Nights of Cabiria

Originally Written and Posted at Epinions.com on 6/12/09 w/ Additional Edits.

Directed by Federico Fellini with a script by Fellini, Tullio Pinelli, Ennio Flaiano, and Pier Paolo Pasolini based on an original story by Maria Molinari. Le notti di Cabiria (Nights of Cabiria) tells the story of a prostitute working at the seedy Ostia section of Rome who searches for love but fails as she is taken advantage and such. When she meets and fall for a man of respectability, things seem to be promising until she becomes humiliated in a series of events. Starring Fellini's wife Giulietta Masina, Francois Perier, Franca Marzi, Dorian Gray, Aldo Silvani, and Ennio Girolami. Le notti di Cabiria is a whimsical, charming, and heartbreaking masterpiece from Federico Fellini.

After being pushed into a river and having her pursed stolen where she nearly drowned, Cabiria (Giuletta Masina) is upset that her lover Giorgio (Franco Fabrizi) has left with her purse leaving her with nothing. After being saved from drowning by boys and fellow locals, she is still angry that another man has taken advantage of her where a fellow prostitute name Wanda (Franca Marzi) warns her not to get too attached. After burning Giorgio's things, Cabiria goes to work as a prostitute where along with Wanda and a friend and their pimp Amleto (Ennio Girolami). She gets into a fight with a rival while going into the city with a couple of friends to go into the rivaling section that included richer, better-looking prostitutes. Walking outside of a posh apartment, she sees a famous actor named Alberto Lazzari (Amedeo Nazarri) who was having an argument with his girlfriend Jessie (Dorian Gray). Upset and wanting to go out, he takes Cabiria to a club and later, to his home where she gets an autograph and almost ate dinner with him until Jessie returns where Cabiria was sneaked to sleep in his bathroom.

The next night, Cabiria goes on assignment again where waiting at the corner with Wanda, Amleto, and Amleto's crippled uncle (Mario Passante). They encounter a group of churchgoers walking barefoot as Cabiria is picked up by a truck driver. Lost in a cavern area, she meets a generous man giving food and things away to homeless people where she starts to question her own life. After attending a church service with friends as they are among a group of desperate people wanting a miracle from the Madonna. For Cabiria, it becomes a frustrating experience feeling nothing has changed where she finds herself at a vaudeville stage where a magician (Aldo Silvani) performs some tricks. After hypnotizing her for a trick where it is believed she will meet a man named Oscar, she finds herself confused.

After the performance, she bumps into an accountant named D'Onofrio (Francois Perier) who is charmed by what she saw. Revealing his first name to be Oscar, Cabiria isn't sure if he can be trustful but after a few dates. He seems to be the man for her where she suddenly finds herself engaged. With the prospect of a bright future, Cabiria seems to get her miracle until old feelings of being hurt again are unveiled.

The film is essentially the story of a naive yet feisty woman seeking a change for her life following a series of humiliating moments. Really, it's a character-driven film that allows the character of Cabiria to go into a series of adventures and mis-adventures that would allow her to want to make some changes. What Fellini and his co-writers create is a film that is a bit of an adventure but of a human kind. The character of Cabiria is truly complex since on the outside, she's a woman who is brash, arrogant, and willing to be playful. Yet, she is also vulnerable, not willing to listen to reason, and somewhat of a dreamer.

The development of character and the structure of the story clearly sets up scenarios for Cabiria. The first act follows Cabiria from the opening scene where she's pushed to a river where she nearly drowned to her meeting with a famous film actor. The second act is about the moment she meets a mysterious man giving away food and things to her own spiritual crisis following a Catholic ceremony that leaves her disillusioned. The third act is about Cabiria's encounter with a magician and her meeting with Oscar D'Onofrio. Despite all of these traumas, all of the humiliation, and all of the struggles she faces. She picks herself up and keeps on walking. All of these events and encounters would help shape the development of Cabiria that is filled with stylish, playful dialogue from co-writer Pier Paolo Pasolini.

Fellini's direction is truly mesmerizing from its striking compositions of scenes in and out of Rome to the emotional shots he creates for some of the film's dramatic moments. Fellini's camera is truly engaging in the exterior, ruined locations of the poor sections of Rome to the richer, chaotic, crowded world of downtown Rome as it shows a contrast of the different worlds that Cabiria lives in. Yet, there's something lavish and stylized in the scenes Fellini creates as he invites the audience into some parties or some kind of event that is truly powerful. Even the church service scene that has a group of people desperate for the power of Madonna hoping for some kind of miracle. The camera is amongst the crowd while the hypnotizing scene where Cabiria dances and such on a hypnotic state has something beautiful. The zoom shots and close-ups are done with such subtle emotion, even the final shot of the film as it's clear that Fellini is becoming more engaging in his direction and capturing the soul of its characters. The result is a film that shows Fellini starting to find his style as a director.

Cinematographer Aldo Tonti does some spectacular work with the film's black-and-white shots to complement the contrasting worlds that Cabiria ventures. From the bright, wide shots of the place and area that Cabiria lives to the crowded look of Rome. The exterior daytime photography is very bright and colorful while a lot of the nighttime exteriors is very beautiful with some great shading and compositions that are truly rich. The interior shots of the club and house that Cabiria goes to with the actor is also enchanting in its bright look and gorgeous shading for the nighttime scene in the actor's bathroom. Editor Leo Cattozzo does some fantastic work with the film's straightforward edits with wonderful transition cuts with the use of dissolves and fade-outs to help structure the story in its scene and acts.

Production/costume designer Piero Gherardi does great work in the look of the home of the actor, Cabiria's house, and most of all. The church filled with lots of Catholic images including a statue of the Madonna. Gherardi's work in the costume is wonderful with the clothes and look for Cabiria along with the stylized look for her friends including more posh looks from the actor, his girlfriend, and Oscar. The sound work of Oscar Di Santo and Roy Mangano is excellent for capturing the chaotic atmosphere of Rome, the hollow sounds of the corner Cabiria works at, and the raucous world of the church. One of the film's great technical achievements is its whimsical, playful score by Nino Rota, a key collaborator of Fellini's. Rota's score is filled with arrangements that play with various emotions whether it's a rumba sound or upbeat for Cabiria's mood or something sad with more melancholic pieces led by the piano and strings. Rota's score is truly mesmerizing with pieces that are memorable.

The cast is phenomenal with some memorable small roles from Maria Luisa Rolando and Loretta Capitoli as a couple of prostitutes while Franco Fabrizi is good as the man who pushed Cabiria into a river. Other small roles with appearances from Dorian Gray as the moody girlfriend of actor Alberto Lazzari, Amedeo Nazarri as the charming but bored Alberto Lazzari, Ennio Girolami as Cabiria's pimp Amleto, Mario Passante as Amleto's crippled uncle, and as the magician, Aldo Silvani. In the role of Cabiria's fellow prostitute and friend Wanda, Franca Marzi is great as the big yet realistic woman who helps Cabiria in every thing that happens while being the supportive friend. In the role of Oscar, Francois Perier is excellent as the charming man who offers kindness while being the guy who seems likes the perfect man and such.

