The past few years I've had an approximate success rate of 75% predicting these things - usually about 18 categories correct. I'm not sure I'll do that well this year given the how weird some of these races are, so I'm going to be a bit bolder in some of my picks than usual and hopefully it'll pay off. Probably not. We'll see.
_____________________________________________________________
Best Picture: Argo
Best Director: Steven Spielberg, Lincoln - I know some are jumping towards Ang Lee for Life of Pi but I think industry respect will keep Spielberg ahead.
Best Actor: Daniel Day-Lewis, Lincoln
Best Actress: Emmanuelle Riva, Amour - I correctly predicted Marion Cotillard for the French upset back in 2007, I think it will happen again tonight.
Best Supporting Actor: Tommy Lee Jones, Lincoln - My head says it will be Waltz, and my gut feels De Niro for the upset, but since I'm probably gonna get this wrong no matter what, I'm following my heart and predicting Jones
Best Supporting Actress: Anne Hathaway, Les Miserables - even though I'm hoping somehow support fell off during the last weeks of voting and Field can upset, I know better than to predict it.
Best Adapted Screenplay: Tony Kushner, Lincoln - Again, I think industry respect and the fact that this actually deserves to win over Argo will have kept it on enough ballots. I will not be at all surprised to see Chris Terrio win for Argo, but I'm calling Kushner.
Best Original Screenplay: Quentin Tarantino, Django Unchained
Best Editing: Argo
Best Cinematography: Life of Pi
Best Production Design: Anna Karenina - This is another where people have started to shift towards Pi, but I think it's still Anna Karenina's to lose, and Lincoln's next in line, not Pi. I could of course be very wrong. God help us if Les Miserables wins.
Best Costume Design: Anna Karenina
Best Makeup & Hairstyling: The Hobbit: An Unexpected Journey. My head says Les Miserables will probably get this, but I'm going with my gut and the track record of big prosthetic-based stuff winning here.
Best Sound Mixing: Les Miserables. My gut says Skyfall or Pi, but here I'm going with my head.
Best Sound Editing: Life of Pi. I think. Maybe.
Best Visual Effects: Life of Pi
Best Original Score: Life of Pi
Best Original Song: "Skyfall" from Skyfall
Best Foreign Language Film: Amour, but I will not be at all surprised by an upset.
Best Animated Feature: Wreck-It Ralph
Best Animated Short: Paperman
Best Documentary Feature: Searching for Sugarman, but again, The Gatekeepers won't shock me.
Best Documentary Short: Inocente - if not this, then Open Heart
Best Live Action Short: Buzkashi Boys - if not this, then Curfew
________________________________________________________________
So those are my predictions.
If you're counting, I'm calling Beasts of the Southern Wild AND Silver Linings Playbook AND Zero Dark Thirty to go home empty-handed.
Les Mis to go the Dreamgirls route with Sound Mixing and Supporting Actress.
Argo to get only Picture and Editing.
Lincoln and Life of Pi to tie for most wins at 4 apiece.
I'll be happy if I get 16 right. I'm not confident I'll get more, as there are about 10 categories here I'm predicting based on a guess or wishful thinking.
I'll probably be live-tweeting @sl8rlawrence if you'd like to follow along.
Showing posts with label Les Miserables. Show all posts
Showing posts with label Les Miserables. Show all posts
Sunday, February 24, 2013
Saturday, February 23, 2013
2012 Oscars: Directing and Picture
Okay, final analysis post.
Tomorrow I'll be back with my last-minute, very final predictions (some have them have changed since my initial postings).
Best Director Nominees
Michael Haneke, Amour
Ang Lee, Life of Pi
David O. Russell, Silver Linings Playbook
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild
5. David O. Russell - This was a writer's and actor's film, not a director's. Yes, Russell did write it well and he directed his actors well, but I think his work as a director was less substantial than the other nominees.
4. Michael Haneke - I like Haneke's slow and steady pace, and I like his use of sudden, hard-to-watch images to maximize emotional impact. But in Amour, I think that pacing was just a bit too slow and it made for a pretty boring movie. Fascinating, yes, but boring. This is just personal preference, but I also can't deny that Haneke's fingerprints are all over this movie. It's definitely a director's piece, but that just means its failures should be reflected in a loss here.
3. Benh Zeitlin - A friend posted an article about the subtle racism and glorification of poverty in Beasts, and while there are definitely some things to consider, I think the argument had some flaws. I'll touch on that in a second, though. Zeitlin took a peculiar story and creatively assembled a fun, sad, exciting, frustrating movie out of it. He expertly handled water, children, and animals (three challenges directors are generally advised to shy away from). I've seen him accused of "sentimentalizing poverty," but I don't think that's what happened - I think he's telling a fairy tale in a real-world setting, he's asking us to look at the characters and the family dynamic and how tightly they want to hold on to the lives they know. He's not asking us to condone their lifestyle or their acceptance of it, he's just asking us to consider it's importance to them. That article referenced one critic who praised Wink's parenting skills. Of course, Wink isn't a very good father most of the time, but he's still Hushpuppy's father and they love each other no matter what. This is, I think, Zeitlin's accomplishment - he doesn't sentimentalize anything except what's already sentimental: the very real love and affection flowing through this Bathtub community. It's a very strong debut, and I'm looking forward to what he does next.
2. Ang Lee - The first time I saw Pi, I was floored by the visuals, but not the storytelling. Of course, I loved it anyway because I loved the novel. The second time, I saw past the visuals to the storytelling, and I grew to love the film itself. Ang Lee did what no one thought possible in bringing Pi to the screen, and he also had to deal with water, children, and animals. He balance the real and the fantasy elements of his story and plays with the more malleable aspects of Truth. At first, I didn't feel he kept the "real story" lot device ambiguous enough to keep a debate going, but I changed my mind after watching the movie again. The main reason he's my #2 here is hat I'm not crazy about the way he had Pi delivery his 2nd story at the end of the movie - he seemed too sincere, not flippant enough the way I think he was in the book. It's a small thing, but I think it was a misstep.
