The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
02-09-13, 07:06 PM
#201
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Was in the mood for some horror today, so debated between An American Werewolf in London, or Bride of Frankenstein. Classic horror won out, so I broke open my Universal Horror DVD set, and watched Bride. They don't make horror like that any more.
02-10-13, 12:14 AM
#202
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Decided to go ahead and shore up the checklist by knocking out a winner for Documentary (Short Subject). An online pal turned up Men Against the Arctic on YouTube. It's not an official upload, but it's good enough for the purpose of getting me that check mark! I had to add it to both The Movie Database (TMDb.org), the database that Letterboxd uses, and to Flickchart so I haven't actually put it through my standard rank-and-review process yet.
The footage is truly spectacular, but I found myself feeling that without hearing a single word from either of the crews, the doc was too sterile for my taste. This could have been a tremendous human interest story - man against extreme nature - but it feels more like generic recruitment propaganda. Plus, I kept wondering if these guys were responsible for the polar cap melting that's going to drown us all.
Man Against the Arctic
28th Academy Awards (1955)
(W) DOCUMENTARY (Short Subject) -- Walt Disney, Producer
The footage is truly spectacular, but I found myself feeling that without hearing a single word from either of the crews, the doc was too sterile for my taste. This could have been a tremendous human interest story - man against extreme nature - but it feels more like generic recruitment propaganda. Plus, I kept wondering if these guys were responsible for the polar cap melting that's going to drown us all.
Man Against the Arctic
28th Academy Awards (1955)
(W) DOCUMENTARY (Short Subject) -- Walt Disney, Producer
02-10-13, 01:36 AM
#203
DVD Talk Godfather
Join Date: Oct 2003
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Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
I returned to the Good for You Like Vegetables Challenge by seeing Skyfall before it left theaters. 
02-10-13, 01:44 AM
#204
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Yeah, well, vegetables aren't always good for you! :P Skyfall just started playing the second-run theater here and even though I pre-ordered it on Blu-ray I think I'm tempted to plop down $3 and go see it again on the big screen this week. The only problem with that is that the same theater is also showing the Oscar nominated short films this week; $3 to see either all five Animated or all five Live Action noms. I could wait and catch all ten films for $10 at Cinemark on the 15th or the 22nd, though. I'd be paying an additional $4 but Cinemark has much more comfortable seats.
02-10-13, 01:49 AM
#205
DVD Talk Godfather
Join Date: Oct 2003
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Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Yes, as I said earlier in the thread, the song and effects nominees allow us to take breaks among the "healthier" stuff.
02-10-13, 04:31 AM
#206
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
"Gung hay fat choi!"
Yesterday was the start of Chinese New Year, so I popped in SHANGHAI EXPRESS, a Best Picture nominee of 1931-32, set on the title train and starring Marlene Dietrich and Anna May Wong. A sheer masterwork of Dietrichian cinematic splendor, as are all the films she made for director Josef von Sternberg, who was nominated for Best Director. I love how the script, once all the thriller elements are adequately dispensed with (Chinese rebel leader takes over the train to choose a hostage from among the passengers in order to engineer the release of one of his compatriots), it becomes a meditation on love and faith, with an unexpected character becoming the voice of reason.
This is the only Oscar-nominated film Ms. Wong appeared in.
I wanted to watch a Hong Kong film also, but so few of them have been nominated for Oscars (have any?). I could have popped in CROUCHING TIGER, HIDDEN DRAGON (a Chinese-U.S. co-production with Hong Kong stars), but I couldn't find my copy easily, so since it's the Year of the Snake--and I was born in the Year of the Snake--I decided to step out of the challenge and watch THE SORCERER AND THE WHITE SNAKE (2011), starring Jet Li, one of several adaptations of the famous folk tale about the snake sisters, White and Green, who take on human form and enter into hot-and-heavy relationships with unsuspecting human males.
Yesterday was the start of Chinese New Year, so I popped in SHANGHAI EXPRESS, a Best Picture nominee of 1931-32, set on the title train and starring Marlene Dietrich and Anna May Wong. A sheer masterwork of Dietrichian cinematic splendor, as are all the films she made for director Josef von Sternberg, who was nominated for Best Director. I love how the script, once all the thriller elements are adequately dispensed with (Chinese rebel leader takes over the train to choose a hostage from among the passengers in order to engineer the release of one of his compatriots), it becomes a meditation on love and faith, with an unexpected character becoming the voice of reason.
This is the only Oscar-nominated film Ms. Wong appeared in.
I wanted to watch a Hong Kong film also, but so few of them have been nominated for Oscars (have any?). I could have popped in CROUCHING TIGER, HIDDEN DRAGON (a Chinese-U.S. co-production with Hong Kong stars), but I couldn't find my copy easily, so since it's the Year of the Snake--and I was born in the Year of the Snake--I decided to step out of the challenge and watch THE SORCERER AND THE WHITE SNAKE (2011), starring Jet Li, one of several adaptations of the famous folk tale about the snake sisters, White and Green, who take on human form and enter into hot-and-heavy relationships with unsuspecting human males.