Finally, there's Giuletta Masina in what is truly one of cinema's most dazzling performances as Cabiria. Masina's performance is full of such complex emotions as when she's up, she is a person full of life. Can do things very spontaneously while in dances, she moves to the beat of her own drum. When she's down, she's dramatic and angry where she'll get into fights or be extremely emotional. It's a tour-de-force performance from the wife of Federico Fellini who is clearly the heart and soul of the film as her performance is truly one of a kind.

Le notti di Cabiria is a whimsical yet character-driven film from Federico Fellini thanks in parts to the wonderful, engaging performance of Giuletta Masina. Audiences new to Fellini will see this as a nice place to start while it is considered essential in both Fellini's great film library as well as one of the most beloved films of European cinema. With a great film score by Nino Rota and wonderful images, it's a film that is truly entertaining while featuring a protagonist who has a spirit that is truly mesmerizing. In the end, Le notti di Cabiria is a brilliant yet heart-wrenching film from Federico Fellini.

Federico Fellini Films: (Variety Lights) - The White Sheik - (L'amore in Citta-Un'agenzia matrimoniale) - I, Vitelloni - La Strada - Il bidone - La Dolce Vita - (Boccaccio '70-Le tentazioni del Dottor Antonio) - 8 1/2 - Juliet of the Spirits - Histoires extraordinaires-Toby Dammmit - (Fellini: A Director's Notebook) - Fellini Satyricon - (I Clowns) - Roma - Amarcord - Casanova - Orchestra Rehearsal - City of Women - And the Ship Sails On - Ginger and Fred - (Intervista) - (The Voice of the Moon)

© thevoid99 2012

84th Academy Award Predictions Pt. 2

The Technical Categories

Best Art Direction

The Artist-Laurence Bennett and Robert Gould

Harry Potter & the Deathly Hallows Pt. 2-Stuart Craig and Stephanie McMillan

Hugo-Dante Ferretti and Francesca Lo Schiavo

Midnight in Paris-Anne Seibel and Helene Dubreuil

War Horse-Rick Carter and Lee Sandales

Who Will Win: Laurence Bennett and Robert Gould-The Artist

Recreating the Hollywood of the late 1920s/early 1930s isn’t an easy task. Still, bringing back that period along with dazzling set pieces for some of the movies made for the film do add a special quality that pays tribute to the silent film era. Notably the staging for the dual dance scene between George and Peppy as it’s among the best set pieces for the film.

Who Should Win: Anne Seibel and Helene Dubreuil-Midnight in Paris

Recreating 1920s Paris in the 21st Century with old toys, objects, and all sorts of things give the film a magical feel that isn’t seen in a lot of films these days. From the cars of the time and the way it contrasts to the look of modern-day Paris. It reveals the beauty that is Paris while utilizing other locations to link the past and present as it’s definitely a highlight in terms of its technical feat.

Dark Horse: Stuart Craig and Stephanie McMillan-Harry Potter & the Deathly Hallows Pt. 2

With the exception of the Gringotts vault and the secret tunnel from the Hog’s Head, there isn’t very much that fans haven’t seen before other than Hogwarts in complete ruins. While the work is great and the Harry Potter franchise should’ve gotten more attention for its technical work. It’s not likely that it will win anything.

Best Cinematography

The Artist-Guillaume Schiffman

The Girl with the Dragon Tattoo-Jeff Cronenweth

Hugo-Robert Richardson

The Tree of Life-Emmanuel Lubezki

War Horse-Janusz Kaminski

Who Will/Should Win: Emmanuel Lubezki-The Tree of Life

When working on a film for Terrence Malick, it’s always the cinematography that is often mentioned as Chivo’s work for this film pretty much tops everything else he did including his previous collaboration with Malick in The New World. Utilizing available and natural light, the work Chivo provides for the film has an ethereal quality that is unlike anything that is out there in film. Beauty is an understatement to describe what Chivo has done as it truly radiates a look that is exquisite and hypnotic.

Dark Horse: Guillaume Schiffman-The Artist

The work of Guillaume Schiffman is timeless for its black-and-white cinematography by recreating the look and feel of silent film cinematography with more modern look in its presentation. While it’s the only nominee that is shot entirely in black-and-white, Schiffman is definitely the underdog as the competition he’s facing are names that are top guys in the cinematography field.

Best Costume Design

Anonymous-Lisy Christl

The Artist-Mark Bridges

Hugo-Sandy Powell

Jane Eyre-Michael O’Connor

W.E.-Arianne Phillips

Who Will/Should Win: Mark Bridges-The Artist

Bridges’ work in the costumes is definitely a highlight of the film from the tuxedos and suits that are worn for the time as well as the stylish, snazzy dresses and gowns the women wear. Bridges creates costumes that reflect a certain period in time that is reborn for the 21st Century as it is definitely the front-runner in this category.

Dark Horse: Arianne Phillips-W.E.

The least known film among what is nominated, the costumes that Arianne Phillips create for the 1930s/1940s period section of the film definitely has a gorgeous look to complement the fashion taste of Wallis Simpson. Yet, it’s a film that is meant to be beautiful with another section set in the late 1990s which received a large brunt of the criticism.

Best Film Editing

The Artist-Anne Sophie Bion and Michel Hazanavicius

The Descendants-Kevin Tent

The Girl with the Dragon Tattoo-Kirk Baxter and Angus Wall

Hugo-Thelma Schoonmaker

Moneyball-Christopher Tellefsen

Who Will Win: Thelma Schoonmaker-Hugo

Thelma Schoonmaker is among one of the best editors working today and her work in this film is no exception. Playing to the rhythm of the action while creating dazzling montages of the early days of cinema. Schoonmaker plays up to the sense of magic and majesty that Martin Scorsese wanted for the film as it’s a true contender for the prize.

Who Should Win: Kevin Tent-The Descendants

Kevin Tent’s editing in the film is very playful to the different array of cutting styles used for the film. From a few transition wipes, jump-cuts, fade-outs, and dissolves, Tent creates a film that plays with the rhythm and tone of a family comedy-drama. With its unconventional approach to rhythm as well as not going into the typical stylistic cuts of most dramas, Tent creates a style that is truly fun to watch.

Dark Horse: Anne Sophie Bion and Michel Hazanavicius-The Artist

The editing that director Michel Hazanavicius and Anne Sophie Bion create is in tune with the style of the silent films with the use of fade-outs and rhythmic cut that play up to the music as well as the dramatic portions of the film. In comparison to its other nominees, it’s the least remarkable film in terms of its editing although the work they did is still noteworthy.