1. Steven Spielberg - Lincoln might not be Spielberg's greatest film, but I think time will remember it as part of his top five or so. Spielberg reminded us this year that he still knows how to make a great movie, not just a good movie with great sequences and polished filmmaking. He showed restraint and nuance when he could have sanctified his subject. He allowed room for the president's moral and even legal doubts about his situation. His casting of almost-kinda-familiar faces was fantastic, as was the inspired use ofAlan Shore James Spader to great comedic effect to remind us that even 150 years ago, politics were really silly. Don't forget Spielberg brought a whole slew of solid performances from those "lesser" actors; not to mention that although Day-Lewis is, well, who he is, even he relied on Spielberg's direction to shape his Lincoln. Meanwhile Kushner is getting lots of (deserved) praise for his script, but it was a lot of Spielberg's guidance that led Kushner to his structure and tone, and the decision to focus on the legislative process behind the 13th Amendment was also Spielberg's. While this doesn't look or feel quite as quintessentially "Spielberg" as some other ventures, there's no doubt to me that this is his movie through and through, and it's a tremendous success.
Will win: I'm still gonna predict Spielberg, even though there's a strong possibility of Lee for the "upset."
Should win: Spielberg.
Should have been nominated: Ben Affleck. If Affleck had been nominated, I'd have picked him as #1. Argo was, above all else, a director's showcase, and everything that worked about it worked because of Affleck. Keep in mind that I said this before I rant for the next few weeks about how Argo didn't deserve to win best picture.
Best Picture Nominees
I'll keep these relatively short since almost
9. Les Miserables - It's just pretty shoddy filmmaking through and through. A few great acting moments, lots of forgettable acting moments. And yeah, I'll say it, Russell Crowe was my favorite part of the whole thing. He's the only person who made his character interesting and fleshed out, everyone else was just painting by numbers.
8. Zero Dark Thirty - A lot of expertly crafted sequences awkwardly strung together to make an episodic jumble that loses almost all tension until the raid on the compound redeems it.
7. Amour - Like I said above, it's fascinating and moving and haunting and beautifully acted. But it's really boring.
6. Silver Linings Playbook - It's pretty formulaic, honestly, but it steps outside the box just enough to stay interesting and entertaining without getting too predictable. It's a nice film, a good film, an interesting film. Not a great one.
5. Argo - It's good. It's maybe even great. But it loses it's luster and I think it's historical gaffs are more problematic than Lincoln's or Zero Dark Thirty's. It's riveting, in a way, but ultimately doesn't really say or do anything that interesting. It's well-crafted, but fluff. It's going to win and will join the ranks of The Artist, The King's Speech, and Slumdog Millionaire as unoffensive, heart-warming, easy to like, but ultimately insubstantial Best Picture winners.
4. Beasts of the Southern Wild - I briefly addressed some of the complaints regarding this film above. I don't feel like getting into it more. It was a lovely, creative, moving movie that I don't believe asks anything more of us than to simply consider Hushpuppy. To consider her life and what she feels and why she feels it. It's more fairy tale than film, and it's certainly not reality. Anyone who judges it based on "real life" is setting themselves up for frustration from the start. If you want a story, well here's a good one.
3. Django Unchained - It's just flat-out one of the most entertaining movies of the year. It's funny, it's graphic, it's uncomfortable and exciting. It's about fifteen minutes too long, yes, but long movies always feel shorter a 2nd time, and by the 3rd the good times just fly by. Great acting and writing, and personally I think that it tackles subjects of violence and slavery in a unique way, by treating them as subjects and not issues. This isn't a think piece, it's not a discourse, it's pure emotion. You feel what's right and wrong, you feel what has to happen and what can't happen and what shouldn't happen, and hope it plays out right. A few peculiar directing choices aside, Django was some of the best storytelling and filmmaking of the year.
2. Life of Pi - I pretty much address my praises of the film throughout all the categories and especially with Lee above. I think it misses out on a bit of Martel's wonderful prose, and I think the final scenes are a tiny bit too straightforward, but it's a movie that I will go back to many times. Each time I will love looking at it, and each time I think I'll love thinking my way through it again. I still don't know what to believe, but I know which story I prefer.
1. Lincoln - Of the nominees, I think this is the movie that uses the most expertly crafted filmmaking elements and brings them together to the greatest whole film. I personally didn't find a second of it dull or uninteresting, I didn't find a single performance to be out of place, and I think it's a movie that we'll go back to for decades to remind ourselves that America has always been a mess, and that there are always people on the wrong side of history, but there will always be people on the right side of it too, and there's always reason to hope that we'll get where we're going eventually.
Will win: Argo
Should win: Lincoln
Should have been nominated: The Master, Cloud Atlas, The Impossible, The Sessions, and the best movie of the year, Holy Motors.
Tomorrow I'll be back with my last-minute, very final predictions (some have them have changed since my initial postings).
Best Director Nominees
Michael Haneke, Amour
Ang Lee, Life of Pi
David O. Russell, Silver Linings Playbook
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild
5. David O. Russell - This was a writer's and actor's film, not a director's. Yes, Russell did write it well and he directed his actors well, but I think his work as a director was less substantial than the other nominees.
4. Michael Haneke - I like Haneke's slow and steady pace, and I like his use of sudden, hard-to-watch images to maximize emotional impact. But in Amour, I think that pacing was just a bit too slow and it made for a pretty boring movie. Fascinating, yes, but boring. This is just personal preference, but I also can't deny that Haneke's fingerprints are all over this movie. It's definitely a director's piece, but that just means its failures should be reflected in a loss here.
3. Benh Zeitlin - A friend posted an article about the subtle racism and glorification of poverty in Beasts, and while there are definitely some things to consider, I think the argument had some flaws. I'll touch on that in a second, though. Zeitlin took a peculiar story and creatively assembled a fun, sad, exciting, frustrating movie out of it. He expertly handled water, children, and animals (three challenges directors are generally advised to shy away from). I've seen him accused of "sentimentalizing poverty," but I don't think that's what happened - I think he's telling a fairy tale in a real-world setting, he's asking us to look at the characters and the family dynamic and how tightly they want to hold on to the lives they know. He's not asking us to condone their lifestyle or their acceptance of it, he's just asking us to consider it's importance to them. That article referenced one critic who praised Wink's parenting skills. Of course, Wink isn't a very good father most of the time, but he's still Hushpuppy's father and they love each other no matter what. This is, I think, Zeitlin's accomplishment - he doesn't sentimentalize anything except what's already sentimental: the very real love and affection flowing through this Bathtub community. It's a very strong debut, and I'm looking forward to what he does next.
2. Ang Lee - The first time I saw Pi, I was floored by the visuals, but not the storytelling. Of course, I loved it anyway because I loved the novel. The second time, I saw past the visuals to the storytelling, and I grew to love the film itself. Ang Lee did what no one thought possible in bringing Pi to the screen, and he also had to deal with water, children, and animals. He balance the real and the fantasy elements of his story and plays with the more malleable aspects of Truth. At first, I didn't feel he kept the "real story" lot device ambiguous enough to keep a debate going, but I changed my mind after watching the movie again. The main reason he's my #2 here is hat I'm not crazy about the way he had Pi delivery his 2nd story at the end of the movie - he seemed too sincere, not flippant enough the way I think he was in the book. It's a small thing, but I think it was a misstep.
