The hopeful eight

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It was with some satisfaction that I belatedly watched Mad Max: Fury Road on DVD, thus putting myself in the position of being able to say I have seen all eight of the pale-faced Best Picture nominees at the 88th Academy Awards. I can thus now fruitlessly compare them. They seem like as accurate a barometer of this year’s crop (and thus last year’s movies), so I am about to do just that, although what I think should win is entirely theoretical, as I am not one of the 6,300 or so members of the Academy of Motion Picture Arts and Sciences and thus hold zero sway in this regard.

What I think will win is also fluff. What do I know? I have feelings in my bones, and I am a seasoned Oscars watcher of many decades, so have some predictive form, but I don’t want to know what’s going to win. I’m glad about that. It would be boring. I like surprises. I actively want to be wrong. Despite being statistically made up of mostly old, white American men, the Academy is still capable of delivering a bookmaker-upsetting surprise; even causing a relative upset. I enjoy the start-of-year awards season and the resulting quality bottleneck, as I am usually entertained and exercised by its vagaries and waves. I relish the controversies the Oscars throw up. This year: lack of diversity. Meet the new controversy, same as the old controversy.

I don’t blame the august Oscar voters for Hollywood’s lack of diversity. Hollywood is to blame, with its deep-seated patriarchy and its demographic timidity, not to mention its unbreakable Plexiglass ceiling for women and the equivalent of “voter ID” for black actors, creatives and technicians. All of this bleeds into the reductive treatment of all Hispanics (sexy, smouldering, hot-tempered, etc. – it may be positive discrimination of a type, but it’s not so far round the dial from Trump’s rapists), although at least one of the Hopeful Eight was directed by a Mexican.

It’s the entertainment industry’s fault, not the mainly white, mainly male, mainly over-50 demographic of a club of movie professionals, which, by dint of inducting anyone who wins an Oscar and then has the ability to not die, means the Academy is full of people who aren’t black or Hispanic, and a vicious circle is hard to extract yourself from. The problem isn’t with the Oscars, or who wins them, but with American cinema itself, where people tend not to be of colour, or women, and especially not women of colour, like Jada Pinkett Smith, who is among those who’ve threatened to boycott the colourless Oscars ceremony. If I were a black actress, I’d kick up a right stink and then make damn sure I attended. Being invisible is playing into the racists’ hands.

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You keep hearing the truism that male Academy members “give the films to their wives to watch,” which may or may not explain the popularity of certain movies. I hesitate to make sweeping generalisations about what women or men want. Romantic comedies may be machine-tooled to appease women, but men also like them, and women also hate them. Equally, noisy action movies: aimed at teenage boys or men who wish they were still teenage boys, but not necessarily only appreciated by the intended gender or age group. The high nomination tally of Mad Max: Fury Road – which, by the way, is a “male” film by type (action, noise, explosions, petrol) but, interestingly, dominated as much by female characters as the eponymous male one – is a tonic. That it’s only really picking up “technical” awards (so named as if acting, writing and directing aren’t technical) – four wins out of seven at the Baftas for costumes, make-up, editing and production design – should not concern us. It’s doing well and it’s an action movie.

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Max is one of three Best Picture Oscar nominees whose poster is dominated by a woman’s face; also, Room and Brooklyn, both based on novels, one written by a woman, the other a man, one Irish-Canadian, the other Irish, which is a cheering ethnic skew. I first saw Brooklyn trailed at a tiny cinema in Bantry, County Cork, and felt the Irish love (I dislike being English and wish I was Irish). Though an Irish/UK/Canadian production by funding that’s set in Brooklyn and partly shot in Montreal, its Irish authenticity is deep, with the scenes set in novelist Colm Tóibín’s Enniscorthy also shot there, and only two of the principal Irish parts played by non-Irish actors (the bankable Julie Walters and Jim Broadbent). Since it’s about homesickness within the Irish diaspora in America, it could prick a few glands among the immigrant Academy members, but it’s not going to win.

Nor is Bridge Of Spies. I have no ill feelings towards it, but it’s a bit stolid and unsurprising. Cold War. Tom Hanks. Mark Rylance (not in it enough). Snow. Germans. Spies. It’s well enough made, but if it didn’t exist, you wouldn’t have to invent it. (Its score by Thomas Newman is actually something of a beaut, but it’s not the equal of Carter Burwell’s gorgeous score for Carol, which, by the way, despite being a good fit for the wives of the lazy male Academy members, looks to be this season’s big loser. I don’t really get why.)

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I admire Room; its stars, its writer (Emma Donoghue, adapting her own novel with precision), its director, another Irishman, Lenny Abrahamson. It will I think win Best Actress for Brie Larson, but it doesn’t feel like a Best Picture. Too gloomy. Too grubby. Too creepy. All the things I love about it. The Big Short, too, is a poor fit for traditional Best Picture thinking; I thoroughly enjoyed its manic energy, but I fear the financial crash and subprime mortgages will not sing in the minds of the panel. (“Aren’t we, like, in some kind of recovery?”)