Best Makeup

Albert Nobbs-Martial Corneville, Lynn Johnston, and Matthew W. Mungle

Harry Potter & the Deathly Hallows Pt. 2-Nick Dudman, Amanda Knight, and Lisa Tomblin

The Iron Lady-Mark Coulier and J. Roy Helland

Who Will/Should Win: Mark Coulier and J. Roy Helland-The Iron Lady

The makeup work to capture Margaret Thatcher from her glory days to her post-political career emphasize a woman’s rise and fall. Notably as she is a picture of grace and power in her years as prime minister to the weariness of her post-political life as she is lost.

Dark Horse: Martial Corneville, Lynn Johnston, and Matthew W. Mungle-Albert Nobbs

The makeup work to make two women into men is a daunting task as it allows these women to cut their hair and have a certain way the faces look. While it’s a period film that requires characters to have a look in contrast to the period. It’s the least likely to win because its work is weak in comparison to its nominees.

Best Sound Editing

Drive-Lon Bender and Victor Ray Ennis

The Girl with the Dragon Tattoo-Ren Klyce

Hugo-Philip Stockton and Eugene Gearty

Transformers: Dark of the Moon-Ethan van der Ryn and Erik Aadahl

War Horse-Richard Hymns and Gary Rydstrom

Who Will Win: Richard Hymns and Gary Rydstrom-War Horse

While it’s a film that is part-war film and part-animal/human drama, it’s got the tools for an ambitious, sweeping project which includes a big war scene. It’s the war material that will get the notice for the way guns are sound and cannons are fired. It’s pretty much the idea of what sound editing is.

Who Should Win: Lon Bender and Victor Ray Ennis-Drive

The sound editing in Drive is among the highlights of the film from the car chases and revving of its engine to the more violent moments that occurs in the film. Particularly in the way it plays with the film’s soundtrack and Cliff Martinez’s chilling score. It is among some of the most exciting approaches of sound work to play up the drama and suspense that occurs in the film.

Dark Horse: Ethan van der Ryn and Erik Aadahl-Transformers: Dark of the Moon

There’s not really much to say other than it’s just nothing more than lots of sound of robots beating each other up and buildings being destroyed. There’s nothing really new or exciting about it. It’s just blah, blah, blah.

Best Sound Mixing

The Girl with the Dragon Tattoo-David Parker, Michael Semanick, Ren Klyce, and Bo Persson

Hugo-Tom Fleischman and John Midgley

Moneyball-Deb Adair, Ron Bachar, Dave Giammarco, and Ed Novick

Transformers: Dark of the Moon-Greg P. Russell, Gary Summers, Jeffrey J. Haboush, and Peter J. Devlin

War Horse-Gary Rydstrom, Andy Nelson, Tom Johnson, and Stuart Wilson

Who Will/Should Win: David Parker, Michael Semanick, Ren Klyce, and Bo Persson-The Girl with the Dragon Tattoo

The sound mixing/design work of The Girl with the Dragon Tattoo helps set the mood for the suspense and atmosphere in the location that occurs throughout. Notably with the way a motorcycle sounds including the chilling scene where Mikael Blomkvist uncovers a mystery with a very strange piece of music that is played in that scene.

Dark Horse: Deb Adair, Ron Bachar, Dave Giammarco, and Ed Novick-Moneyball

While it’s a baseball drama that requires a lot of work to capture the right mood of what full baseball crowd would sound. Dramatic features, particularly sport dramas, are the least likely to get any commendation though the sound work is quite remarkable.

Best Visual Effects

Harry Potter & the Deathly Hallows Pt. 2-Tim Burke, David Vickery, Greg Bugler, and John Richardson

Hugo-Rob Legato, Joss Williams, Ben Grossman, and Alex Henning

Real Steel-Erik Nash, John Rosengrant, Dan Taylor, and Swen Gillberg

Rise of the Planet of the Apes-Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett

Transformers: Dark of the Moon-Scott Farrar, Scott Benza, Matthew Butler, and John Frazier

Who Will/Should Win: Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett-Rise of the Planet of the Apes

In the work of capture-performance, the art form is stepped up for this film as actor Andy Serkis helps out in making an ape become more lively and display emotions that hadn’t been done in computer-based motion-capture. It is often stated that the visual effects and Serkis’ performance is the highlight of the film as the visual effects team should receive the recognition it deserves.

Dark Horse: Erik Nash, John Rosengrant, Dan Taylor, and Swen Gillberg-Real Steel

It’s another typical action movie where robots fight robots but unlike the vast work that was done in the Transformers movies. The work in this film seems very typical of the blockbuster action films and there’s nothing new about it that really warrants any kind of recognition.

Music Categories

Best Original Score

Ludovic Bource-The Artist

Alberto Iglesias-Tinker, Tailor, Soldier, Spy

Howard Shore-Hugo

John Williams-The Adventures of Tintin & War Horse

Who Will/Should Win: Ludovic Bource-The Artist

Ludovic Bource’s work is definitely one of the key elements to the success of the film as it plays throughout the film’s entirety. There’s lots of dazzling, upbeat orchestral pieces that plays to the period of the time and is always fun. The dramatic pieces Bource makes also has a flair in the arrangements as it’s definitely a great film score.

Dark Horse: Alberto Iglesias-Tinker, Tailor, Soldier, Spy

Alberto Iglesias is among one of the best score composers working today as he brings a very suspenseful yet dramatic score for his work on the spy drama. It’s definitely one of Iglesias’ score though his competition is very tough as he’s facing some very worthy opponents.

Best Original Song

Man or Muppet from The Muppets-Bret McKenzie

Real in Rio from Rio-Sergio Mendes, Carlhinos Brown, and Siedah Garrett

Who Will/Should Win: Bret McKenzie-Man or Muppet from The Muppets

Who cannot enjoy this song about a man and a Muppet singing about who they are? Best of all, it’s one of the most memorable songs of the film that is written by a member of Flight of the Conchords. It’s dramatic and funny as it’s definitely a very entertaining song.

Dark Horse: Sergio Mendes, Carlhinos Bronw, and Siedah Garrett-Real in Rio from Rio

While it’s a very exotic and rhythmic song that plays to the world of Brazil. The only thing that will keep it from winning is the fact that’s only competition is a song from the Muppets. After all, the fact that only two songs are selected is an indication of how clueless and dismissive the original songs category has become.

Well, that is all until the actual ceremonies happen where all sorts of things will come to play and such. As usual, no predictions on the shorts because no one really pays attention to them nor does anyone really care about the shorts. Until then, we’ll just wait to see on who wins and loses at the Oscars.

Pt. 1

© thevoid99 2012

84th Academy Award Predictions Pt. 1

The 84th Academy Awards is ready to go as nominations are announced and it’s time for the Super Bowl of film awards to happen. Predictions to be made on what or who will win an award an all of that. It’s time to reveal what will likely to happen in the Oscars on who is going to win what and who/what are the long shots. Well, looking at the list of nominees in various categories. It’s obviously can be said that it’s kind of weak this year. No major nominations for the following films is pretty upsetting: Shame, Melancholia, Take Shelter, We Need to Talk About Kevin, Project Nim, and The Skin I Live In.

