Tinsley Mortimer's upcoming reality show has finished shooting. So, naturally, her "relationship" with former American Idol contestant Constantine Maroulis has come to an end, too. She's reportedly on the hunt for a new boyfriend, though, so if you know someone who'd a good match for the fame-obsessed socialite, do get in touch. [P6]
• Is it possible that Brad Pitt and Angelina Jolie planted those breakup rumors because it's Oscar season, they haven't been nominated for anything, and they wanted to make sure they remained in the spotlight? Anything's possible, right? [E!, NYDN]
• Padma Lakshmi is due to give birth next month, but she's still isn't revealing who the baby daddy is. Could it be on-again, off-again boyfriend and billionaire financier Teddy Forstmann? Or on-again, off-again boyfriend and venture capitalist Adam Dell, the younger brother of computer mogul Michael Dell? The mystery continues! [P6]
• Here's a sign of the apocalypse: Will Smith is thinking about running for president. (Yes, President of the United States.) [Popeater]
• Gisele Bundchen gave birth to her son Benjamin at home in the bathtub, not at a Boston hospital, as had been reported previously. No word on whether Tom Brady was present for the joyous occasion—or whether he was just totally grossed out. [Us]
• Chelsea Handler recently split up with her boyfriend (and boss) Ted Harbert, the dude who runs E! And it looks like poor Harbert isn't taking it well: He was seen drowning his sorrows at the bar at the Tribeca Grand, "complaining to everyone and anyone who would listen." Making matters more awkward: Handler's new book, which comes out next month, discusses their relationship at length and suggests they'll be together forever. [NYDN]
• Michael Lohan was arrested yesterday for calling his ex-girlfriend, Erin Muller, which is a violation of the restraining order she has against him. You'd think he would've learned his lesson by now—this is the third time he's been arrested for letting his fingers do the walking—but more importantly, doesn't he have any friends who can confiscate his phone when he's getting antsy to call her? Oh, right. Probably not. [NYP, TMZ]
• John Travolta went to Haiti earlier this week to deliver food and spread the message of Scientology. He says it was all very fulfilling, you'll be pleased to hear. [People]
• Stars continue to contribute cash to the victims of the Haiti earthquake. Nicole Kidman gave $250,000; and Gerard Butler, Sean Penn, Penelope Cruz, Javier Bardem, and Daniel Craig each gave $50,000. [P6]
• Is Victoria Beckham suffering from body dysmorphic disorder? It would appear so, since she seems to think she's the same size as Jennifer Lopez. [NYM]
• Speaking of delusional thinking, Nicole Richie claims she never had an eating disorder and thinks all those reports were "insulting and irresponsible." [DM]
• Escort-turned-sex columnist Ashley Dupre has been hanging out at the Playboy Mansion in Los Angeles. But it's not because she's planning to pose for the magazine. She's just there to attend a few Grammy parties, for your information. [P6]
• British guitarist Pete Townshend will be performing with The Who at the Super Bowl halftime show. But since he's a registered sex offender—he was busted for ordering child porn off the Internet in 2003—a community group has been distributing fliers warning area residents of his presence. [NYP]
• Despite the fact that Rihanna has been photographed frolicking on the beach with baseball player Matt Kemp, she says she's still "single" and plans to attend this weekend's Grammy's solo. [Us]
• Interested in seeing pics of Matthew McConaughey's new baby? Today's your lucky day. [People]
• Renee Zellweger went to go visit her boyfriend Bradley Cooper at his new house, and while she was sitting in her car outside waiting for him, an elderly woman clipped Zellweger's side door and mirror. Renee wasn't injured in the incident, you'll be happy to hear. And she even hugged the shaken old lady to console her. [TMZ, DM]
Source:cityfile.com/
Hollywood
Erotic Pictures Of The Most Beautiful Nude Grils About In The World, Erotic Pictures Of The Most Beautiful Nude Full Bikini without clothes, just leather only.
And the Winner Should Be
The Oscars are still six weeks away, but I'm already thinking about all the talented actors who aren't going to get nominated. It seems like every year, the Academy of Motion Picture Arts and Sciences chooses to ignore lesser names in favor of the usual suspects. Sure, there's always a token newcomer, but for the most part, the Oscars are all about big movie stars. That seems unfair, so I'm going to set things right by bringing some amazing performances to your attention. If you haven't already seen these actors do their thing, I suggest you do so immediately, because their work will inspire and motivate you.
Let's start with one of the best character actors in the business. I'm talking about Sam Rockwell. I don't think I've ever seen this guy give a bad performance. It's just not in his DNA. And if you want to see him rock the house, check out his work in a low-budget indie called "Moon." Except for the voice of Kevin Spacey, the entire movie is Sam Rockwell from beginning to end. His nuanced performance keeps your attention riveted to the screen. Without him, this challenging film would never work. But despite the brilliance of his acting, Rockwell will never get nominated, because most of the Academy voters have never even heard of this movie.