Last edited by Ash Ketchum; 02-10-13 at 06:03 AM.
02-10-13, 02:26 PM
#207
DVD Talk Limited Edition
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
An American in Paris and Crash today. Fairly different subject matter, although I noticed that American takes place around the New Year, and Crash must be around Christmas, so I can add those to a list of "Holiday" potentials for next year...! 
I wondered, towards the end of American whether Gene Kelly had a contractual obligation to provide some sort of out-of-continuity dream-sequence-y dance number in all of his films that showcased his talent but really did nothing for the plot..?! So far this month (and I don't think I've seen many more of his films for a decade - if ever - to compare further) I've seen Singin' in the Rain and Anchors Aweigh as well as now An American in Paris. Singin' has the Cyd Charisse number that I didn't remember from watching it years ago, but - despite being heavily featured in the trailer - is really, really annoying! It's so far removed from the film as to be utterly tangential even to tangents - it's nothing more than a dream sequence within an extended preview for the musical retooling of the re-recorded silent film within the actual film. That's about four degrees removed from the action! And it goes on, and on and on... It is also almost the only low point (for me) in an otherwise near-perfect film, which really colours my viewing of it and thinking about it, because at any other point it would be very interesting and well done. Likewise, the dance with Jerry (of Tom & Jerry) within Anchors Aweigh is very well done, for what must be a relatively early live/animated hybrid scene... but it's utterly pointless, and really bizarre! It happens because Kelly's character decides not to tell a classroom-full of children how he REALLY won his medal, but instead to tell them that King Jerry gave it to him for introducing dance back into a cartoon kingdom. Which is far beyond strange.
Now, An American in Paris. Not a bad film - although I'm not entirely sure it's better enough than the others to win Best Picture - but then the last quarter of hour is just filler. As in Mary Poppins (but without the plot necessity), the character(s) head into paintings, here just to dance in Kelly's characters' artwork. It's interesting, it's technically well-done, but he's spent large parts of the film dancing, so it's not strictly needed to show off his talents - neither is the Singin' number, although Anchors might have needed it. It's just there, ostensibly, to give time for a character to come to their senses. So it could possibly be said to be useful to the plot, but... it's an odd trend!
I've never seen Brokeback Mountain, but I suspect that Crash deserved to win Best Picture, despite all the furore at the time. It's very complex and complicated, and the interactions are both fascinating and terrifying. It seems potentially VERY real - which is disturbing and hopeful in not-quite-equal part - and overall paints a fairly bleak picture of life. And not just life in America, but life as a whole. While it would detract from the brilliance of the film, I almost wish it had a five minute coda of someone shouting at the viewer what lessons they're meant to learn from it all. Judge not, and People are complicated and love and care for each other and GROW UP and SORT YOURSELVES OUT and so on and so forth.
I wondered, towards the end of American whether Gene Kelly had a contractual obligation to provide some sort of out-of-continuity dream-sequence-y dance number in all of his films that showcased his talent but really did nothing for the plot..?! So far this month (and I don't think I've seen many more of his films for a decade - if ever - to compare further) I've seen Singin' in the Rain and Anchors Aweigh as well as now An American in Paris. Singin' has the Cyd Charisse number that I didn't remember from watching it years ago, but - despite being heavily featured in the trailer - is really, really annoying! It's so far removed from the film as to be utterly tangential even to tangents - it's nothing more than a dream sequence within an extended preview for the musical retooling of the re-recorded silent film within the actual film. That's about four degrees removed from the action! And it goes on, and on and on... It is also almost the only low point (for me) in an otherwise near-perfect film, which really colours my viewing of it and thinking about it, because at any other point it would be very interesting and well done. Likewise, the dance with Jerry (of Tom & Jerry) within Anchors Aweigh is very well done, for what must be a relatively early live/animated hybrid scene... but it's utterly pointless, and really bizarre! It happens because Kelly's character decides not to tell a classroom-full of children how he REALLY won his medal, but instead to tell them that King Jerry gave it to him for introducing dance back into a cartoon kingdom. Which is far beyond strange.
Now, An American in Paris. Not a bad film - although I'm not entirely sure it's better enough than the others to win Best Picture - but then the last quarter of hour is just filler. As in Mary Poppins (but without the plot necessity), the character(s) head into paintings, here just to dance in Kelly's characters' artwork. It's interesting, it's technically well-done, but he's spent large parts of the film dancing, so it's not strictly needed to show off his talents - neither is the Singin' number, although Anchors might have needed it. It's just there, ostensibly, to give time for a character to come to their senses. So it could possibly be said to be useful to the plot, but... it's an odd trend!