Here are the nominees for 11 of the major categories in the Oscars:

Best Picture

The Artist

The Descendants

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

What Will Win: The Artist

The movie about the rise and fall of a silent film star upon the arrival of the talkies is among one of the most celebrated films of 2011. It’s a film that has what it takes to win such a coveted award as it’s got what filmgoers love. It’s entertaining, it’s funny, it’s dramatic, it’s got great musical numbers, and it has a story that people can root for. Plus, it’s a silent film being reborn to a new generation of filmgoers as it is the film that has what it takes to reach a wide audience.

What Should Win: The Tree of Life

Terrence Malick’s polarizing yet out-of-this world drama about the life of a Texas family in the 1950s is probably a film like no other that has come out in 2011. Often compared to Stanley Kubrick’s 2001: A Space Odyssey in terms of its ambition and asking big question. Featuring a sprawling 20-minute sequence on the Creation of Earth and mesmerizing images. It’s really a film that does more than being just a film. It’s a true work of art that will never replicated for many years to come.

Dark Horse: Extremely Loud & Incredibly Close

Stephen Daldry’s 9/11 drama about a boy who finds a missing key hoping that it might mean a message that his late father had left is something that Oscars seem to love. Yet, the film has received mixed reviews with many on the negative side stating that it’s very manipulative and contrived with a protagonist who can grate on its viewers. It’s the one film that really has no chance of winning as it came out very late in 2011 without getting any major critical or guild mentions.

Best Director

Woody Allen-Midnight in Paris

Michel Hazanavicius-The Artist

Terrence Malick-The Tree of Life

Alexander Payne-The Descendants

Martin Scorsese-Hugo

Who Will Win: Michel Hazanavicius-The Artist

The French filmmaker, who has been known previous for the OSS 117 spy spoofs, has managed to do something quite impossible by bringing back an old form of filmmaking back to the 21st Century. Notably as he remained true to the form of the silent film style while playing around with it to create something fresh and exciting. His nomination is definitely deserving while he’s definitely the newcomer going up against some well-known veterans in this category.

Who Should Win: Terrence Malick-The Tree of Life

In the world of great filmmakers, no one is revered than Terrence Malick as far as working filmmakers are concerned. Known for his poetic imagery, unique approach to voice-over narration, explorations into the flaws of humanity, and being awe of certain surroundings. Malick takes that approach for his fifth feature film to new heights while going into bigger risks that certainly has him raising the bar of what could be told in film.

Dark Horse: Woody Allen-Midnight in Paris

Woody Allen is another of the old-school filmmakers like Malick and Martin Scorsese who had made their mark in the 1970s. While Midnight in Paris marks as his best work in a very long time, his nomination is definitely a surprise considering the barrage of films and filmmakers he’s up against. While he doesn’t have the kind of visual traits that Malick, Scorsese, or Alexander Payne are known for. Allen is a filmmaker that does have a style that audiences can know and say it’s him though he’s really the long shot in this category.

Best Actor

Demian Bichir-A Better Life

George Clooney-The Descendants

Jean Dujardin-The Artist

Gary Oldman-Tinker, Tailor, Soldier, Spy

Brad Pitt-Moneyball

Who Will Win: Jean Dujardin-The Artist

In the role of George Valentin, Jean Dujardin plays a popular silent film star whose pride and ignorance towards the emergence of the talkies lead to his downfall. It’s a role that requires charm and a great physicality as Dujardin does all of that and more. Without having to speak any dialogue as it’s all about the traits of a silent film performance. It is definitely a performance that hasn’t been seen in years as Dujardin makes it seem fine and lively like it was back in the 1920s.

Who Should Win: George Clooney-The Descendants

While George Clooney is among one of the biggest stars working in film, he is also someone who is willing to take risks to play great parts. His role of a man whose life is in shambles following his wife’s boating accident as he’s dealing with land he’s been trusted to for many generations while being a full-time dad to his two daughters. It’s a role where Clooney gets to be the cuckold and express his frustrations as a man who feels humiliated by his wife’s extramarital affairs as she is comatose. It’s definitely among the best performances Clooney has given as a win would be a big deal for the actor.

Dark Horse: Demian Bichir-A Better Life

The Mexican actor’s role as a gardener who goes on the search for a truck with his son is among one of the most talked-about performances of 2011. Though the film wasn’t seen by a wide audience, Bichir’s performance got rave notices from critics as it managed to sneak him a nomination for the Screen Actor’s Guild. While his nomination has him going up against a favorite and three well-known actors. It is very likely that he will get more exposure with the nomination.

Best Actress

Glenn Close-Albert Nobbs

Viola Davis-The Help

Rooney Mara-The Girl with the Dragon Tattoo

Meryl Streep-The Iron Lady

Michelle Williams-My Week with Marilyn

Who Will Win: Viola Davis-The Help

Viola Davis has been an actress who had recently becoming well-known for memorable roles in films like Far from Heaven and Doubt. Playing the role of a middle-aged maid who deals with the loss of her son and the prejudice she faces from her employer as she takes part in revealing the prejudice to a young reporter. It’s a very big role for an actress that has been known mostly for supporting work as it is definitely going to raise Davis’ profile.

Who Should Win: Michelle Williams-My Week with Marilyn

Michelle Williams is among one of the best young actresses working today as her roles in the works of Kelly Reichardt like Wendy & Lucy and Meek’s Cutoff along with 2010’s Blue Valentine has shown the kind of range she has. In the role of the legendary Marilyn Monroe about the making of The Prince and the Showgirl, Williams brings Monroe back to life as she displays all of the charm and grace as well as Monroe’s insecurities as it’s a performance for the ages.

Dark Horse: Glenn Close-Albert Nobbs

A longtime passion project for Glenn Close, Close’s performance as a woman being a man is one that often wreaks of Oscar-bait. Though Close is a brilliant actress and this is a part that she had done in a play back in 1982. It’s also something that can spell trouble as the film itself hasn’t received stellar reviews though Close is praised as it’s really hard for her to win in this category unless she gets it as some lifetime achievement prize.

Best Supporting Actor

Kenneth Branagh-My Week with Marilyn

Jonah Hill-Moneyball

Nick Nolte-Warrior

Christopher Plummer-Beginners

Max von Sydow-Extremely Loud & Incredibly Close

Who Will Win: Christopher Plummer-Beginners

The legendary Canadian actor known most famously as Captain von Trapp from The Sound of Music gets to play an aging man who realizes he’s gay. Though it’s a part where his character learns about this in the final moments of his life. There is an enthusiasm and energy that has charmed audiences as it’s also a very daring part for the veteran actor as he’s becoming the odds on favorite.