1. Steven Spielberg - Lincoln might not be Spielberg's greatest film, but I think time will remember it as part of his top five or so. Spielberg reminded us this year that he still knows how to make a great movie, not just a good movie with great sequences and polished filmmaking. He showed restraint and nuance when he could have sanctified his subject. He allowed room for the president's moral and even legal doubts about his situation. His casting of almost-kinda-familiar faces was fantastic, as was the inspired use of
Will win: I'm still gonna predict Spielberg, even though there's a strong possibility of Lee for the "upset."
Should win: Spielberg.
Should have been nominated: Ben Affleck. If Affleck had been nominated, I'd have picked him as #1. Argo was, above all else, a director's showcase, and everything that worked about it worked because of Affleck. Keep in mind that I said this before I rant for the next few weeks about how Argo didn't deserve to win best picture.
Best Picture Nominees
I'll keep these relatively short since almost
9. Les Miserables - It's just pretty shoddy filmmaking through and through. A few great acting moments, lots of forgettable acting moments. And yeah, I'll say it, Russell Crowe was my favorite part of the whole thing. He's the only person who made his character interesting and fleshed out, everyone else was just painting by numbers.
8. Zero Dark Thirty - A lot of expertly crafted sequences awkwardly strung together to make an episodic jumble that loses almost all tension until the raid on the compound redeems it.
7. Amour - Like I said above, it's fascinating and moving and haunting and beautifully acted. But it's really boring.
6. Silver Linings Playbook - It's pretty formulaic, honestly, but it steps outside the box just enough to stay interesting and entertaining without getting too predictable. It's a nice film, a good film, an interesting film. Not a great one.
5. Argo - It's good. It's maybe even great. But it loses it's luster and I think it's historical gaffs are more problematic than Lincoln's or Zero Dark Thirty's. It's riveting, in a way, but ultimately doesn't really say or do anything that interesting. It's well-crafted, but fluff. It's going to win and will join the ranks of The Artist, The King's Speech, and Slumdog Millionaire as unoffensive, heart-warming, easy to like, but ultimately insubstantial Best Picture winners.
4. Beasts of the Southern Wild - I briefly addressed some of the complaints regarding this film above. I don't feel like getting into it more. It was a lovely, creative, moving movie that I don't believe asks anything more of us than to simply consider Hushpuppy. To consider her life and what she feels and why she feels it. It's more fairy tale than film, and it's certainly not reality. Anyone who judges it based on "real life" is setting themselves up for frustration from the start. If you want a story, well here's a good one.
3. Django Unchained - It's just flat-out one of the most entertaining movies of the year. It's funny, it's graphic, it's uncomfortable and exciting. It's about fifteen minutes too long, yes, but long movies always feel shorter a 2nd time, and by the 3rd the good times just fly by. Great acting and writing, and personally I think that it tackles subjects of violence and slavery in a unique way, by treating them as subjects and not issues. This isn't a think piece, it's not a discourse, it's pure emotion. You feel what's right and wrong, you feel what has to happen and what can't happen and what shouldn't happen, and hope it plays out right. A few peculiar directing choices aside, Django was some of the best storytelling and filmmaking of the year.
2. Life of Pi - I pretty much address my praises of the film throughout all the categories and especially with Lee above. I think it misses out on a bit of Martel's wonderful prose, and I think the final scenes are a tiny bit too straightforward, but it's a movie that I will go back to many times. Each time I will love looking at it, and each time I think I'll love thinking my way through it again. I still don't know what to believe, but I know which story I prefer.
1. Lincoln - Of the nominees, I think this is the movie that uses the most expertly crafted filmmaking elements and brings them together to the greatest whole film. I personally didn't find a second of it dull or uninteresting, I didn't find a single performance to be out of place, and I think it's a movie that we'll go back to for decades to remind ourselves that America has always been a mess, and that there are always people on the wrong side of history, but there will always be people on the right side of it too, and there's always reason to hope that we'll get where we're going eventually.
Will win: Argo
Should win: Lincoln
Should have been nominated: The Master, Cloud Atlas, The Impossible, The Sessions, and the best movie of the year, Holy Motors.
Friday, February 22, 2013
2012 Oscars: Performances
Okay. All the acting categories. Let's go.
Supporting Actress
Amy Adams, The Master
Sally Field, Lincoln
Anne Hathaway, Les Miserables
Helen Hunt, The Sessions
Jacki Weaver, Silver Linings Playbook
5. Jacki Weaver - Okay, I'll concede that it's a very good performance, despite the fact that you hardly notice it. She's the worried mom always in the background trying to keep everyone calm and happy and protect her children from sad things in life. In other words, she's a mom. But with such little dialogue and being constantly upstaged by her castmates... yeah, she didn't deserve this nomination and everyone knows it.
4. Anne Hathaway - I know she's going to win. That's fine, whatever. She absolutely nailed "I Dreamed a Dream," you'll get no argument from me there, and if that was her only scene in the whole movie, maybe she'd get my vote. But it wasn't, and she was really bad in all her other scenes. She was an over the top, scenery chewing, begging for awards, crying, coughing, dying mess. It was pouty, it was silly, and worst of all it was false.
3. Amy Adams - This was kind of a thankless, subtle role overshadowed by two powerhouse male ego-driven performances from Hoffman and Phoenix, but Adams had an intensity that was simultaneously comforting and terrifying. I haven't seen the film a 2nd time, but I suspect that her performance will resonate more and more with repeat viewings.
2. Helen Hunt - She broke my heart. Simple as that, I felt her sadness so deeply, but I understood her code so completely, and the tension between them was devastating. This was a remarkable piece of acting. Hunt is probably really a tie for my pick with...
1. Sally Field - I know some people found her annoying or unnecessary, but I think she walked a tightrope between grief, insanity, and saavy First Lady that would have thrown almost any other actress off balance. She was funny and crazy and smart and sad and noble, and she did it all in just about 15 minutes. People don't realize that Field had less screen time than anyone, not Weaver or Hathaway. But people only remember Hathaway's 3 minute song, and Field she gave a meatier performance so I think people just assume she was there more.