I've never seen Brokeback Mountain, but I suspect that Crash deserved to win Best Picture, despite all the furore at the time. It's very complex and complicated, and the interactions are both fascinating and terrifying. It seems potentially VERY real - which is disturbing and hopeful in not-quite-equal part - and overall paints a fairly bleak picture of life. And not just life in America, but life as a whole. While it would detract from the brilliance of the film, I almost wish it had a five minute coda of someone shouting at the viewer what lessons they're meant to learn from it all. Judge not, and People are complicated and love and care for each other and GROW UP and SORT YOURSELVES OUT and so on and so forth.
02-10-13, 02:32 PM
#208
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Just a heads up. I just finished watching Those Magnificent Men in Their Flying Machines on TCM, and after the movie went off, there was a commercial. Ben Hur, is on TCM next Saturday night at 8 PM EST. Also, just finished watching one of the shorts on between movies on TCM, Eyes of the Navy, and I don't know if this is true for all of the between movie shorts, but it seems even the shorts during 31 Days of Oscar are Oscar Nominated Material.
Last edited by shadokitty; 02-10-13 at 02:54 PM.
02-10-13, 06:51 PM
#209
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
An American in Paris and Crash today. Fairly different subject matter, although I noticed that American takes place around the New Year, and Crash must be around Christmas, so I can add those to a list of "Holiday" potentials for next year...!
I wondered, towards the end of American whether Gene Kelly had a contractual obligation to provide some sort of out-of-continuity dream-sequence-y dance number in all of his films that showcased his talent but really did nothing for the plot..?! So far this month (and I don't think I've seen many more of his films for a decade - if ever - to compare further) I've seen Singin' in the Rain and Anchors Aweigh as well as now An American in Paris. Singin' has the Cyd Charisse number that I didn't remember from watching it years ago, but - despite being heavily featured in the trailer - is really, really annoying! It's so far removed from the film as to be utterly tangential even to tangents - it's nothing more than a dream sequence within an extended preview for the musical retooling of the re-recorded silent film within the actual film. That's about four degrees removed from the action! And it goes on, and on and on... It is also almost the only low point (for me) in an otherwise near-perfect film, which really colours my viewing of it and thinking about it, because at any other point it would be very interesting and well done. Likewise, the dance with Jerry (of Tom & Jerry) within Anchors Aweigh is very well done, for what must be a relatively early live/animated hybrid scene... but it's utterly pointless, and really bizarre! It happens because Kelly's character decides not to tell a classroom-full of children how he REALLY won his medal, but instead to tell them that King Jerry gave it to him for introducing dance back into a cartoon kingdom. Which is far beyond strange.
Now, An American in Paris. Not a bad film - although I'm not entirely sure it's better enough than the others to win Best Picture - but then the last quarter of hour is just filler. As in Mary Poppins (but without the plot necessity), the character(s) head into paintings, here just to dance in Kelly's characters' artwork. It's interesting, it's technically well-done, but he's spent large parts of the film dancing, so it's not strictly needed to show off his talents - neither is the Singin' number, although Anchors might have needed it. It's just there, ostensibly, to give time for a character to come to their senses. So it could possibly be said to be useful to the plot, but... it's an odd trend!
I've never seen Brokeback Mountain, but I suspect that Crash deserved to win Best Picture, despite all the furore at the time. It's very complex and complicated, and the interactions are both fascinating and terrifying. It seems potentially VERY real - which is disturbing and hopeful in not-quite-equal part - and overall paints a fairly bleak picture of life. And not just life in America, but life as a whole. While it would detract from the brilliance of the film, I almost wish it had a five minute coda of someone shouting at the viewer what lessons they're meant to learn from it all. Judge not, and People are complicated and love and care for each other and GROW UP and SORT YOURSELVES OUT and so on and so forth.
I wondered, towards the end of American whether Gene Kelly had a contractual obligation to provide some sort of out-of-continuity dream-sequence-y dance number in all of his films that showcased his talent but really did nothing for the plot..?! So far this month (and I don't think I've seen many more of his films for a decade - if ever - to compare further) I've seen Singin' in the Rain and Anchors Aweigh as well as now An American in Paris. Singin' has the Cyd Charisse number that I didn't remember from watching it years ago, but - despite being heavily featured in the trailer - is really, really annoying! It's so far removed from the film as to be utterly tangential even to tangents - it's nothing more than a dream sequence within an extended preview for the musical retooling of the re-recorded silent film within the actual film. That's about four degrees removed from the action! And it goes on, and on and on... It is also almost the only low point (for me) in an otherwise near-perfect film, which really colours my viewing of it and thinking about it, because at any other point it would be very interesting and well done. Likewise, the dance with Jerry (of Tom & Jerry) within Anchors Aweigh is very well done, for what must be a relatively early live/animated hybrid scene... but it's utterly pointless, and really bizarre! It happens because Kelly's character decides not to tell a classroom-full of children how he REALLY won his medal, but instead to tell them that King Jerry gave it to him for introducing dance back into a cartoon kingdom. Which is far beyond strange.