I have a question. Am I the only one who saw "Me and Orson Welles"? Set in 1937, it's about a teenager who gets cast in a stage production of "Julius Caesar" that's being directed by a young man named Orson Welles. The teenager is played by Zac Efron (trying to prove he's more than a Disney Store employee), but that's not who I'm here to rave about. Welles is played by Christian McKay, a 35-year-old Brit with a limited résumé. I don't know how an unknown got this part, but the man is brilliant. Unfortunately, even if McKay were to score a best supporting actor nomination, he would never win, because Christoph Waltz from "Inglourious Basterds" owns that statue. You can bet the farm on that one.
You can also bet that George Clooney has an excellent shot at the gold for his fine work in "Up in the Air," but let's shift our attention to one of the supporting actors in that movie. Does the name Anna Kendrick ring a bell? If you're one of the billions who are hooked on the "Twilight" series, then you know her as the character Jessica. Broadway musical fans remember her as the third-youngest performer ever nominated for a Tony, for her work in 1998's "High Society" (she was 12). Based on her performances in the "Twilight" films, no one expected this 24-year-old to do such impressive work in "Up in the Air." Her part could've easily become a one-note stereotype, but she digs deep, masters the reaction shot, and then slams it all home with a terrific closing scene. Kendrick might not get invited to the Kodak Theater this year, but she'll definitely show up there one day soon.
Now let's shift our attention to a major studio bomb with a $100 million budget. Peter Jackson's adaptation of "The Lovely Bones" is a deeply flawed film based on what might be a perfect book. The reviews haven't been good, and the box office has been worse. That means no one's getting nominated. But both Stanley Tucci and 15-year-old Saoirse Ronan should be acknowledged for their outstanding work. Tucci, another character actor who never misses, plays a man who appears normal on the outside but is pure evil on the inside. Ronan, an Oscar nominee for "Atonement," plays his victim, who comments on the story from beyond the grave. These are difficult challenges, and both actors are more than up to the task.
These five performances prove that talent may not always win awards, but it certainly cannot be denied. So enjoy watching these actors grow. Learn from them and then get out there and become the best possible actor that you can be.
Source:backstage.com/
Hollywood
Let's start with one of the best character actors in the business. I'm talking about Sam Rockwell. I don't think I've ever seen this guy give a bad performance. It's just not in his DNA. And if you want to see him rock the house, check out his work in a low-budget indie called "Moon." Except for the voice of Kevin Spacey, the entire movie is Sam Rockwell from beginning to end. His nuanced performance keeps your attention riveted to the screen. Without him, this challenging film would never work. But despite the brilliance of his acting, Rockwell will never get nominated, because most of the Academy voters have never even heard of this movie.
I have a question. Am I the only one who saw "Me and Orson Welles"? Set in 1937, it's about a teenager who gets cast in a stage production of "Julius Caesar" that's being directed by a young man named Orson Welles. The teenager is played by Zac Efron (trying to prove he's more than a Disney Store employee), but that's not who I'm here to rave about. Welles is played by Christian McKay, a 35-year-old Brit with a limited résumé. I don't know how an unknown got this part, but the man is brilliant. Unfortunately, even if McKay were to score a best supporting actor nomination, he would never win, because Christoph Waltz from "Inglourious Basterds" owns that statue. You can bet the farm on that one.
You can also bet that George Clooney has an excellent shot at the gold for his fine work in "Up in the Air," but let's shift our attention to one of the supporting actors in that movie. Does the name Anna Kendrick ring a bell? If you're one of the billions who are hooked on the "Twilight" series, then you know her as the character Jessica. Broadway musical fans remember her as the third-youngest performer ever nominated for a Tony, for her work in 1998's "High Society" (she was 12). Based on her performances in the "Twilight" films, no one expected this 24-year-old to do such impressive work in "Up in the Air." Her part could've easily become a one-note stereotype, but she digs deep, masters the reaction shot, and then slams it all home with a terrific closing scene. Kendrick might not get invited to the Kodak Theater this year, but she'll definitely show up there one day soon.
Now let's shift our attention to a major studio bomb with a $100 million budget. Peter Jackson's adaptation of "The Lovely Bones" is a deeply flawed film based on what might be a perfect book. The reviews haven't been good, and the box office has been worse. That means no one's getting nominated. But both Stanley Tucci and 15-year-old Saoirse Ronan should be acknowledged for their outstanding work. Tucci, another character actor who never misses, plays a man who appears normal on the outside but is pure evil on the inside. Ronan, an Oscar nominee for "Atonement," plays his victim, who comments on the story from beyond the grave. These are difficult challenges, and both actors are more than up to the task.
These five performances prove that talent may not always win awards, but it certainly cannot be denied. So enjoy watching these actors grow. Learn from them and then get out there and become the best possible actor that you can be.