Who Should Win: Kenneth Branagh-My Week with Marilyn

Playing Sir Laurence Olivier in a film about the making of The Prince and the Showgirl that Olivier starred and directed in. Branagh brings all of the charms and flaws of Olivier as a man whose theatrical acting style is on its way out as he has a hard time dealing with changing times and Marilyn Monroe. It’s a role that gives Branagh the chance to be funny as well as displaying his roots in the theater. It’s also the chance for Branagh to pay tribute to one of his favorite idols as he makes Olivier come alive again.

Dark Horse: Max von Sydow-Extremely Loud & Incredibly Close

While it’s often cited as the highlight of the film, Max von Sydow’s performance as an aging mute man helping out a young boy is key to the film’s exploration of grief and finding answers after the loss of a loved one. Throughout the film, von Sydow only answers this boy either by his hands that says “yes” and “no” or write something on a pad. It’s probably the only thing about the film that has gotten positive notices though it’s not likely he’ll win considering the lukewarm response it has received from critics.

Best Supporting Actress

Berenice Bejo-The Artist

Jessica Chastain-The Help

Melissa McCarthy-Bridesmaids

Janet McTeer-Albert Nobbs

Octavia Spencer-The Help

Who Will Win: Octavia Spencer-The Help

In the role of a younger yet more outspoken maid who ends up working for a kind social outcast, Spencer’s role has been the discovery of the year. Particularly for the fact that she was an unknown prior to this film. For this role of the young maid, Spencer brings a brash humor to this rebellious maid who helps out expose the dark secrets of prejudice while befriending a lonely housewife played by fellow nominee Jessica Chastain.

Who Should Win: Berenice Bejo-The Artist

While it’s a silent role that has Berenice Bejo display the kind of grace and charm of a young dancer who becomes a major movie star. It’s a performance that is another breakthrough for an actress that is not known largely by the public. Bejo’s performance has her dancing alongside co-star Jean Dujardin as she brings a real sense of drama to a woman whose stardom has realizing that the man who gave her a break is on the outs. It’s a truly mesmerizing performance for the Argentine-French actress.

Dark Horse: Janet McTeer-Albert Nobbs

Janet McTeer is an actress that is a name that not many people know about despite being nominated for Best Actress back in 1999 for Tumbleweeds. In the role of another woman pretending to be a man, she plays the one person who would discover the titular character’s secret while becoming its closest confidant. While it’s a role that would help raise McTeer’s profile, she is least likely to win due to the film’s low-key release and mixed reception.

Best Original Screenplay

Woody Allen-Midnight in Paris

J.C. Chandor-Margin Call

Asghar Farhadi-A Separation

Michel Hazanavicius-The Artist

Annie Mumolo & Kristen Wiig-Bridesmaids

Who Will/Should Win: Woody Allen-Midnight in Paris

The concept of a screenwriter trying to find inspiration to write a novel by traveling back in time to 1920s Paris is definitely one of Woody Allen’s most fascinating stories. Since it’s a story that has a lot of humor, charm, romance, and great ideas of what many of these artists were like in the 1920s. It’s also a movie that has great characters that people can enjoy or hate but also meet famous figures from the 1920s in one of the most beloved cities in the world. After all, what better way to cap off Woody’s biggest commercial hit with an Oscar win.

Dark Horse: J.C. Chandor-Margin Call

The story about a 36-hour period during the 2007-2008 financial crisis involving investment brokers and various employees was among the surprise debut features to come out of the 2011 Sundance Film Festival. For its writer/director J.C. Chandor, it is a very ambitious idea to tackle an ensemble film about something like a financial crisis. Though Chandor has very tough competition, his nomination does at least raise his profile as a new director on the rise.

Best Adapted Screenplay

The Descendants-Nat Faxon, Alexander Payne, and Jim Rash, based on the book by Kaui Hart Hemmings

Hugo-John Logan, based on the book The Invention of Hugo Cabret by Brian Selznick

The Ides of March-George Clooney, Grant Heslov, and Beau Willimon, based on the play Farragut North by Beau Willimon

Moneyball-Screenplay by Aaron Sorkin and Steve Zailian, screen story by Stan Chervin, based on the book by Michael Lewis

Tinker, Tailor, Soldier, Spy-Bridget O’Connor & Peter Straughn, based on the novel by John LeCarre

Who Will/Should Win: Nat Faxon, Alexander Payne, & Jim Rash-The Descendants

Alexander Payne is a master in adapting novels into script as he teams up with Nat Faxon and Jim Rash to adapt Kaui Hart Hemmings’ novel about a land trustee whose life unravels with the near-fatal boating accident of his wife that has left her comatose. It is a film that plays into Payne’s theme of adults growing up and facing their own flaws. Yet, it is Payne’s most dramatic work to date as well as his most mature in terms of exploring the dynamic between a man and his two daughters.

Dark Horse: Bridget O’Connor & Peter Straughn-Tinker, Tailor, Soldier, Spy

The story about a retired spy asked to come back to uncover a mole is an intriguing tale on loyalties and corruption from the John LeCarre novel. Though the film has received some criticism for its length, it is a film that takes its time to unravel the mystery. Notably as it studies a man that is trying to uncover everything that is happening as he tries to find the mole. While it is an interesting story, the films that it’s facing might prove to be a real challenge.

Best Animated Film

A Cat in Paris

Chico & Rita

Kung Fu Panda 2

Puss in Boots

Rango

What Will/Should Win: Rango

Gore Verbinski’s western that features various animals fighting off forces is one of the most exciting and entertaining animated features of 2011. With its emphasis to play up to the genre while creating landscapes that feels real through computer animation. It is a film that does more for its audience by being a fun, western-comedy that appeals to kids and film buffs.

Dark Horse: Chico & Rita

While the animated love story about a musician and singer in the 1950s that span into different locations like Havana and New York City is one filled with joy and heartbreak. A 2010 film that became a festival hit in 2011 all over the world, it is a film that had a difficult time being seen worldwide. This along with A Cat in Paris are definitely the long shots this year as it’s the first year that Pixar is not in Best Animated Film category.

Best Foreign-Language Film

Bullhead (Belgium)

Footnote (Israel)

In Darkness (Poland)

Monsieur Lazhar (Canada)

A Separation (Iran)

What Will/Should Win: A Separation

The 2011 winner of the Golden Bear at the Berlin Film Festival is among one of the most acclaimed and talked-about films of the year. The story of an Iranian couple’s decision to divorce is hampered by various issues in a world where divorce is considered subversive. It is a film that has gotten lots of attention while a win would definitely be a big breakthrough for Iranian cinema despite its political and social turmoil.

Dark Horse: Monsieur Lazhar

Choosing a dark horse or a winner in this category is tough as it’s a very unpredictable one. Monsieur Lazhar is the most likely one despite its dark story about an Algerian man taking over for a deceased elementary school teacher in Montreal while dealing with his own personal issues. Canada is known for having a great film scene though it’s not often that it will pick up another prize like The Barbarian Invasions did back at the 2004 Oscars.