Now, An American in Paris. Not a bad film - although I'm not entirely sure it's better enough than the others to win Best Picture - but then the last quarter of hour is just filler. As in Mary Poppins (but without the plot necessity), the character(s) head into paintings, here just to dance in Kelly's characters' artwork. It's interesting, it's technically well-done, but he's spent large parts of the film dancing, so it's not strictly needed to show off his talents - neither is the Singin' number, although Anchors might have needed it. It's just there, ostensibly, to give time for a character to come to their senses. So it could possibly be said to be useful to the plot, but... it's an odd trend!
I've never seen Brokeback Mountain, but I suspect that Crash deserved to win Best Picture, despite all the furore at the time. It's very complex and complicated, and the interactions are both fascinating and terrifying. It seems potentially VERY real - which is disturbing and hopeful in not-quite-equal part - and overall paints a fairly bleak picture of life. And not just life in America, but life as a whole. While it would detract from the brilliance of the film, I almost wish it had a five minute coda of someone shouting at the viewer what lessons they're meant to learn from it all. Judge not, and People are complicated and love and care for each other and GROW UP and SORT YOURSELVES OUT and so on and so forth.
You should see Kelly's THE PIRATE (1948) next. Great songs, great dancing, but it also has a more intricate plot than the others. And its dream pirate dance sequence actually has a dramatic purpose. And then...ON THE TOWN (1949). Both had Oscar noms.
Last edited by Ash Ketchum; 02-11-13 at 10:22 AM.
02-10-13, 06:59 PM
#210
Moderator
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Just a heads up. I just finished watching 'Those Magnificent Men in Their Flying Machines' on TCM, and after the movie went off, there was a commercial. 'Ben Hur', is on TCM next Saturday night at 8 PM EST. Also, just finished watching one of the shorts on between movies on TCM, Eyes of the Navy, and I don't know if this is true for all of the between movie shorts, but it seems even the shorts during 31 Days of Oscar are Oscar Nominated Material.
did you like TMMiTFM? I just watched my Twilight Time bluray and thought it was a hoot.
02-10-13, 08:10 PM
#211
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
02-11-13, 06:27 AM
#212
DVD Talk Limited Edition
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
So I finally made it through Imitation of Life (1959) and in some ways it was more substantive than the original and in other ways it was more regressive. I'm still not sold on Annie "outing" her daughter in public multiple times. This time she did it after the boyfriend had beaten her daughter for being black (and can I just say that the upbeat jazz score playing during that scene was wholly inappropriate). At least in this instance Annie's disappointment is less about passing and more about the fact that Sarah Jane working in a gentleman's club.
What really struck me about the more recent version was how regressive the gender politics got. In the original, Bea is a successful businesswoman and in the remake, she's an actress (a slightly more gender appropriate profession). Not only that but you have the wonderful scene toward the end where Lora received the whole guilt trip about choosing her career over taking care of her daughter. Well Hollywood had to do their part after WWII to get women back out of the workforce and back into the home so there ya go.
There was one minute difference I picked up on as well. In the original version, when Peola comes home for the funeral, they put her in the front seat of the limo with the driver. In the remake, Sarah Jane is "allowed" in the back seat with everyone else. Progress of a sort.
I did love the fact that Annie called Lora on her self-absorption: before Annie gets sick, they are talking about her funeral arrangements. Lora is completely mystified at the fact that Annie has friends and Annie says without missing a beat "well, you never asked." Lora went on and on telling Sarah Jane that she was never treated any differently b/c she was black but Lora never took any time to even inquire about Annie's life outside of her duties. Then again, maids weren't supposed to have lives outside of their white families' homes. When I saw that scene I thought back to The Help which I watched a couple days ago and had some issues with. This doesn't reveal any huge plot points but I'll put it in spoilers anyway:
BTW, I finished the film list for anyone interested. I haven't used Google Docs before so bear with me and let me know if it doesn't turn out the way it's supposed to. Please PM me if you have additions or subtractions to the list.
What really struck me about the more recent version was how regressive the gender politics got. In the original, Bea is a successful businesswoman and in the remake, she's an actress (a slightly more gender appropriate profession). Not only that but you have the wonderful scene toward the end where Lora received the whole guilt trip about choosing her career over taking care of her daughter. Well Hollywood had to do their part after WWII to get women back out of the workforce and back into the home so there ya go.
There was one minute difference I picked up on as well. In the original version, when Peola comes home for the funeral, they put her in the front seat of the limo with the driver. In the remake, Sarah Jane is "allowed" in the back seat with everyone else. Progress of a sort.
