrontAvatar: The Way of Water
The Banshees of Inisherin
Elvis
Everything Everywhere All at Once
The Fabelmans
Tár
Top Gun: Maverick
Triangle of Sadness
Women
Talking
The Fabelmans started as the favourite – it’s Steven Spielberg writing and directing a semi-autobiographical film about his family and upbringing; it’s got a top cast and it is about movies. And it is very good. But then this independent film from the middle of last year Everything, Everywhere All at Once was a surprise hit and audiences haven't forgotten. It has tears, laughter, family drama, alternate realities, martial arts, sausage fingers and some Eastern philosophy thrown in for good measure. It’s simultaneously arty and weird and an audience favourite. In comparison, The Fabelmans, as expertly made as it is, seems a bit stodgy in comparison.
Another film that has come into contention is Germany’s All Quiet on the Western Front. It will get Best International Film for sure. It is a superb anti-war film. It doesn’t focus on who won or lost, just that in war young men are maimed and killed, and are asked to do atrocious things, while those who make the decisions to send them into battle are a safe distance away from the grimy and bloody reality and consequences of their decision to send others into battle. But people keep making anti-war films and wars keep happening. I guess warmongers aren't big moviegoers.
The Banshees of Inisherin got a bit of momentum up as well but
has been overtaken by EEAAO. I’m kind of agnostic about Martin McDonagh’s
films. They are kind of enjoyable, there's some laughs but it gets a bit too dark and sometimes his plots have lapses of logic. I still enjoyed it, even if I had questions,
like “but does that…?” and “wouldn’t he get tetanus or sepsis...?” and “who
hurt your Martin?”. Then I realised if you view it as a
folkloric tale of an old feud, where so much retelling has seen it embellished to the point that the real origins of the dispute have become hazy (as usually happens with
feuds), then it all makes complete sense. What is true is that conflict
diminishes people. And every character experiences rejection in the course of
the film so it speaks to that very human experience as well.
Of the other films - isn’t it weird how Avatar comes into cinemas with loads of fanfare, makes heaps of money and then no one ever talks about them again? I’m not the first person to make this observation. It will get some technical awards definitely.
Top Gun: Maverick got people to leave their houses and go to the movies thereby pretty much saving the film industry. This nomination is a big thank you to the producers (including Tom Cruise). From what I heard it gave audiences a great time at the cinema. It is a contender for Best Sound.
I heard great things about Triangle of Sadness but I was kind of underwhelmed by it, which is surprising given its subject matter. It’s quite nihilistic and not original: rich people are awful, the fashion industry is shallow and the working classes are just as grasping given the opportunity. Sort of Lord of the Flies meets Animal Farm. Yikes!
Even though it is an American story, Elvis is an Australian movie, filmed on the Goldy. I know Baz Luhrmann’s style is divisive but I enjoyed it. It tried (and mainly succeeded) to find a new way to do a musician’s biopic (rather than a filmed Wikipedia page). Catherine Martin will again figure in the production design and costume design winners. Baz wasn’t nominated for Best Director – more about that later.
Tar is a good movie trapped in an awful, pretentious, didactic load of bollocks. There’s a good, taught thriller in there somewhere but really it just seemed to be a vehicle for writer/director/ producer Todd Field (the director) to show that he knows a lot about classical music and give his opinions on “cancel culture” (he has reservations). It just went on and on. And on…
Unfortunately, I didn’t get around to seeing Women Talking but I'll put money on it being better than Tar.
Best Actor
Austin Butler, Elvis
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Paul Mescal, Aftersun
Bill Nighy, Living
The early money was on Brendan Fraser for The Whale but there has been some backlash about the film maker using obesity as a plot device. That aside though, it is a deeply moving performance and he could still take it home. It is a tearjerker – a lot of sniffling going on in the cinema I was in. (And it isn't about obesity, but a father making sure his daughter is okay before he dies. It also takes aim at evangelical Christian religions and the damage they do with their anti-gay views).
When I saw Elvis, I thought Austin Butler would nab at least an Oscar nom. It is a terrific and committed performance and he makes you empathise with Elvis, which is difficult to do for such a famous person we all think we know. Lisa Marie Presley’s untimely death would have focused attention on him, and I think he’s going to get it.
Ireland has done well this year with Colin Farrell and Paul Mescal nominated. Farrell (often described as a character actor trapped inside a leading man's body) gives one of his most affecting performances as good-natured but dull Padraig in Banshees. Probably
no Oscar for him this year but if there’s a surprise, it will be him. I think he's just getting to his award-winning era. Mescal is in the fortunate position of being able to go to the Oscars, have a ball at the parties, get loads of free stuff and not worry about having to give a speech. No shade at his acting in Aftersun but others seem to be getting all the attention.
BUT wouldn’t it be great if those three split the vote and Bill Nighy came up through the centre, Steven Bradbury style? Not only does he give a brilliant, poignant performance in Living but also, he should have got Best Supporting Actor for Love, Actually (the Oscars doesn’t often recognise comedy but that’s another OP).
Best Supporting Actor
Brendan Gleeson, The Banshees of Inisherin
Brian Tyree Henry, Causeway
Judd Hirsch, The Fabelmans
Barry Keoghan, The Banshees of Inisherin
Ke Huy Quan, Everything Everywhere All at Once
In a year where the acting categories are hard to call for the first time in years, Ke Huy Quan is the only sure thing at this year’s Oscars. He plays multiple versions of his character Waymond and he was excellent. If you've missed it, he's a former child actor (Indiana Jones and the Temple of Doom) who more or less gave up acting due to a lack of roles for Asian actors. So it is one hell of a comeback for him.