Best Documentary

Hell and Back Again

If a Tree Falls: A Story of the Earth Liberation Front

Paradise Lost 3: Purgatory

Pina

Undefeated

What Will Win: Undefeated

Audiences love an inspirational story and what is more inspirational than a football team from Memphis who work hard to become an undefeated team after years of losing seasons. It’s definitely the kind of film that appeals to sports fans and those looking for a story with a happy ending as it’s the sentimental choice to win.

What Should Win: Paradise Lost 3: Purgatory

Joe Berlinger and Bruce Sinofsky’s concluding trilogy of the West Memphis 3 has the duo reveal new evidence that proves the innocence of Jessie Misskelley, Damien Echols, and Jason Baldwin over the murders of three young boys in West Memphis, Arkansas in May of 1993. The documentary explores all of its previous films as well as revisiting characters including the families of the victims who felt manipulated over what really happened. Now that Misskelley, Echols, and Baldwin are free, a win would cap all the hard work Berlinger and Sinofsky had done to prove the innocence of these three young men.

Dark Horse: Hell and Back Again

The least-known of the nominees is a tale of life after war as soldiers try to return to normalcy. While it’s a story that is quite familiar in dramatic features, told in a documentary style does make it different since it follows real people. It’s a story that definitely will appeal to people although the competition is tough as the film is the definite long-shot.

Pt. 2

© thevoid99 2012

Secretary (screenplay book)

I apologize for the bad picture quality

The screenplay book for the 2002 film Secretary is a book that features the actual screenplay used for the film that was written by Erin Cressida Wilson plus additional text relating to the film along with an excerpt of the original short story Bad Behavior by Mary Gaitskill. The book also includes photos and an interview with its director Steven Shainberg about the film. The result is a must-have book for fans of the film.

The screenplay itself does following along with what the story appears in the final version of the film. The major differences is that there’s more scenes, a few more key characters, and different presentation of certain scenes. Among them is the way the film opens which is presented in the way the film has ended. There’s more scenes of cutting early in the story along with more moments such a montage of job interviews where the Lee Holloway character states her famed line “I want to be bored”. It’s among one of several things that don’t work which got changed in the final version of the film.

Certain characters such as Lee’s sister, a friend of Lee’s sister in the arty Allison, and Lee’s brother-in-law are given more exposure although it often strays too much from the main narrative. Particularly late in the story as the marriage of Lee’s sister and her husband unravels which was unnecessary as it was wisely cut from the final version. The character of Allison, which was only shown briefly in the final film, represents a character who befriends Lee though it suggests that Allison wants to be more than just Lee’s friend. It’s an interesting character but it feels out of place with the rest of the film itself. Then there’s Mr. E. Edward Grey where the script doesn’t reveal anything new about him that was already known in the final film. While the actual script is an interesting read, it does pale in comparison to what is shown in its final inception for the film.

The additional material in the book includes a foreword from Molly Haskel about the film’s approach to feminism and exploring the psychological aspects of the film in relation to its main characters. Screenwriter Erin Cressida Wilson’s introduction has talking about her own sexual experiences as well as her love for sadomasochism. Notably as she recalls meeting people who do have secret fetishes as she hoped that the film will get people to come out on their sexual fetishes. Steven Shainberg’s interview has him talking about some of the cinematic influences he used for the film as well as his approach to telling the emotional portions of the story. Shainberg also revealed that he made a short based on the film back in 1990.

The book also features shooting maps on the film where the camera is placed and such along with ideas for compositions. These diagrams give a great insight for aspiring filmmakers about how to present a scene such as Lee’s first meeting with Mr. Grey. The book features various photos presented in the script including a few making of shots and glossy colored photos in the book. Finally, there’s the excerpt of Mary Gaitskill’s Bad Behavior where it reveals the key scene of a secretary’s angry boss becoming frustrated with her as he spanks her next day. Though the original story was more downbeat than the final film presented, the excerpt is still an interesting read of where Shainberg and Wilson got their idea to create the film.

The screenplay book for Secretary is a definite buy for fans of the film as well as those who aspire to be in the world of film. While the actual script does have its flaws that were fixed for its final product. It does show insight of how that script was shaped and how it involved to the final version that is presented on film. In the end, the screenplay book for Secretary is a superb book from the film’s creator.

Related Reviews: Secretary - (Secretary OST) - (Favorite Films #5: Secretary)

© thevoid99 2012

Medea (1988 TV film)

Based on the Greek tragedy written by Euripides, Medea is the story of a woman who seeks revenge on her husband following a betrayal. The 1988 TV film version is directed by Lars von Trier with an unreleased screenplay written by legendary Danish filmmaker Carl Theodor Dryer and Preben Thomsen. With additional work by von Trier, the TV movie would explore some of the themes of women and the sacrifices they’ve made that von Trier would delve into for his work in the late 1990s. Starring Kirsten Olesen, Udo Kier, Henning Jensen, Baard Owe, Solbjord Hofeldt, Preben Leidorrf Rve, and Ludmilla Glinska. Medea is a visually-arresting yet chilling TV film from Lars von Trier.

After being betrayed by her husband Jason (Udo Kier) following the Golden Fleece adventures as he is to be rewarded by King Creon (Henning Jensen) who gives Jason his daughter Glauce (Ludmilla Glinska). Medea (Kirsten Olesen) vows revenge for Jason’s betrayal as Creon and, later on, Jason each plea for Medea to make a case for her upcoming exile from the land. However, Medea has plans of her own as she gains refuge from oracle leader Aegeus (Baard Owe) in return to help him with wanting a child for himself and his wife. Before she goes to Athens with Aegeus, she would meet Jason one final time to make way for her revenge on him.

The TV film based on Euripides’ play is essentially a tale of revenge where a scorned woman makes a plan to seek revenge on her husband who betrayed her for power, wealth, and a younger woman. In turn, she decides to make a plan for him to suffer in the same way she has suffered in his betrayal but in the most extreme way. The script by Carl Theodor Dreyer and Preben Thomsen, with additional work by Lars von Trier, has a very theatrical feel to its dialogue and scene placements. Still, it’s all about this woman’s desire for revenge as she would do things to make her husband suffer where she would also sacrifice something to ensure that suffering. There’s not much plot to the script although there are some well-rounded characters. It all revolves around Medea and her own plans for vengeance.

While Lars von Trier’s direction has a great degree of visual style where some of it owes to the work of Dreyer. Some of the visual trick he uses such as gazing images of nature is definitely inspired by the works of Andrei Tarkovsky. While the film opens with text where von Trier claims he’s not trying to make a Dreyer film. Some of what von Trier is claiming is sort of true as he employs some hand-held work into some of the intimate moments and medium shots in the film. The landscape shots have this wide depth of field where it includes some aerial work involved. One of the key elements of style von Trier uses in the film are superimposed images to create this very surreal world that the characters live in as it works to maintain that sense of fantasy. Overall, von Trier has created a truly dazzling TV film that is provocative but also captivating.