I did love the fact that Annie called Lora on her self-absorption: before Annie gets sick, they are talking about her funeral arrangements. Lora is completely mystified at the fact that Annie has friends and Annie says without missing a beat "well, you never asked." Lora went on and on telling Sarah Jane that she was never treated any differently b/c she was black but Lora never took any time to even inquire about Annie's life outside of her duties. Then again, maids weren't supposed to have lives outside of their white families' homes. When I saw that scene I thought back to The Help which I watched a couple days ago and had some issues with. This doesn't reveal any huge plot points but I'll put it in spoilers anyway:
Spoiler:
BTW, I finished the film list for anyone interested. I haven't used Google Docs before so bear with me and let me know if it doesn't turn out the way it's supposed to. Please PM me if you have additions or subtractions to the list.
02-11-13, 10:19 AM
#213
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
So I finally made it through Imitation of Life (1959) and in some ways it was more substantive than the original and in other ways it was more regressive. I'm still not sold on Annie "outing" her daughter in public multiple times. This time she did it after the boyfriend had beaten her daughter for being black (and can I just say that the upbeat jazz score playing during that scene was wholly inappropriate). At least in this instance Annie's disappointment is less about passing and more about the fact that Sarah Jane working in a gentleman's club.
What really struck me about the more recent version was how regressive the gender politics got. In the original, Bea is a successful businesswoman and in the remake, she's an actress (a slightly more gender appropriate profession). Not only that but you have the wonderful scene toward the end where Lora received the whole guilt trip about choosing her career over taking care of her daughter. Well Hollywood had to do their part after WWII to get women back out of the workforce and back into the home so there ya go.
There was one minute difference I picked up on as well. In the original version, when Peola comes home for the funeral, they put her in the front seat of the limo with the driver. In the remake, Sarah Jane is "allowed" in the back seat with everyone else. Progress of a sort.
I did love the fact that Annie called Lora on her self-absorption: before Annie gets sick, they are talking about her funeral arrangements. Lora is completely mystified at the fact that Annie has friends and Annie says without missing a beat "well, you never asked." Lora went on and on telling Sarah Jane that she was never treated any differently b/c she was black but Lora never took any time to even inquire about Annie's life outside of her duties. Then again, maids weren't supposed to have lives outside of their white families' homes. When I saw that scene I thought back to The Help which I watched a couple days ago and had some issues with. This doesn't reveal any huge plot points but I'll put it in spoilers anyway:
BTW, I finished the film list for anyone interested. I haven't used Google Docs before so bear with me and let me know if it doesn't turn out the way it's supposed to. Please PM me if you have additions or subtractions to the list.
What really struck me about the more recent version was how regressive the gender politics got. In the original, Bea is a successful businesswoman and in the remake, she's an actress (a slightly more gender appropriate profession). Not only that but you have the wonderful scene toward the end where Lora received the whole guilt trip about choosing her career over taking care of her daughter. Well Hollywood had to do their part after WWII to get women back out of the workforce and back into the home so there ya go.
There was one minute difference I picked up on as well. In the original version, when Peola comes home for the funeral, they put her in the front seat of the limo with the driver. In the remake, Sarah Jane is "allowed" in the back seat with everyone else. Progress of a sort.
I did love the fact that Annie called Lora on her self-absorption: before Annie gets sick, they are talking about her funeral arrangements. Lora is completely mystified at the fact that Annie has friends and Annie says without missing a beat "well, you never asked." Lora went on and on telling Sarah Jane that she was never treated any differently b/c she was black but Lora never took any time to even inquire about Annie's life outside of her duties. Then again, maids weren't supposed to have lives outside of their white families' homes. When I saw that scene I thought back to The Help which I watched a couple days ago and had some issues with. This doesn't reveal any huge plot points but I'll put it in spoilers anyway:
Spoiler:
BTW, I finished the film list for anyone interested. I haven't used Google Docs before so bear with me and let me know if it doesn't turn out the way it's supposed to. Please PM me if you have additions or subtractions to the list.
I saw COTTON COMES TO HARLEM in its New York premiere at the DeMille Theater in Times Square. The New York Times critic was at the same showing (this was before studios held advance screenings for critics) and in his review he expressed confusion at the obvious audience sympathy for the ostensible bad guy, Deke O'Malley (Calvin Lockhart), which amused me no end when I re-read the review a few years ago.
SHAFT was the first film I saw on New York's famous 42nd Street. I can re-watch that for this challenge. It won Best Song. (I'll never forget Isaac Hayes' performance of it during the Oscar show that year and his acceptance speech.)
Last edited by Ash Ketchum; 02-11-13 at 04:42 PM.
02-11-13, 01:00 PM
#214
DVD Talk Special Edition
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
So for the delay in posting on thoughts on the short documentaries. This month has been pretty hectic with my thesis work and teaching. This was the first time I sought out the short documentaries during my Academy Awards viewings, and I am so thrilled that I did. I will definitely make this part of my Oscar routine. Warning: Mild spoilers throughout.