Brendan Gleeson, as the depressed Colm, should really be in the leading category (I’m not sure who decides these things) and Judd Hirsch was like a lightning bolt in The Fabelmans but his character, as Sammy's great uncle, was more of a cameo appearance. Barry Keoghan as the not-so-simple-minded Dominic breaks your heart in that last scene (I think this is the first of many nominations for him - he's someone to watch). If it isn’t Quan, it will be Keoghan. Haven’t seen Brian Tyree Henry or even heard of the film so that he got people’s attention in a little-seen movie is a sign of a memorable performance.
Best Actress
Cate Blanchett, Tár
Ana de Armas, Blonde
Andrea Riseborough, To Leslie
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once
There was this late push by some of her famous mates for British actress Andrea Riseborough to be nominated for a small indy film called To Leslie. Riseborough is a real actors’ actor and you’ve probably seen her in things but she truly changes from one role to the next so you wouldn't recognise her. Who knows how her inclusion will affect the voting. There was also talk that it edged out a couple of African American actresses, Viola Davis (Woman King) and Danielle Deadwyler (Till). But honestly, that accusation could be directed at Michelle Williams or Ana de Armas as well. Williams is excellent as she always is as Steven Spielberg’s highly strung and slightly eccentric mum, Mitzy but a) didn’t wow me and b) should possibly be in the supporting category? And Ana de Armas’ performance as Marilyn Monroe in Blonde was the sole redeeming feature of that nasty, misogynistic film.
Best Supporting Actress
Angela Bassett, Black Panther: Wakanda Forever
Hong Chau, The Whale
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Stephanie Hsu, Everything Everywhere All at Once
I haven’t seen Black Panther: Wakanda Forever because it is 2 hours and 43 minutes long and I have things to do. However, Angela Bassett is generally terrific and is considered overdue for recognition.
If not, Jamie Lee Curtis, who really went deep into character acting (I’d like to know who decided on the wrist supports: as someone who works in offices, I say with authority it’s funny because it’s true) as Diedre, the Tax Auditor in EEAAO, could be the surprise winner. And she is Hollywood royalty.
Stephanie Hsu, also in EEAAO, plays the dual characters of Joy and Jobu Tupaki and as I was watching it, thought she should get some sort of recognition.
Hong Chau in The Whale gave a bloody brilliant
performance as Charlie’s nurse. She was so believable it was like the producers
dropped by the local hospital and asked if any of the nurses wanted to be in a
movie. If it was up to me (and it isn’t, which is a shame), I would give it to
her.
Kerry Condon’s character, Siobhan, is the smartest person on the island in The Banshees of Inisherin and provides the voice of reason. She was the surprise winner of the BAFTA, so anything could happen.
Best Director
The Banshees of Inisherin - Martin McDonagh
Everything Everywhere All at Once - Daniel Kwan and Daniel Scheinert
The Fabelmans - Steven Spielberg
Tár - Todd Field
Triangle of Sadness - Ruben Östlund
Now they've given Best Director to two women for two years running, they probably figure they've done their bit and can go back to being a boys' club.
You may have guessed that I really didn’t like Tar so Todd Field getting a nod makes me cross, especially when Baz Luhrmann didn’t get a nod. It isn’t the first time an Aussie director has been “forgotten”.
Years ago Driving Miss Daisy got heaps of nominations and won best film, but Bruce Beresford, the director wasn’t nominated for Best Director, leading Billy Crystal to quip that it was a film that apparently directed itself. So history has repeated with Baz Luhrmann missing out for Elvis, despite 8 nominations for the film overall. Australian directors have only been nominated 8 times (and four of those were for Peter Weir - he got an honorary Oscar earlier this year). None have won. Even though she trained here and lived here for a while, Jane Campion is a Kiwi so we can’t count her, and we won’t include Mel Gibson because he’s a dickhead. So what have you got against Australian directors, Academy of Motion Picture Arts and Sciences???
Anyway, the EEAAO juggernaut will include Best Director, with its two directors, Daniel Kwan and Daniel Scheinert getting the gong. And I have no problem with that.
Martin McDonagh is more likely to get the Best Original Screenplay than best director. The directing was fine but nothing outstanding. Same sort of goes for Ruben Ostland, except for the food-poisoning scene which was actually well done (but icky). As I said about The Fabelmans, it is expertly made but a bit meh. Towards the end when young Steven is just starting out in his career it got a bit more captivating so Steven Spielberg, have you considered a movie about your early years directing TV in the late 60s?
Here are a few other factoids to pique your interest: Australia’s Mandy Baker is in the running to become the first woman ever to win Best Cinematography (kind of a category Australia excels in, like the 1500 metres at the Olympics) for Elvis. Novelist Kazuo Ishiguro could become only the second person to win both an Oscar and a Nobel Prize (the first was George Bernard Shaw, who won for his screenplay for Pygmalion, back in the day). He’s nominated for his adapted screenplay for Living. And Todd Field could learn a thing or two about paring things back from him.
* I will die on this hill and will never not be annoyed it wasn’t acknowledged in any way.
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