Cinematographer Sejr Brockmann does an excellent job with the film‘s grainy yet monochrome cinematography that gives the TV film a very entrancing look with some dreary settings for the swamp scene where Croen tries to talk to Medea. Editor Finnur Sveinsson does a nice job with the editing that is quite stylized with its use of jump-cuts and fade-outs while maintaining a leisured pace for the TV film. Costume designer Annelise Bailey does a very good job with the period costumes made such as Medea‘s black dress to the more free-flowing dress of Glauce.

The special effects by Soren Buus does an extraordinary job with the visual effects created to add a surrealism to the fantasy sequences that occur between Medea and Jason. Sound editor Thomas Krag does a terrific job with the sound work to emphasize the chilling atmosphere of the exteriors to the hollow sounds of the castle Creon lives in. The music of Joachim Holbek is truly haunting from its brooding orchestral pieces to more ominous electronic touches to play up the dramatic portions of the TV film.

The cast for the TV film is wonderful as it features appearances from Solbjorg Hojfeldt as Medea’s nurse, Preben Lerdorff Rye as the king’s right-hand man Pedagog, and in the role of Medea and Jason’s son, Jonny and Richard Kilde. Notable supporting roles including Henning Jensen as the powerful King Creon, Baard Owe as rival king Aegeus, and Ludmilla Glinska as the innocent yet beautiful Glauce (whose voice is dubbed by Mette Munk Plum). Udo Kier is excellent as the ambitious Jason who betrays Medea for power as Kier brings a chilling approach to his performance though his voice is dubbed by another actor in Dick Kayso. Finally, there’s Kirsten Olesen in the titular character as Olesen brings a very dark yet cunning approach to the character that feels wrong as there’s also an entrancing sense of anguish over what she plans to do as it’s a very mesmerizing role from Olesen.

Medea is a dark yet very hypnotic film from Lars von Trier that features a script from the late Carl Theodor Dreyer. While the film is among one of von Trier’s weakest works of his career, it is still an interesting one in where he would get some of the visual ideas for his next film Europa and the themes he would explore in the late 90s-2000 Golden Hearts trilogy. In the end, Medea is a stellar yet ominous TV film from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012

The Artist (2011 film)

Written and directed by Michel Hazanavicius, The Artist is the story of a silent film star who meets a young dancer where the two becomes top movie stars. When the era of the talkies start to emerge, his career spirals while the dancer becomes a star of her own in the new era. The film is a homage to the world of early 20th Century cinema as Hazanavicius brings back the world of silent films into the 21st. Starring Jean Dujardin, Berenice Bejo, John Goodman, Penelope Ann Miller, Missi Pyle, Ed Lauter, Beth Grant, and James Cromwell. The Artist is an entertaining yet splendid silent film from Michel Hazanavicius.

It’s 1927 in the silent film era as George Valentin (Jean Dujardin) is the biggest movie star in Hollywood. At the premiere of his new film, he is received with great praise from moviegoers as a young woman named Peppy Miller (Berenice Bejo) accidentally stepped into the red carpet where photographers got a picture of her and George. Peppy suddenly becomes this mysterious star who eventually gets to be in a film with George as a dancer. When George’s studio boss Al Zimmer (John Goodman) shows George that the future is in the world of sound and the talkies. George doesn’t believe that it will be the future as his pride that things won’t change. Instead, the arrival of the talkies do change things as Peppy becomes a star.

Faced with the decline of silent films and the stock market crash of 1929, George’s attempt to make a silent film bombs when it opens on the same day as Peppy’s new film. His wife Doris (Penelope Ann Miller) leaves him while his longtime driver Clifton (James Cromwell) is fired because George couldn’t pay him. Though Peppy enjoys life as a movie stardom, she still wonders about George whom she cared about as she regrets what she said in an interview about the death of silent films. Wanting to help him, she wants to help revive his career in a big way.

The film is about the rise and fall of a silent film star in the emergence of the talkie film era as he’s forced to watch a young extra whom he discovered become a major star of her own. Told in the silent film era style, it is a film that revels in the world of entertainment and flash of those times where it’s being threatened by this new emergence of sound in pictures. For this actor, he refuses to believe that things are changing only till he’s realized that he’s out and this young woman he discovered is in. For this young woman however, she becomes this major star though she doesn’t forget the fact that she started out in a silent film and idolized this man that gave her the break she wanted.

Michel Hazanavicius’ script is fantastic for creating this rise and fall tale in the eyes of two people where one falls and another rises. While there isn’t a lot of dialogue present except in inter-titles, it’s more about this man dealing with the idea of being obsolete as he’s forced to sell his possessions and believe that he’s washed up. Yet, he still has people including a dog named Uggie that remains loyal to him. Though times may have changed, there are those that still know who he is and care for him. While the structure and formula is familiar with the rise and fall scenario, it works to convey the world Hazanavicius wanted to explore in that world of early 20th Century cinema.

Hazanavicius’ direction is truly magical in the way he re-creates the world of the silent film era. Shooting the film in the 1:33:1 theatrical aspect ratio of its time, Hazanavicius brings back that world where it’s all about entertainment and drama told through a physical form of acting. While there are actors who talk though dialogue isn’t heard as it cuts to inter-title cards. There is a great scene where George Valentin faces that future of sound in a scene where the sound becomes big as he’s in shock over what could be the future.

The framing is quite engaging in the way he shoots more than one person in a frame while having sets made to convey that world of old Hollywood. There’s also moments where the director also creates scenes of frantic moments to play up that nightmare of changing times and despair in the eyes of Valentin. Notably in the third act as he struggles to face the idea of being obsolete and washed-up where there’s some soft lenses to heighten the melodrama. The overall work that Hazanavicius does is truly marvelous for bringing back an old era of films back to the 21st century.

Cinematographer Guillaume Schiffman does a fantastic job with the black-and-white cinematography that is truly rich in its look while utilizing soft touches for some of its emotional moments. The editing by Michel Hazanavicius and Anne-Sophie Bion is superb for its stylish cutting approach to emphasize the rhythm of the music and action that appears in the film while utilizing dissolves and montages for its stylistic flairs. Production designer Laurence Bennett, along with art director Gregory S. Hooper and set decorators Austin Buchinsky and Robert Gould, is brilliant for the set pieces creating including the studio exteriors and film sets made for the movies that are made.

Costume designer Mark Bridges does a wonderful job with the costumes from the suits that the men wear including George’s tuxedos to the more stylish and lavish clothing of Peppy in her rise to stardom. Sound mixers Gerard Lamps and Michael Krikorian, along with sound editor Nadine Muse, do excellent work in the few sound pieces created for the film which includes the famous nightmare that George would have. The music score by Ludovic Bource is phenomenal for the way it carries the film as it’s the major technical highlight of the film. Featuring bombastic yet playful pieces to more sweeping yet dramatic orchestral pieces for its despaired moments as Bource’s score is definitely magnificent.