Kings Point
Despite the potentially heavy topic, this doc felt wistful to me. Sure there is a lot of sadness and negativity, but I liked the way the people presented were facing their situations. It was interesting to see a dying community presented. Having lived in college towns for most of my life, my environment is usually changing all the time: people moving in and out, businesses coming and going, everyone rushing. Kings Point is a community sunk in stasis.
Mondays at Racine
One of the strongest entries. The filmmakers wisely used the salon and the sisters sparingly and focused on the women who use the salon and their stories. It raised several points about living with cancer that I had never considered (how it can change a marriage for the worse or put a hold on adoptions). There was a sense of hope and resilience despite setbacks that I really appreciated. By the end, I was sobbing as were the two women sitting in front of me and the mother and son sitting behind me.
Inocente
I loved it! the quirky artist reminded me of my undergrad days. It was interesting to see so much focus on one individual, especially after the large groups of subjects in the other features. However, Inocente was definitely able to carry the whole documentary. I really liked her artistic style and was so glad to see an organization of people dedicated to helping struggling kids and teens connect to art and strive to create their own visions. Truly beautiful!
Redemption
I didn't cry during this one which was refreshing. While it was the weakest (I agree with Giles's "so what" response), I connected to it mostly because I graduate in May, my future is up in the air, and that irrational part of my mind is convinced I will have to pick up cans to survive. I think the documentary would have been more interesting if it looked at the ramifications of "canning" and how widespread it is instead of focusing on a handful of personal narratives. It felt listless.
Open Heart
I thought this was the strongest of the bunch, a tearjerking yet uplifting look at children from Rwanda going to a heart clinic in Sudan. The facts presented at the beginning were shocking and provided a context for the children's narrative stories. I was very invested in their situation by the end of the forty minutes.
Went to see the live action and animated short on Friday and will try to get my thoughts sorted out soon! My advice is to go see all of the shorts. It is such a different medium from feature length films, and this batch was awesome! I need to figure out how to support and see more shorts throughout the year.
Kings Point
Despite the potentially heavy topic, this doc felt wistful to me. Sure there is a lot of sadness and negativity, but I liked the way the people presented were facing their situations. It was interesting to see a dying community presented. Having lived in college towns for most of my life, my environment is usually changing all the time: people moving in and out, businesses coming and going, everyone rushing. Kings Point is a community sunk in stasis.
Mondays at Racine
One of the strongest entries. The filmmakers wisely used the salon and the sisters sparingly and focused on the women who use the salon and their stories. It raised several points about living with cancer that I had never considered (how it can change a marriage for the worse or put a hold on adoptions). There was a sense of hope and resilience despite setbacks that I really appreciated. By the end, I was sobbing as were the two women sitting in front of me and the mother and son sitting behind me.
Inocente
I loved it! the quirky artist reminded me of my undergrad days. It was interesting to see so much focus on one individual, especially after the large groups of subjects in the other features. However, Inocente was definitely able to carry the whole documentary. I really liked her artistic style and was so glad to see an organization of people dedicated to helping struggling kids and teens connect to art and strive to create their own visions. Truly beautiful!
Redemption
I didn't cry during this one which was refreshing. While it was the weakest (I agree with Giles's "so what" response), I connected to it mostly because I graduate in May, my future is up in the air, and that irrational part of my mind is convinced I will have to pick up cans to survive. I think the documentary would have been more interesting if it looked at the ramifications of "canning" and how widespread it is instead of focusing on a handful of personal narratives. It felt listless.
Open Heart
I thought this was the strongest of the bunch, a tearjerking yet uplifting look at children from Rwanda going to a heart clinic in Sudan. The facts presented at the beginning were shocking and provided a context for the children's narrative stories. I was very invested in their situation by the end of the forty minutes.
Went to see the live action and animated short on Friday and will try to get my thoughts sorted out soon! My advice is to go see all of the shorts. It is such a different medium from feature length films, and this batch was awesome! I need to figure out how to support and see more shorts throughout the year.
02-11-13, 01:57 PM
#215
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Just revisited The Black Stallion for the first time since I was a kid as I saw it was on HDNet Movies, and I got to thinking. It has been a long time since I had seen National Velvet, but the role of Mickey Rooney as a former jockey who trains a horse for a race kind of reminded me of his role in National Velvet as a younger man.
02-11-13, 02:02 PM
#216
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Just revisited The Black Stallion for the first time since I was a kid as I saw it was on HDNet Movies, and I got to thinking. It has been a long time since I had seen National Velvet, but the role of Mickey Rooney as a former jockey who trains a horse for a race kind of reminded me of his role in National Velvet as a younger man.
02-11-13, 04:11 PM
#217
DVD Talk Special Edition
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
So I finally made it through Imitation of Life (1959) and in some ways it was more substantive than the original and in other ways it was more regressive. I'm still not sold on Annie "outing" her daughter in public multiple times. This time she did it after the boyfriend had beaten her daughter for being black (and can I just say that the upbeat jazz score playing during that scene was wholly inappropriate). At least in this instance Annie's disappointment is less about passing and more about the fact that Sarah Jane working in a gentleman's club.