Will win: Anne Hathaway
Should win: Field or Hunt
Should have been nominated: Kerry Washington, Django Unchained
Supporting Actor
Alan Arkin, Argo
Robert De Niro, Silver Linings Playbook
Philip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln
Christoph Waltz, Django Unchained
This is one of the most unpredictable races this year. They're all good performances, they're all previous Oscar winners, 3 of them have the Harvey Weinstein "I don't care if it's really the best as long as it wins" campaign powerhouse behind of them. I'll make a list based solely on the quality of the performance, but personally I would ignore Hoffman and Waltz when voting because they're really lead performances and don't belong in this category over other deserving supporting performances.
5. Alan Arkin - He just had a bunch of good one-liners and brought some personality to the role, but he wasn't more deserving of a nomination than his castmates John Goodman or Bryan Cranston. This is a dull filler nomination that got swept in on the movie's coattails.
4. Robert De Niro - This is actually a very good performance. There's a lot of restraint, and it's actually very funny (which people often forget De Niro is... he's very funny.) But there's an intense anger below the surface as well, a quirky physicality to the character, and the range of emotion on display is impressive. My gut is getting this weird feeling that De Niro will pull an upset here, and I wouldn't totally mind that.
3. Christoph Waltz - This performance definitely feels a bit familiar given Waltz's last win for Tarantino's Inglourious Basterds, but while we've heart that bouncy, articulate cadence with Tarantino's dialogue from Hans Landa, we haven't seen this character. Where Landa had an ice-cold heart devoted only to his own sense of control over his surroundings, Dr. Schultz is indifferent towards criminals' - he's out for his bounty, after all - but has a softness deep down, a gentle confusion over slavery and brutality over innocents for brutality's sake. Landa would have never flinched so uncomfortably at the sight of dogs ripping apart a Jew - this is definitely a different performance, and very nearly as good.
2. Tommy Lee Jones - Brilliant delivery of Kushner's words, and a strong sense of who his character is, what kind of power and influence he has, and deep down in his eyes you can see that he always knows his motivation as well - it's more clear during a 2nd viewing. It's a wonderful performance and I hope Jones wins.
1. Philip Seymour Hoffman - Based solely performance quality, Hoffman is best here. He is a perfect foil for Phoenix, who I believe was forced to up his game due to the heavyweight class of his contender. While he has less screen time than Phoenix, his presence is just as felt, just as memorable, and in many ways I believe his character is more complex. That said, I think this is a co-lead performance, so while I think it's the best acting in this category, I'm not sure I can get behind it for a win.
Will win: My brain says Waltz, but my gut says De Niro. In this category, I'm going with my head and predicting Waltz.
Should win: Jones
Should have been nominated: Samuel L. Jackson, Django Unchained; Tom Holland, The Impossible; Dwight Henry, Beasts of the Southern Wild - instead of Arkin, Waltz, and Hoffman. And I'm torn on whether or not DiCaprio in Django should replace De Niro. Maybe. Time will tell which performance is best remembered... I suspect DiCaprio and Django will be remembered and studied and viewed for much longer than Silver Linings Playbook.
Actress
Jessica Chastain, Zero Dark Thirty
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhane Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible
5. Naomi Watts - This is a great performance. The only problem is that about halfway through the movie her character gets on a hospital bed and pretty much lies around and groans the rest of the movie - in many ways this is practically a supporting role. So it's hard for me to pick it over more "lead" performances. That said, it's a great movie and amazing acting, so find it and watch it.
4. Jessica Chastain - Again, this is great acting. I'm not crazy in love with the movie, but I get that Chastain did something special in bringing Maya to life... most of the time. Other times I felt she had no personality, no history, really no character. Maybe that's intentional, and she's supposed to be a kind of a 2-dimensional figure who's main trait is her drive and her obsession. In that case, the performance works. Unfortunately in that case, it's also a boring performance. Did Chastain really do anything that a dozen or so other actress couldn't do just as well? I'm not convinced.
3. Jennifer Lawrence - I love her so much, I want to be best friends, I think she's going to keep on doing amazing things and making amazing movies. But as great as she was most of the time in Silver Linings Playbook, there were just a handful of moments when I thought she lost the character. In interviews she's admitted that when she first started with the role she couldn't figure who Tiffany really was, and I think that shows every now and then. She won't be an undeserving winner, but she won't be remembered as the most deserving either.
2. Emmanuelle Riva - She shows a lot of control and subtlety in her aging/sickness/dying. (Hathaway could have learned a thing or two.) I think the movie is alright and all, but she really makes it work. The early scene with her first stroke, there really is just nothing going on in her head, you can't see a single sign of life or mind in her eyes, they're just completely blank. It's remarkable actually, the more I think back on it.
1. Quvenzhane Wallis - I know she's young, and maybe she wasn't "acting" so much as just reading lines in a fierce kind of way, but you know what? Haters gonna hate. I completely bought her as Hushpuppy, she had a childish attitude but behind it was a very adult understanding of life and loss. She just made me feel for her - I never thought about what I was watching, like I did with Chastain, Lawrence and even Riva to a lesser extent. I just felt.
Will win: Lawrence. Some are predicting a Riva upset, which would be cool, but I think Weinstein and the massive campaign for SLP doesn't let it slip away from Lawrence.
Should win: Wallis
Should have been nominated: I haven't seen the films yet, but I'm sure Marion Cotillard in Rust and Bone and Rachel Weisz in Deep Blue Sea were remarkable per usual.
Actor
Bradley Cooper, Silver Linings Playbook
Daniel Day-Lewis, Lincoln
Hugh Jackman, Les Miserables
Joaquin Phoenix, The Master
Denzel Washington, Flight
5. Jackman - Honestly, no business being here. He was incredibly uneven and he never seemed very sure of his character. His eyes were constantly searching around like he was thinking, "Hmm, how should I sing this line here?" And actually, oddly, I felt that a lot of his care for Cosette was out of obligation more than actual love. He just went through the motions.
4. Cooper - Cooper's a really good actor, and I'm glad people are noticing it. But this isn't an award for "Best performance proving to us that you're actually worth something," it's for Best Actor in a Leading Role. Cooper doesn't belong here.
3. Washington - One of Denzel's best in years. A extremely careful character exploration, he's weak-willed and strong-willed at the same time, he's dependent and independent in the same moment. Really great acting that probably could win in almost any other year.
2. Phoenix - He built a character from the ground up, and actually fooled me into thinking that Freddie Quell was a complex character. But when I realized that he really isn't a complicated human being after all, I couldn't really say he deserves to win here. Freddie is obsessed with sex. And that's really about it. It's not more complicated than that, he just wants to get drunk and stick his dick in things. And props to Phoenix (and Anderson) for making that into a fascinating character, but I'm convinced there's not a whole lot more than that going on here. That doesn't mean it's some of the most brilliant acting we're likely to ever see, though.