If Best Picture is between any two films, it’s The Revenant (which I have raved about here) and Spotlight. I don’t think Ridley Scott’s The Martian is going to find much traction at the Oscars. I got it into it, but found it tonally disconcerting. Was it a drama? Was it a comedy? (It was canny of Fox to put it forward for the “Musical or Comedy” categories at the Golden Globes, where it picked up Best Film, thus unrealistically raising its producers’ expectations.) I wondered aloud if Matt Damon might pip Leonardo DiCaprio for Best Actor at the Baftas; that his have-a-go solo performance might sway our less macho voters. But no. There’s no beating Leo’s suffering; he’s a vegan who ate raw liver and raw fish for his art – give that man a statuette and the rest of the week off.

The Revenant is unassailable. There’s an outside chance – the “Crash wild card anomaly” (see: the year Crash beat Brokeback Mountain) – that Spotlight will beat The Revenant to Best Picture and break the Oscar algorithm. Tom McCarthy’s never going to win the Director category, as Spotlight is intelligent enough not to let the direction show (part of its consummate mastery), whereas The Revenant is something like a two and a half hour Oscar begging reel. Look! Natural light! It must have taken ages!

Spotlight

I still harbour a tiny hope that Spotlight, having won Best Supporting Actor for Mark Ruffalo, might win Best Picture. It has all the hallmarks of one of those: true story, set in the past, talky, righteous, no sex, no violence (other than the violence wrought on children by priests, which we do not directly see), and an “issue” that bypasses partisan politics and shows that you have a heart. There are no shades of how much you revile paedophiles.

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As stated, I want to be surprised on Oscar night. I sort of was at the Baftas when Rylance won for Bridge Of Spies, although I suspect patriotism played its hand. (A resource in short supply when neither Tom Courtenay nor Charlotte Rampling found their way onto the Actor and Actress lists for 45 Years.) Hey, this time next year, the voting system may have been overhauled to address the existence of the past 50 years in civil rights, with Academy members who haven’t worked for the past ten years becoming ineligible to automatically vote. We already have gender-divided categories. What about categories graded for “colour”? It would make the Oscars as long and interminable as the Grammys, but perhaps it’s the kind of affirmative action the awards season needs.

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I hate you, butler

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I feel I ought to do the Oscar movies. I haven’t seen all of the big hitters yet, but I’m well on the way; pretty much, one Llewyn Davis short of a full house. First up: Northup. Steve McQueen’s third film, 12 Years A Slave, seemed poised to sweep all boards this season, having picked up a number of accolades at various prizegivings decided by circles, guilds and associations (for instance, from where I’m sitting, it seems to have beaten every other film to every award at the Florida Film Critics Circle in December, and you can replace “Florida” with “Iowa” or “Las Vegas” and get the same comprehensive result). And then the Golden Globes were distributed two weeks ago and 12 Years squeaked only one award out of seven nominations. True, it was for best motion picture (drama) and meant that McQueen and crew got to fill the stage as the TV credits rolled, but I can’t have been alone in expecting a clean sweep.

Having seen 12 Years just days before, I have to say I was glad that the Globes were so evenly distributed among the big players: American Hustle, Dallas Buyers Club, Wolf Of Wall Street, Blue Jasmine, Gravity, Her, Mandela and even the criminally overlooked All Is Lost, which picked up best score. In any year, I cross my fingers for a mixed bag of winners. I don’t like it when one film wins everything, whatever that film may be. I like surprises. I like upsets. I dislike sure things.

There’s no doubting the quality and ambition of 12 Years, but if it wins everything at the Oscars (and the Golden Globes at least hint that this might not be the case), my fear would be that it’s not the film but the abolition of slavery that’s being voted for.

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As you may know or remember, Hunger, McQueen’s debut, was my film of the year in 2008. I found much to applaud in his follow-up, Shame. And I take my hat off to him for moving so much further into conventional narrative cinema for 12 Years. As a black, London-born Briton of Grenadian blood who grew up at a time of great racial tension in the 70s and 80s, it’s not hard to see why it’s a personal film for him, even though it is a story about southern American slavery in the 1840s and 50s. And, like his previous work, it’s beautifully, artistically framed and confidently and movingly staged. It is a work of great power and adds another fine performance to Chiwetel Ejiofor’s CV. We hold these truths to be self-evident. And yet … it has unequivocal moral certainty on its side, and as such seems a slam-dunk with a modern, liberal audience, especially a white, liberal audience, and especially a white American liberal audience. I’m not saying it was an easy option – its depictions of unbearable, sadistic cruelty of an institutional, almost industrial kind are not for eating your dinner off a plate in front of a TV to – but it’s difficult to imagine anyone coming away from the experience wishing it had been less fair on the white plantation owners. Like the white apartheid South Africans in Mandela – another film whose morality comes in black and white – it wouldn’t be out of place to boo the screen at them.