Also, I checked out your list, and it looks awesome! There are so many films that I haven't seen!!! Have you seen 1943's Cabin in the Sky? It seems like a worthy film for this list. Also, have you seen Mr. Blanding's Builds His Dream House? While her screen time is incredibly short, there is an interesting African American maid in that film.
02-11-13, 04:30 PM
#218
DVD Talk Special Edition
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
I've never seen Brokeback Mountain, but I suspect that Crash deserved to win Best Picture, despite all the furore at the time. It's very complex and complicated, and the interactions are both fascinating and terrifying. It seems potentially VERY real - which is disturbing and hopeful in not-quite-equal part - and overall paints a fairly bleak picture of life. And not just life in America, but life as a whole. While it would detract from the brilliance of the film, I almost wish it had a five minute coda of someone shouting at the viewer what lessons they're meant to learn from it all. Judge not, and People are complicated and love and care for each other and GROW UP and SORT YOURSELVES OUT and so on and so forth.
It's always interesting to me to hear others opinions on films. That's one of the great things about the Awards season. Everyone is watching the same things and discussing them. I remember when I was watching a lot of nominated films with friends for the 2008 Academy Awards, and I was the sole person championing There Will Be Blood while everyone else was either indifferent or intensely disliked it. We got into heavy discussion about the film. That's the reason I love the Oscars! (I still believe that it is one of the best films about America. My best friend still believes it is nonsensical and awkwardly plotted. I haven't gotten a chance to watch my BD copy yet... perhaps next week!)
02-11-13, 05:15 PM
#219
DVD Talk Limited Edition
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Also, I checked out your list, and it looks awesome! There are so many films that I haven't seen!!! Have you seen 1943's Cabin in the Sky? It seems like a worthy film for this list. Also, have you seen Mr. Blanding's Builds His Dream House? While her screen time is incredibly short, there is an interesting African American maid in that film.
Did a Kurosawa double-feature today. Watched Ran for the first time and my goodness those costumes were gorgeous (and hand-made - no wonder they took 2 years to make). The costume designer deserved that Oscar! Rashomon never gets old.
02-11-13, 05:34 PM
#220
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
I think the 2006 Academy Awards showed an essential problem with awarding a "Best Picture." Comparing films is often like comparing apples and oranges or domestic felines and a really nice piano concerto. While I really enjoy Crash and use it as a teaching aide every year, in my opinion Brokeback Mountain is a better film. However, how can you really compare the two?
Expanding that to five (or more) films as they do with Best Picture gets to the core of what we look for in movies. Film A may be obviously superior on technical ways (better cinematography, more elaborate production design, etc.) but perhaps Film B resonates more with you on an emotional level. Film C may be more thought provoking than either. So it goes, and at the end of it all the voter is left picking the film with the intrinsic qualities that are most satisfying relative to the others.
Or, they vote for whatever they're pressured to vote for by their employers if you're into that line of thought about awards.
02-11-13, 06:30 PM
#221
Moderator
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Went to see the live action and animated short on Friday and will try to get my thoughts sorted out soon! My advice is to go see all of the shorts. It is such a different medium from feature length films, and this batch was awesome! I need to figure out how to support and see more shorts throughout the year.
I'm going to rent the Live Action Short Films next week....if you're interested, they'll be available on iTunes and other cable/VOD channels next Tuesday:
http://theoscarshorts.shorts.tv/itunes.php
Wish they were going to be on Vudu.....I have some credit!
Last edited by Mao; 02-11-13 at 06:40 PM.
02-11-13, 06:38 PM
#222
Moderator
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
I think the 2006 Academy Awards showed an essential problem with awarding a "Best Picture." Comparing films is often like comparing apples and oranges or domestic felines and a really nice piano concerto. While I really enjoy Crash and use it as a teaching aide every year, in my opinion Brokeback Mountain is a better film. However, how can you really compare the two? They have vastly different objectives, agendas, and stories to tell. (I know I'm not saying anything new here.) Brokeback Mountain is definitely (from my definition of "definitely") more visually interesting and nuanced than Crash which (like its subject matter) is clunkier and less polished. Of course, privileging visual technique and character development over theme and tone is a personal preference. Anyway, I will stop rambling, and you should check out Brokeback Mountain which is a visual treat and tells a very emotional story. (It's also the film that made me love Anne Hathaway.)
It's always interesting to me to hear others opinions on films. That's one of the great things about the Awards season. Everyone is watching the same things and discussing them. I remember when I was watching a lot of nominated films with friends for the 2008 Academy Awards, and I was the sole person championing There Will Be Blood while everyone else was either indifferent or intensely disliked it. We got into heavy discussion about the film. That's the reason I love the Oscars! (I still believe that it is one of the best films about America. My best friend still believes it is nonsensical and awkwardly plotted. I haven't gotten a chance to watch my BD copy yet... perhaps next week!)