1. Day-Lewis - Because really, he's the best this year. He navigates through Lincoln's personal grief, his moral obligations, and his professional duties with strong emotion, logic, and control. But he also gives us just the slightest hint that at any moment he might lose his grip on any of those. He's just amazing, and although many will argue for Phoenix deserving the upset, I don't think there was a finer performance this year than this one.
Will win: Day-Lewis
Should win: Day-Lewis
Should have been nominated: John Hawkes, The Sessions, and Denis Lavant for Holy Motors. Seriously. Denis Lavant. Check that movie out, it's astounding. And you know what? I'd even nominated Tom Hanks for Cloud Atlas. Deal with it.
Tuesday, February 12, 2013
2012 Oscars: Production Design
Yikes, the show is creeping up on me and I've still got plenty of categories to do...
Trucking along, then.
Nominees
Anna Karenina
The Hobbit: An Unexpected Journey
Les Miserables
Life of Pi
Lincoln
5. Les Miserables
The whole movie was a close-up on faces. We almost never get to see the sets, and when we do they look bizarre, cartoonish, and disproportioned. For a movie trying to capture something realistic in its musical material, the design at times looks weirdly like a Tim Burton movie. Stupid, lazy nomination.
4. The Hobbit: An Unexpected Journey
Any trip to Middle Earth is going to look astounding, and there were plenty of new elements here - Goblin's cave, the Misty Mountain goblin kingdom, etc. But we've seen most of this stuff before - the Shire, Rivendell, etc. So not a stupid nomination, but still a lazy one.
3. Life of Pi
Bearing in mind that production design encapsulates the entire visual world of the film (except the framing of the camera), and not just the sets, justifies Life of Pi's nomination. Technically speaking, makeup, costumes, and visual effects are all subcategories of Production Design. So if we were just looking at the lifeboat, well that would be a bit too simplistic. But there's also the zoo, Pondicherry, the floating island, and Adult Pi's house. Then there's the visuals of the sunsets and the water, the whale and the flying fish and the jelly fish. THEN there's the tiger-vision sequence which was really a beautiful experience all by itself.
2. Lincoln
The basic job here was historical authenticity. The filmmakers wanted to recreate a time period, and they did it impeccably. They fully immersed you in this time period and these locations and this world. The only reason I list it above a movie like Pi is that I was at times only slightly more of the effects-driven nature of Pi's design. It's a minute, subjective reaction and I'd be totally cool if either film wins this award.
1. Anna Karenina
One of the most talked-about production design jobs of the year, Sarah Greenwood's theatre-inspired sets for Anna Karenina made for a fascinating, fun, and challenging experience. Some people hated the whole idea of the film, creating it like a play taking place mostly in one theater. But most people were at least intrigued by it, and I think it worked. And look at all the things they did with that space! Ballrooms and bedrooms and office spaces and an ice skating rink and a freaking horse race all existed here. The transitions were noticeable, yet somehow not jarring. Because the filmmakers were so committed to their theatre-inspired world, it all gelled naturally and efficiently. Sure, it might take some getting used to, but I would be that many people who hated it the first time might like it a little more the second time after knowing what they were getting themselves into. Yes, this is the most obvious or most production design in the bunch, but that doesn't necessarily mean it's not the best.
Should win: Anna Karenina (though Lincoln or Life of Pi would be just fine)
Will win: Anna Karenina, because the Academy tends to skew towards the obvious pick in this category. Possibly Lincoln if they're looking for more ways to reward it since there's no way it wins best picture now with the way Argo has picked up steam.
Should have been nominated: Argo, Cloud Atlas
Trucking along, then.
Nominees
Anna Karenina
The Hobbit: An Unexpected Journey
Les Miserables
Life of Pi
Lincoln
5. Les Miserables
The whole movie was a close-up on faces. We almost never get to see the sets, and when we do they look bizarre, cartoonish, and disproportioned. For a movie trying to capture something realistic in its musical material, the design at times looks weirdly like a Tim Burton movie. Stupid, lazy nomination.
4. The Hobbit: An Unexpected Journey
Any trip to Middle Earth is going to look astounding, and there were plenty of new elements here - Goblin's cave, the Misty Mountain goblin kingdom, etc. But we've seen most of this stuff before - the Shire, Rivendell, etc. So not a stupid nomination, but still a lazy one.
3. Life of Pi
Bearing in mind that production design encapsulates the entire visual world of the film (except the framing of the camera), and not just the sets, justifies Life of Pi's nomination. Technically speaking, makeup, costumes, and visual effects are all subcategories of Production Design. So if we were just looking at the lifeboat, well that would be a bit too simplistic. But there's also the zoo, Pondicherry, the floating island, and Adult Pi's house. Then there's the visuals of the sunsets and the water, the whale and the flying fish and the jelly fish. THEN there's the tiger-vision sequence which was really a beautiful experience all by itself.
2. Lincoln
The basic job here was historical authenticity. The filmmakers wanted to recreate a time period, and they did it impeccably. They fully immersed you in this time period and these locations and this world. The only reason I list it above a movie like Pi is that I was at times only slightly more of the effects-driven nature of Pi's design. It's a minute, subjective reaction and I'd be totally cool if either film wins this award.
1. Anna Karenina
One of the most talked-about production design jobs of the year, Sarah Greenwood's theatre-inspired sets for Anna Karenina made for a fascinating, fun, and challenging experience. Some people hated the whole idea of the film, creating it like a play taking place mostly in one theater. But most people were at least intrigued by it, and I think it worked. And look at all the things they did with that space! Ballrooms and bedrooms and office spaces and an ice skating rink and a freaking horse race all existed here. The transitions were noticeable, yet somehow not jarring. Because the filmmakers were so committed to their theatre-inspired world, it all gelled naturally and efficiently. Sure, it might take some getting used to, but I would be that many people who hated it the first time might like it a little more the second time after knowing what they were getting themselves into. Yes, this is the most obvious or most production design in the bunch, but that doesn't necessarily mean it's not the best.
Should win: Anna Karenina (though Lincoln or Life of Pi would be just fine)
Will win: Anna Karenina, because the Academy tends to skew towards the obvious pick in this category. Possibly Lincoln if they're looking for more ways to reward it since there's no way it wins best picture now with the way Argo has picked up steam.