The casting by Heidi Levitt is another major highlight of the film as features wonderful appearances from Malcolm McDowell as a butler, Ken Davitian as a pawn shop owner, Missi Pyle as George’s co-star in the film’s opening scenes, Joel Murray as a policeman, Ed Lauter as Peppy’s butler, and Beth Grant as Peppy’s maid. Other notable performances in supporting roles include Penelope Ann Miller as George’s neglected wife Doris, James Cromwell as George’s loyal butler/driver Clifton, John Goodman as boisterous studio boss Al Zimmer, and a fun performance from Uggie as Jack Russell Terrier dog called Jack.

Finally, there’s the performances of Berenice Bujo and Jean Dujardin in their respective roles of Peppy Miller and George Valentin. Bujo brings a wonderful energy and charisma to the character as well as a sense of warmth in the way she tries to help Valentin. Dujardin brings a real charm to Valentin as well as an energy as a man on top while displaying great sadness when his character has fallen. Both Bejo and Dujardin bring great physicality to the silent roles they display while proving to be amazing dancers in some of the dancing they do together as they are the acting highlights of the film.

The Artist is a majestic film from Michel Hazanavicius that features delightful performances from Jean Dujardin and Berenice Bujo. The film is full of entertainment and spectacle as well as a story that audiences can be engaged by. Particularly as it revives an old style like the silent movie back and make it feel fresh again. In the end, The Artist is a triumphant and dazzling film from Michel Hazanavicius.

Michel Hazanavicius Films: (La classe americaine) - (OSS 117: Cairo, Nest of Spies) - (OSS 117: Lost in Rio)

© thevoid99 2012

Carnage (2011 film)

Based on the play God of Carnage by Yasmina Reza, Carnage is the story of a two parental groups discussing about an incident involving a fight between their two sons leading to an all-out chaotic war between the four people inside an apartment. Directed by Roman Polanski and adapted into script by Polanski and Reza, the film is an exploration adolescent fighting where four parents try to make a discussion where things go wrong. Starring Jodie Foster, John C. Reilly, Christoph Waltz, and Kate Winslet. Carnage is an insane yet thrilling comedy form Roman Polanski.

The film is this kid who hits another kid with a stick as trouble brews. Their respective parents try to sort it all out in a typical afternoon where things go from pleasant to devolve into full-on anarchy. That’s pretty much it for what the film is about in a 76-minute running time. Still, that doesn’t make it exciting as Yasmina Reza and Roman Polanski start the film out with the actual fight between the two boys in its opening credit scene and then cut to their parents all talking about what to do. Yet, there’s a lot that happens in the middle of this discussion as there’s a woman named Penelope (Jodie Foster) that wants to maintain some form of civility. Her husband Michael (John C. Reilly) wants to play it cool as he is later interrupted by phone calls from his mother. Nancy (Kate Winslet) wants the same thing as Penelope though her husband Alan (Christoph Waltz) is more interested in the business he conducts from his cell phone.

While Penelope and Michael serve as hosts to Nancy and Alan by giving them apple/pear cobbler, coffee, and later scotch. The conversation they have is all about the boys and wanting Nancy and Alan’s son to apologize for hitting Penelope and Michael’s son. Yet, it becomes more complicated as these four different people start to delve into their own theories about the way the world works and possibly consider that it’s Penelope and Michael’s son fault and vice versa. Eventually, discussions about sexism, violence, morality, suffering, and all sorts of subjects come into play where things like vomit, destruction, and all sorts of childish behavior occurs. The screenplay that Reza and Polanski create is very engaging into these themes as it ups the ante once the story progresses and the characters become not just despicable but also enjoyable in a very strange way.

Polanski’s direction is truly exhilarating in the way he can take this premise about four people in an apartment to discuss something be very exciting. Notably as he maintains an air of theatricality where all of the actors are in a frame discussing what they want to talk about. At one point, three could be talking while one is still somewhere doing something else. There is an energy to the way Polanski captures the conversation through the dialogue that plays into different rhythms as his compositions and framing are very vibrant in its very straightforward approach. There is also humor that is prevalent in the film where the actors definitely loosen up and go all out as it ranges from bawdy to juvenile. The overall work that Polanski does is sensational as he crafts what is truly a very fun yet crazy comedy that doesn’t get very dull.

Cinematographer Pawel Edelman does an excellent job with the cinematography to set the mood of the interior settings as the film gets darker and crazier in its approach to lighting. Editor Herve de Luze does a superb job with the editing as it maintains a very brisk pace and rhythmic cuts to play up the intensity of the dialogue and the action that occurs from the characters. Production designer Dean Tavoularis and set decorator Franckie Diago do nice work in the look of the apartment and its hallway outside of the apartment to maintain an upper-middle class look for the home of Michael and Penelope.

Costume designer Milena Canonero does some very good work with the costumes from the suits and more posh clothing of Alan and Nancy to the more casual look of Michael and Penelope. Visual effects supervisor Mikael Tanguy does some terrific work in the minimal visual effects uses by creating some exterior New York background of buildings as the film is shot on location in Paris. Sound editor Thomas Desjonqueres does a wonderful job with the sound to capture some of the backgrounds outside of the apartment along with its intimacy inside. The film’s score by Alexandre Desplat is fantastic for its bombastic arrangements as it only appears in the film’s opening and closing credits.

The casting by Fiona Weir is great as it features appearances from Eliot Berger and Elvis Polanski as the two kids who get into a fight along with a cameo from Roman Polanski as a neighbor of Michael and Penelope peering briefly when the two couples argue outside. Christoph Waltz is wonderfully charming as the very distracted and business-talking Alan who always talk into his cell phone and say snide things where he finds a comrade in Michael. John C. Reilly is fantastic as the laid-back Michael who starts off being nice and gracious only to become crude in his view about genders and parenting. Jodie Foster is excellent as determined Penelope who wants civility in the conversation only to lose it as she is under attack for socialist views on the world. Kate Winslet is phenomenal as the gracious Nancy who wants to go to the point until she becomes sick and annoyed as she starts to lash out at everyone in a drunken state.

Carnage is an extraordinary yet provocative comedy from Roman Polanski. Featuring an outstanding ensemble cast led by Jodie Foster, John C. Reilly, Kate Winslet, and Christoph Waltz. It’s a film that does a whole lot more than its premise suggests while giving its actors a chance to display their range in a theatrical setting and go all out. While the idea of watching four people argue for 76 minutes might not seem like a fun film to watch. It does take its time once things get to unfold as Polanski and his actors definitely raise the bar in terms of bawdy behavior and crass subject matters. In the end, Carnage is another glorious yet out-there film from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary’s Baby - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates) - Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2012