I was fortunate enough to grow up with Roots on TV in the 70s. Regardless of the veracity of Alex Haley’s tale, its compelling narrative which took us from Africa to America, told a major historical truth. I was 12; I learned a lot. This is not to say I don’t need another fictionalised drama to tell me the same thing. But 12 Years A Slave tells the story of an educated, cultured freeman who is kidnapped and sold as a slave, which I felt we were supposed to be more indignant about than an African snatched from his homeland and shipped over. It veered towards those films set in Africa which always have a white protagonist so that, subliminally, white audiences will have someone to root for. Was Solomon Northup’s ordeal worse than the other slaves’ because he could play the violin, had visited Canada and used to wear a nice suit? The fact that the title reassured us throughout that after 12 years he would be free again took some of the sting out of it, for me.

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What, then, of American Hustle? I have always enjoyed the work of David O’Russell and can claim to have been in quite near the ground floor, having eyed his talent in Flirting With Disaster in 1996, his second feature. I’ll never hold him as dear as I do his contemporaries Alexander Payne, Paul Thomas Anderson or Wes Anderson, but Silver Linings Playbook was entertaining, and so is American Hustle. Is it an Oscar movie? That’s my question. Playing the 70s for cheap laughs – it opens with Christian Bale painstakingly glueing down his preposterous combover – is a fairly tired old sport now. It’s hard to imagine anyone topping Boogie Nights on that particular playing field. But in fictionalising a true story of private-sector confidence tricksters and an FBI sting, Hustle does boast a bit of content, a bit of story, to go with its hairstyles.

It’s hard to fault the sporting work by the principal cast: Bale, Bradley Cooper, Amy Adams, Jennifer Lawrence (all logged with the Academy) and Jeremy Renner. You will enjoy seeing Louis CK in a meaty supporting part, too, plus an uncredited Robert De Niro atoning somewhat for his facile schtick parts, and Boardwalk Empire fans will be as chuffed to see Shea Whigham in a wig as they will be to see him in a boat captain’s whites in The Wolf Of Wall Street. The screenplay by O’Russell and Eric Warren Singer smart-mouths through some pretty complex grifting and triple-crossing, but at the end of the day, it’s a caper movie. So was The Sting, I know, and that was Oscar-approved, but I’m just a little bit niggled by the blanket adoration Hustle is getting from juries. Is life so bad in 2013-14 that we can only bear to watch films set in other eras, whether ones we remember or not?

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The Wolf Of Wall Street is Martin Scorsese’s first all-out comedy. (The King Of Comedy was about comedy, but closer to a tragedy?) Based on the real life of fraudulent “penny stock” trader Jordan Belfort and set during his rise and fall in the late 80s and 90s, it takes a fairly reprehensible individual working in an institutionally unsavoury sector and, through a winning (maybe even Oscar-winning) turn by Leonardo DiCaprio, turns him into if not exactly a hero, certainly someone you find yourself rooting for, against your better judgement. In this, and over a potentially wearisome three-hour running time, it cannot be faulted for holding its nerve. Talking to camera when he’s not rallying his white-collar troops like a cross between Gordon Gekko and Tom Cruise’s motivational speaker Frank T.J. “Respect the cock!” Mackey from Magnolia, DiCaprio somehow puts meat onto the bones of an appalling man doing appalling things with his even more appalling wingman Jonah Hill.

Foul-mouthed, misogynist, self-serving, dishonest, drug-addled, amoral, scheming, brutish, mercenary and at the very least seedy, these financial whizz-kids are no less confidence tricksters than Bale’s American hustlers and yet, working under the regulatory radar, they are almost Robin Hood figures in Scorsese and writer Terence Winter’s version of events. Theirs is a male business, and they behave in the most appallingly male ways. Women – and good luck being an actress in this movie – are commodities: whores, essentially, to be bought and sold and discarded. Sure, Belfort gets his comeuppance – they all do – with Kyle Chandler’s subway-riding CIA man constantly encircling with his friendly, squinty eyes and “sweaty balls”, but what makes Wolf Of Wall Street so compelling is that very eventuality. You know, just as you know Solomon Northup will soon not be a slave, the orgy cannot last. But you will it to carry on, such is the velocity of Scorsese’s film.