It's always interesting to me to hear others opinions on films. That's one of the great things about the Awards season. Everyone is watching the same things and discussing them. I remember when I was watching a lot of nominated films with friends for the 2008 Academy Awards, and I was the sole person championing There Will Be Blood while everyone else was either indifferent or intensely disliked it. We got into heavy discussion about the film. That's the reason I love the Oscars! (I still believe that it is one of the best films about America. My best friend still believes it is nonsensical and awkwardly plotted. I haven't gotten a chance to watch my BD copy yet... perhaps next week!)
I truly believe that PTA can do no wrong! Even at his most "non-sensical", his work is more interesting than most drivel being shoveled today....
02-12-13, 12:03 AM
#223
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
I gorged on all the Skyfall bonus content, including both commentary tracks. Being bonus content, I won't bother copying and pasting my Letterboxd diary remarks (especially as they're a bit lengthy) but anyone who may be interested can find 'em here.
In the context specifically of this challenge, I will say that if Roger Deakins wins for Cinematography this year for his work on this film, it won't merely be a "consolation" award to rectify for previous losses. I was impressed by his work when I saw the film myself, but the explanations of just what he did that are recounted by Sam Mendes, Barbara Broccoli, Michael G. Wilson and others leaves little doubt that he did an amazing job marrying different locations and sets with various effects shots to create a seamless visual aesthetic. It's a very clean looking film, easy to follow and while part of that has to do with Stuart Baird's editing, credit clearly also goes to Deakins for framing and lighting the way he did.
Skyfall
85th Academy Awards (2012)
(N) CINEMATOGRAPHY -- Roger Deakins
(N) MUSIC (Original Score) -- Thomas Newman
(N) MUSIC (Original Song) -- "Skyfall" Music and Lyric by Adele Adkins and Paul Epworth
(N) SOUND EDITING -- Per Hallberg and Karen Baker Landers
(N) SOUND MIXING -- Scott Millan, Greg P. Russell and Stuart Wilson
In the context specifically of this challenge, I will say that if Roger Deakins wins for Cinematography this year for his work on this film, it won't merely be a "consolation" award to rectify for previous losses. I was impressed by his work when I saw the film myself, but the explanations of just what he did that are recounted by Sam Mendes, Barbara Broccoli, Michael G. Wilson and others leaves little doubt that he did an amazing job marrying different locations and sets with various effects shots to create a seamless visual aesthetic. It's a very clean looking film, easy to follow and while part of that has to do with Stuart Baird's editing, credit clearly also goes to Deakins for framing and lighting the way he did.
Skyfall
85th Academy Awards (2012)
(N) CINEMATOGRAPHY -- Roger Deakins
(N) MUSIC (Original Score) -- Thomas Newman
(N) MUSIC (Original Song) -- "Skyfall" Music and Lyric by Adele Adkins and Paul Epworth
(N) SOUND EDITING -- Per Hallberg and Karen Baker Landers
(N) SOUND MIXING -- Scott Millan, Greg P. Russell and Stuart Wilson
02-12-13, 04:22 AM
#224
DVD Talk Hall of Fame
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Re-watched Glory. My Letterboxd diary entry:
SPOILER ALERT FOR ANYONE READING EMAILS
62nd Academy Awards (1989)
(W) ACTOR IN A SUPPORTING ROLE -- Denzel Washington {"Trip"}
(N) ART DIRECTION -- Art Direction: Norman Garwood; Set Decoration: Garrett Lewis
(W) CINEMATOGRAPHY -- Freddie Francis
(N) FILM EDITING -- Steven Rosenblum
(W) SOUND -- Donald O. Mitchell, Gregg C. Rudloff, Elliot Tyson, Russell Williams II
SPOILER ALERT FOR ANYONE READING EMAILS
Spoiler:
62nd Academy Awards (1989)
(W) ACTOR IN A SUPPORTING ROLE -- Denzel Washington {"Trip"}
(N) ART DIRECTION -- Art Direction: Norman Garwood; Set Decoration: Garrett Lewis
(W) CINEMATOGRAPHY -- Freddie Francis
(N) FILM EDITING -- Steven Rosenblum
(W) SOUND -- Donald O. Mitchell, Gregg C. Rudloff, Elliot Tyson, Russell Williams II
02-12-13, 08:54 PM
#225
Challenge Guru & Comic Nerd
Re: The 7th Annual Academy Award Movie Challenge (1/24 - 2/24)
Got in a musical mood last week, saw Les Mis in the theater, and then Mary Poppins and The King and I at home.
Also saw Silver Lining Playbook in the theater. Walked into it literally blind, and loved it.
Also saw Silver Lining Playbook in the theater. Walked into it literally blind, and loved it.