Should have been nominated: Argo, Cloud Atlas
Saturday, February 2, 2013
2012 Oscars: Song and Score
As usual this year has some easy picks, and as usual there are some out-of-left field picks, and as usual many of the more popular songs were left by the wayside.
How all of the original music from Django Unchained got ignore, I'll never know or understand. But at least with Skyfall we get a nominee that was a commercial pop success for the first time in several years.
And sorry, but I was just too lazy to embed or link to any of these songs. Do it yourself, I'm not your mother.
Best Song Nominees
"Before My Time" - Chasing Ice
"Everybody Needs A Best Friend" - Ted
"Pi's Lullaby" - Life of Pi
"Skyfall" - Skyfall
"Suddenly" - Les Miserables
5. "Suddenly"
Aside from the fact that the song wasn't necessary to the film, and aside from the fact that this is clearly just another stage musical that adds an original song likely for the sole purpose of garnering this very Oscar nomination, this song just isn't very good. It wasn't memorable, it wasn't necessary, and it wasn't exactly Hugh Jackman's finest moment in the film. It shouldn't be here.
4. "Everybody Needs A Best Friend"
It's a fun enough song, and Norah Jones is always nice to listen to, but this song doesn't really do anything new or different or unique compared to the songs Randy Newman has already won Oscars for, except perhaps with a more tongue-in-cheek approach to the lyrics.
3. "Before My Time"
This is the one film I wasn't able to see, but for this category that isn't always necessary. Simply put, it's a really lovely song, a sort of lament, that seems to go well thematically with a documentary about glacial melting.
2. "Skyfall"
I know this is probably going to win, and that's okay. It's nice to see a song so closely associated with a film become to popular - that used to be a regular occurrence up until around the beginning of last decade. And look, Adele is great and everyone would love to see her win another award, but let's face it: the song is built on pre-existing musical motifs and occasionally nonsensical lyrics. It's a pleasant thing to listen to, and I like it a lot, but objectively it's not exactly a great song.
1. "Pi's Lullaby"
I never would have thought to nominate this song, and it's probably only here because it got swept in with some greater love for the movie it's from and a desire to show some diversity with an ethnic sound rather than the merits of the song itself. But you know what? It's a really cool song. It's seamless integrated into the film's score at times, and the lyrics are actually really insightful when you think about what the movie is really about:
"are you the peacock or the plumage of the peacock?are you the cuckoo or the cry of the cuckoo?are you the moon or the light of the moon?are you the eyelashes, or the dream?are you the flower or the nectar?are you the fruit or the sweetness?"
It really is a lullaby of sorts, and the questions it asks drive straight to the heart of the movie - what are we dealing with? The truth? Or something that is a shadow of the truth? Reality, or our sensation and perception of reality?
Should win: "Pi's Lullaby"Will win: "Skyfall"Should have been nominated: "Who Were We" from Holy Motors, "Who Did That to You" from Django Unchained, or almost any other original song from that movie. Also one of the songs from Brave would have been nice to see here. Possibly "Song of the Lonely Mountain" from The Hobbit.
Best Score NomineesAnna Karenina - Dario MarianelliArgo - Alexandre DesplatLife of Pi - Mychael DannaLincoln - John WilliamsSkyfall - Thomas Newman
5. Anna Karenina
Dario Marinelli tries to recreate the magic of his Atonement score with a few more intergrated sound effects into the music (rubber stamps and actors playing instruments, etc.) but aside from a few cues, the score here never really does anything that interesting. It works for the film, sure, and it has some nice Russian-inspired instrumentation and themes, but it's more serviceable than anything else.
4. Argo
When I saw this nomination, I scratched my head trying to even remember the music from Argo. Then I went and listened to the score and found it fairly interesting, noticed some truly beautiful musical moments, and thought that it was something new and different from Desplat's other work. Unfortunately, it's not that new from music that other composers have already written for other film set in and around the Middle East - most of the time it just seems like cookie-cutter Arabian-sounding thriller fare.
3. Skyfall
Thomas Newman is one of my favorite composers and it's a crime that he's gone 0-10 at the Oscars so far in his career. But while he definitely elevates action film music Skyfall to a new level with his signature sounds - unique chord progressions, that crystal clear oboe - at the end of the day, much of it remains typical and let's not forget that he still obligingly draws heavily on the James Bond theme and sound that already exists in everyone's mind. That's not a criticism, mind you - it should be somewhat typical because we go into a Bond movie expecting some degree of familiarity. But it's hardly the best work of the year.
2. Life of Pi
Beautiful work here, and nearly ceaselessly playing during the film. The music really helps tell the story. It is delicate and fascinating. My main problem is that eventually it all sort of sounds repetitive and similar. It would be a completely deserving winner, don't get me wrong, it just doesn't consistently get to me on a gut level. At time it is transcendant, but falls short too often for me to pick it.
1. Lincoln
I almost didn't even notice the music when I first saw Lincoln. John Williams shows great restraint, frequently letting the music work underneath the images and dialogue, slowly, subtly, but necessary and present nonetheless, almost never drawing attention to itself. The folksy fiddle tunes are wonderful comic relief and do wonders for the scenes in which they are used, the few "themes" are not over used, nor especially catchy - and that's a good thing. The music stays with you, but it doesn't get stuck in your head. And near the end of "The Peterson House and Finale" - essentially a suite summarizing the whole score - I still get chills when the music swells and reminds me of the triumph the movie celebrates (the passage of the 13th Amendment), as well as the triumph the movie is. Some have complained the score sounds like a little too typically John Williams, not exactly his most innovative stuff. And sure, it's not as radical as his scores for Prisoner of Azkaban, Memoirs of a Geisha, or Tintin, but classic John Williams is still better than 95% of the scores out there.
Should win: LincolnWill win: Life of PiShould have been nominated: Beasts of the Southern Wild, Cloud Atlas
How all of the original music from Django Unchained got ignore, I'll never know or understand. But at least with Skyfall we get a nominee that was a commercial pop success for the first time in several years.
And sorry, but I was just too lazy to embed or link to any of these songs. Do it yourself, I'm not your mother.
Best Song Nominees
"Before My Time" - Chasing Ice
"Everybody Needs A Best Friend" - Ted
"Pi's Lullaby" - Life of Pi
"Skyfall" - Skyfall
"Suddenly" - Les Miserables
5. "Suddenly"
Aside from the fact that the song wasn't necessary to the film, and aside from the fact that this is clearly just another stage musical that adds an original song likely for the sole purpose of garnering this very Oscar nomination, this song just isn't very good. It wasn't memorable, it wasn't necessary, and it wasn't exactly Hugh Jackman's finest moment in the film. It shouldn't be here.