It’s pointless to have a favourite, but of the best picture nominees, I’m currently divided between Nebraska, Gravity and Wall Street. Gravity is what I call “pure cinema”. Nebraska is Alexander Payne revisiting his home state for an austerity comedy drama that tilts at The Last Picture Show for profundity and epic sweep. Wall Street dares to lionise the sort of casino-banker who arrogantly manhandled us into this recession and may forfeit Academy votes as a result. But it’s so rare to see a rollicking comedy duking it out with drama’s big boys. There are elements of comedy in Nebraska, Hustle, Philomena and – I detect – Her (another omission on my dance card), but none are all out. Wall Street is.

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Can I say a few words of support for this year’s great lost Oscar movie? All Is Lost, from JC Chandor, whose debut was the outstanding financial-crash fable Margin Call, is as “pure” as Gravity, and also about human beings adrift. In place of Sandra Bullock in space, we have Robert Redford’s solo sailor in the middle of the Indian Ocean. For both, all seems lost. I won’t confirm the outcome; needless to say, with a screenplay of few words, Chandor and Redford tell a tale that resonates down the ages: man versus the elements. Beginning with the unnamed captain’s message in a bottle, it works backwards eight days and walks us through his deteriorating pickle.

That All Is Lost was recognised with one Oscar nomination for best sound editing, and two Globe nominations for actor and score (the second of which it won), is a disgrace. Bafta ignored it altogether in its haste to garland American Hustle. (All hail the New York Film Critics Circle, which spotted that Redford was the year’s best actor.)

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Gravity has digital spectacle on its side, and Alfonso Cuarón may well deserve best director for what he has achieved within the strictures of that job description – I saw the film in 3D and 2D, and it works in both. But while Gravity pushes forward to infinity and beyond, in a sense All Is Lost delves backwards into analogue action spectacle. Robert Redford, the old man, and the sea, thrown together in the water tank built for Titanic, and, er, that’s it. I was gripped from one end to the other, with no notion of how it would play out. It’s probably just a coincidence that Captain Philips, more conventional still, should depict those in peril on the sea.

Tom Hanks stars in Columbia Pictures' "Captain Phillips."

Again, I was gripped. And it should be noted that the cinema showing I attended was potentially scuppered by a row of four disgraceful young kids who had bought their tickets with no intention of respecting the film and kept talking and changing seats throughout, destroying any mood skilfully constructed by Paul Greengrass, Tom Hanks and the crew. Staff were called to the screen on three occasions, the third by me, and at no point were these kids dissuaded of their approach, or threatened with expulsion; we complained afterward, for what it was worth. Captain Phillips‘ towering achievement was to grip and involve with all that shit going on. Bravo.

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The thing about Nebraska is that I knew what it was going to be like from the first stills, never mind the trailer. I am attuned to Payne’s melancholia and his penchant for men walking along by the sides of roads, and although I knew I’d love his hymn to the wide open spaces of the Cornhusker State, this does not diminish that love. I’d be more than happy if Bruce Dern – at 77 the same age as the snubbed Robert Redford – took best actor and made DiCaprio wait another year. It’s a Henry Fonda or a Katharine Hepburn in On Golden Pond, a Christopher Plummer in Beginners, a Richard Farnsworth in The Straight Story, a John Wayne in True Grit, an Emmanuelle Riva in Amour … hey, a Jack Nicholson in Payne’s About Schmidt – the kind of part you have to earn.

I have yet to see Dallas Buyers Club, although I have been enjoying Matthew McConaughey’s renaissance and felt his energy in a cameo in Wall Street, so there’s little reason to doubt he’s on award-winning form as the HIV-positive Texan. Of the best actresses, Cate Blanchett is the best thing about Woody Allen’s Blue Jasmine, so my hopes are on her, with a soft spot too for Sally Hawkins are best supporting actress in the same, rich film. If Somalian limo driver Barkhad Abdi got best supporting actor for Captain Phillips, his first film, we could all go home happy: he’s electrifying.

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There’s a grumpy line that says we shouldn’t worry our pretty little heads about who wins the Oscars, or indeed any of the other statuettes and perspex doorstops. “When was the last time the best film of the year won the Oscar?”, the naysayers say, when not saying “nay”. As stated, I know for a fact that one of my favourite films of 2013 won’t win any of the major awards, because it is All Is Lost. Same goes for Inside Llewyn Davis, which is also locked out of the love-in and yet looks for all the world to be the best thing the Coens have done, if you like a bit of bleak medicine, and I do. I haven’t said much about Mandela: Long Walk to Freedom, because it’s a pretty unremarkable film about a remarkable man, the least anyone could do with his lifestory, just as Ordinary Love is the least U2 could do for a theme tune. But for the song to earn a nomination and Idris Elba not is typical of the seemingly random nature of it all.

Hey, it’s my job to worry about the Oscars and to second-guess the proclivities of an organisation that, as of 2012, was 94% white, 77% male and with a median age of 62. Also, it’s quite good fun, isn’t it?

And at least they ignored The Butler.