4. "Everybody Needs A Best Friend"
It's a fun enough song, and Norah Jones is always nice to listen to, but this song doesn't really do anything new or different or unique compared to the songs Randy Newman has already won Oscars for, except perhaps with a more tongue-in-cheek approach to the lyrics.
3. "Before My Time"
This is the one film I wasn't able to see, but for this category that isn't always necessary. Simply put, it's a really lovely song, a sort of lament, that seems to go well thematically with a documentary about glacial melting.
2. "Skyfall"
I know this is probably going to win, and that's okay. It's nice to see a song so closely associated with a film become to popular - that used to be a regular occurrence up until around the beginning of last decade. And look, Adele is great and everyone would love to see her win another award, but let's face it: the song is built on pre-existing musical motifs and occasionally nonsensical lyrics. It's a pleasant thing to listen to, and I like it a lot, but objectively it's not exactly a great song.
1. "Pi's Lullaby"
I never would have thought to nominate this song, and it's probably only here because it got swept in with some greater love for the movie it's from and a desire to show some diversity with an ethnic sound rather than the merits of the song itself. But you know what? It's a really cool song. It's seamless integrated into the film's score at times, and the lyrics are actually really insightful when you think about what the movie is really about:
"are you the peacock or the plumage of the peacock?are you the cuckoo or the cry of the cuckoo?are you the moon or the light of the moon?are you the eyelashes, or the dream?are you the flower or the nectar?are you the fruit or the sweetness?"
It really is a lullaby of sorts, and the questions it asks drive straight to the heart of the movie - what are we dealing with? The truth? Or something that is a shadow of the truth? Reality, or our sensation and perception of reality?
Should win: "Pi's Lullaby"Will win: "Skyfall"Should have been nominated: "Who Were We" from Holy Motors, "Who Did That to You" from Django Unchained, or almost any other original song from that movie. Also one of the songs from Brave would have been nice to see here. Possibly "Song of the Lonely Mountain" from The Hobbit.
Best Score NomineesAnna Karenina - Dario MarianelliArgo - Alexandre DesplatLife of Pi - Mychael DannaLincoln - John WilliamsSkyfall - Thomas Newman
5. Anna Karenina
Dario Marinelli tries to recreate the magic of his Atonement score with a few more intergrated sound effects into the music (rubber stamps and actors playing instruments, etc.) but aside from a few cues, the score here never really does anything that interesting. It works for the film, sure, and it has some nice Russian-inspired instrumentation and themes, but it's more serviceable than anything else.
4. Argo
When I saw this nomination, I scratched my head trying to even remember the music from Argo. Then I went and listened to the score and found it fairly interesting, noticed some truly beautiful musical moments, and thought that it was something new and different from Desplat's other work. Unfortunately, it's not that new from music that other composers have already written for other film set in and around the Middle East - most of the time it just seems like cookie-cutter Arabian-sounding thriller fare.
3. Skyfall
Thomas Newman is one of my favorite composers and it's a crime that he's gone 0-10 at the Oscars so far in his career. But while he definitely elevates action film music Skyfall to a new level with his signature sounds - unique chord progressions, that crystal clear oboe - at the end of the day, much of it remains typical and let's not forget that he still obligingly draws heavily on the James Bond theme and sound that already exists in everyone's mind. That's not a criticism, mind you - it should be somewhat typical because we go into a Bond movie expecting some degree of familiarity. But it's hardly the best work of the year.
2. Life of Pi
Beautiful work here, and nearly ceaselessly playing during the film. The music really helps tell the story. It is delicate and fascinating. My main problem is that eventually it all sort of sounds repetitive and similar. It would be a completely deserving winner, don't get me wrong, it just doesn't consistently get to me on a gut level. At time it is transcendant, but falls short too often for me to pick it.
1. Lincoln
I almost didn't even notice the music when I first saw Lincoln. John Williams shows great restraint, frequently letting the music work underneath the images and dialogue, slowly, subtly, but necessary and present nonetheless, almost never drawing attention to itself. The folksy fiddle tunes are wonderful comic relief and do wonders for the scenes in which they are used, the few "themes" are not over used, nor especially catchy - and that's a good thing. The music stays with you, but it doesn't get stuck in your head. And near the end of "The Peterson House and Finale" - essentially a suite summarizing the whole score - I still get chills when the music swells and reminds me of the triumph the movie celebrates (the passage of the 13th Amendment), as well as the triumph the movie is. Some have complained the score sounds like a little too typically John Williams, not exactly his most innovative stuff. And sure, it's not as radical as his scores for Prisoner of Azkaban, Memoirs of a Geisha, or Tintin, but classic John Williams is still better than 95% of the scores out there.
Should win: LincolnWill win: Life of PiShould have been nominated: Beasts of the Southern Wild, Cloud Atlas
Wednesday, January 23, 2013
2012 Oscars: Costume Design
I know, I know, I said I was going to do the techs first, then the artistics. I'm sure you're very disappointed and confused that I'm going out of order. But there's a single costume in particular that kind of blew my mind and I want to talk about it.
So get over it.
Nominees
Anna Karenina, Jacqueline Durran
Les Miserables, Paco Delgado
Lincoln, Joanna Johnston
Mirror Mirror, Eiko Ishioka
Snow White and the Huntsman, Colleen Atwood
5. Mirror Mirror
Some of the dresses were pretty, I guess. The bright colors gave a nice fairy tale feel to the whole movie And Ishioka died a year ago, so yes, there's a bit of a sympathy vote here. But at the end of the day, these were cookie-cutter costumes that we've seen before, and they lacked a certain detail and texture to help them blend into their surroundings. Julia Roberts' giant yellow dresses were distracting. The costumes drew attention to themselves rather than aiding the story, and that's just not okay.
4. Les Miserables
These were fine, I guess. I wasn't a fan of the movie, and I don't want that to affect my position here, but given that most of the film was shot in closeups, most of the costumes we really got to see were of the collars and lapels, so it's rather difficult to tell if they were really all that good or not. They were appropriate enough, I guess. They seemed to fit the period and the characters, and there was a certain elaborateness that reflected the heightened musical atmosphere of the film, but really there wasn't a whole of really interesting work going on here.
3. Snow White and the Huntsman
Colleen Atwood never fails to deliver, and where Mirror Mirror's costumes seemed distracting and inappropriate even for its bubblegum fairy tale vision, Atwood's work here adequately fits the darker medieval world of the film, without being too garish. Charlize Theron's costumes frequently had a sharp angular feel that matched her villainous character, and all the armor and chain mail seemed original and unique. That said, a few notable pieces aside, I feel like I've seen this all before.
2. Anna Karenina
Of the nominees thusfar, I think these costumes are the ones that best struck a balance between the authentic, period-based demands of the design with the colorful, exaggerated nature of the film itself. The film is intentionally theatrical, where films like Mirror Mirror and Les Miserables were accidentally theatrical. Therefore in my mind it gets a little leeway with its flamboyance. What's more, I never felt like I was focusing on the costumes, they seemed to simply exist in the world and became a part of the characters who wore them.
1. Lincoln
This will be the first of several awards I personally think Lincoln deserves, although it almost certainly won't win all of them. (And just to clarify now, in each of these categories I don't necessarily think Lincoln had the best such-and-such of the year so much as the best such-and-such of the nominees.) At face value, the design of Lincoln seems based in simply historical authenticity. Joanna Johnston has said as much, that "getting it right" was really the goal. So you see muted tones and rich textures to recreate the clothes and the mood of the times of the Civil War. Much of the outfit in Lincoln are indeed dutiful recreations, right down to the use of Lincoln's shawls, which he was apparently quite fond of. One of the few garish pieces was the bold yellow Asian-looking garment worn by Secretary of State Seward, and it does call attention to itself because it seems so out of place. Yet apparently, Seward had been a world traveller and was known to wear these sorts of things in private. So it is at least justified in it's out-of-placeness. Mary Todd Lincoln frequently wears finer fabrics and bolder colors in the film because, as she explains in one scene, she is intentionally living beyond her means so that the office of the Presidency maintains its dignity while she inhabits the White House. Her costumes are driving partially by history, but also by character.
My favorite example of character-driven costuming this entire year is the suit that Bob Lincoln wears on an outing with his father. It's a simple suit. The first time I saw the film, though, I frequently thought, "Joseph Gordon-Levitt looks odd in this film..." The second time I realized why: his clothes were almost always too big for him. In the film, his character is basically the son who wants to grow up and be a man in conflict with his parents who want to protect him and keep hold of their child. It's as though the entire film he's trying to wear his big boy pants, but something is stopping him from growing. It isn't until he does enlist in the military that he finally looks right in his own clothes. It's honestly a brilliant piece of character-driven costume design, and just because the suit is an ugly brown instead of bright yellow, and just because the military uniforms are recreations instead of original armor and mail, and just because Charlize Theron looks hotter in her gowns than Sally Field does, that doesn't mean Lincoln is any less deserving of this award.
BEST COSTUME DESIGN
Will win: Anna Karenina (and that's not necessarily wrong or undeserving)
Should win: Lincoln
Should have been nominated: Argo and Django Unchained, instead of Mirror Mirror and Les Miserables.
(By the way, if anyone wants me to explain my "should have been nominated" choices any further, indicate it in the comments. I just dont' want to bore anyone too much.)
Anna Karenina, Jacqueline Durran
Les Miserables, Paco Delgado
Lincoln, Joanna Johnston
Mirror Mirror, Eiko Ishioka
Snow White and the Huntsman, Colleen Atwood
5. Mirror Mirror
Some of the dresses were pretty, I guess. The bright colors gave a nice fairy tale feel to the whole movie And Ishioka died a year ago, so yes, there's a bit of a sympathy vote here. But at the end of the day, these were cookie-cutter costumes that we've seen before, and they lacked a certain detail and texture to help them blend into their surroundings. Julia Roberts' giant yellow dresses were distracting. The costumes drew attention to themselves rather than aiding the story, and that's just not okay.
4. Les Miserables
These were fine, I guess. I wasn't a fan of the movie, and I don't want that to affect my position here, but given that most of the film was shot in closeups, most of the costumes we really got to see were of the collars and lapels, so it's rather difficult to tell if they were really all that good or not. They were appropriate enough, I guess. They seemed to fit the period and the characters, and there was a certain elaborateness that reflected the heightened musical atmosphere of the film, but really there wasn't a whole of really interesting work going on here.
 |
| For all I know, the entire cast never wore pants. |
3. Snow White and the Huntsman
Colleen Atwood never fails to deliver, and where Mirror Mirror's costumes seemed distracting and inappropriate even for its bubblegum fairy tale vision, Atwood's work here adequately fits the darker medieval world of the film, without being too garish. Charlize Theron's costumes frequently had a sharp angular feel that matched her villainous character, and all the armor and chain mail seemed original and unique. That said, a few notable pieces aside, I feel like I've seen this all before.
2. Anna Karenina
Of the nominees thusfar, I think these costumes are the ones that best struck a balance between the authentic, period-based demands of the design with the colorful, exaggerated nature of the film itself. The film is intentionally theatrical, where films like Mirror Mirror and Les Miserables were accidentally theatrical. Therefore in my mind it gets a little leeway with its flamboyance. What's more, I never felt like I was focusing on the costumes, they seemed to simply exist in the world and became a part of the characters who wore them.
1. Lincoln
This will be the first of several awards I personally think Lincoln deserves, although it almost certainly won't win all of them. (And just to clarify now, in each of these categories I don't necessarily think Lincoln had the best such-and-such of the year so much as the best such-and-such of the nominees.) At face value, the design of Lincoln seems based in simply historical authenticity. Joanna Johnston has said as much, that "getting it right" was really the goal. So you see muted tones and rich textures to recreate the clothes and the mood of the times of the Civil War. Much of the outfit in Lincoln are indeed dutiful recreations, right down to the use of Lincoln's shawls, which he was apparently quite fond of. One of the few garish pieces was the bold yellow Asian-looking garment worn by Secretary of State Seward, and it does call attention to itself because it seems so out of place. Yet apparently, Seward had been a world traveller and was known to wear these sorts of things in private. So it is at least justified in it's out-of-placeness. Mary Todd Lincoln frequently wears finer fabrics and bolder colors in the film because, as she explains in one scene, she is intentionally living beyond her means so that the office of the Presidency maintains its dignity while she inhabits the White House. Her costumes are driving partially by history, but also by character.
BEST COSTUME DESIGN
Will win: Anna Karenina (and that's not necessarily wrong or undeserving)
Should win: Lincoln
Should have been nominated: Argo and Django Unchained, instead of Mirror Mirror and Les Miserables.
(By the way, if anyone wants me to explain my "should have been nominated" choices any further, indicate it in the comments. I just dont' want to bore anyone too much.)
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