Source:backstage.com/
Hollywood
Pauly ‘Shore’
What is it about “Jersey Shore’’ that people respond to? That awful hair? The awful tans? Those awful accents? All were on display Thursday as Pauly D, our favorite character not named Snooki on the MTV reality show, made a paid appearance at McFadden’s. Pauly, whose real name is Paul Delvecchio, fancies himself a DJ so he spun a few tunes for the folks who showed up to see him.
Seeing stars
Fourteen-year-old Anthony O’Leary credits Ben Affleck and Kevin Costner for making him feel comfortable on the set of “The Company Men,’’ director John Wells’s fine new film about corporate downsizing. It’s the first film for O’Leary, who plays Affleck’s son. “While John was setting up scenes, Kevin played football with me and some other kids,’’ said O’Leary, who lives in Norton and goes to the Moses Brown School in Providence. “Ben just talked to me about normal stuff, asked me about my life.’’ The made-in-Massachusetts movie, which also stars Tommy Lee Jones, Maria Bello, and Rosemarie DeWitt, got good reviews at the Sundance Film Festival and a rave response at this week’s screening at the Coolidge. Another local actor with a plum role is Lance Greene, the bloodless lawyer who has pivotal scenes with both Affleck and Jones. Could this be a big break for Greene, who produced and starred in “On Broadway’’? “I do think it’s a step in the right direction,’’ he told us yesterday. “If people see that you’ve worked with that type of talent, it can open up a lot of doors.’’
In limbo
Last year, “Late Night’’ writer and Newton native Brian Kiley uprooted his family, moving from New York to Los Angeles to join his employer - and former fellow CCD student in Brighton - “Tonight Show’’ host Conan O’Brien. Now, after just seven months, it’s all over, and Kiley isn’t sure what’s next, including how much severance he’ll receive. (You’ll recall that O’Brien reached a $45 million deal with NBC to exit the show and, of that, $12.5 million would be earmarked for his staffers.) “They haven’t told us,’’ says Kiley, who has written bits for O’Brien for 16 years. “I don’t know if they haven’t figured it out.’’ LA doesn’t feel like home, but Kiley says he’s reluctant to move his 12- and 14-year-old kids twice in a year. He told us he’s been touched by all of the pro-Conan rallies, and says he and other former staffers are looking forward to being back at work soon. “We’re hoping that [Conan’s] back on the air in just a few months.’’
Theater benefit
The ART, Punchdrunk, and the cast of “Sleep No More’’ are doing a benefit performance of the sold-out show Wednesday. Proceeds will benefit Partners In Health’s relief efforts in Haiti. “I salute the artists involved in Sleep No More for making this contribution possible,’’ said ART artistic director Diane Paulus.
She draws a crowd
So many handsome men, so little time. Hasty Pudding honoree Anne Hathaway enjoyed a feast with a group of Harvard fellows before bolting Boston. Following her Hasty fete, the Oscar-nominated actress joined the Harvard Krokodiloes - the university’s oldest a cappella singing group - for a dinner prepared by Henrietta’s chef Peter Davis. The menu included herb-crusted breast of chicken, grilled salmon, oven-roasted veggies, and, of course, a hasty pudding dessert.
DeCordova fete
Neither rain, nor sleet, nor gloom of night could keep the crowd away from Thursday’s opening-night reception for the 2010 DeCordova Biennial at the DeCordova Museum in Lincoln. Over 1,100 people attended, including collectors Barbara Lee, Don Stanton, and John Shore: artists William Pope.L, Oscar Palacio, August Ventimiglia, Karin Weiner, and Laurel Sparks; gallerists Abby Ross and Kristen Dodge, Russell LaMontagne, Camilo Alvarez, and Howard Yezerski; and assorted others, namely the MFA’s William Stover, Skinner CEO Karen Keane, Art Forum’s Nuit Banai, and art critic Francine Koslow Miller. We’re told police had to turn away over 100 cars and some people parked a quarter mile away and hoofed it.
Around town
Comedian Eddie Griffin’s doing his bit to stimulate the local economy. Griffin, who’s doing two shows at the Wilbur tonight, had a lengthy list of needs. The comedian’s rider included bottles of Veuve Clicquot, a carton - no, not just a pack - of American Spirit cigarettes, and a brand new pair of White Nike Air Force Ones. . . . Boston Blazers stars Nick Cotter and Kyle Ross joined the Sparks dancers to mingle with moviegoers at a screening of “From Paris With Love’’ at the AMC Loews Boston Common. . . . Onetime “Bond’’ girl Jane Seymour lunched yesterday at the new Legal C Bar at Legacy Place in Dedham.
Globe correspondent Nick A. Zaino III contributed. Read the Names blog at www.boston.com/namesblog. Names can be reached at names@globe.com or at 617-929-8253.
Source:boston.com/
Hollywood
Seeing stars
Fourteen-year-old Anthony O’Leary credits Ben Affleck and Kevin Costner for making him feel comfortable on the set of “The Company Men,’’ director John Wells’s fine new film about corporate downsizing. It’s the first film for O’Leary, who plays Affleck’s son. “While John was setting up scenes, Kevin played football with me and some other kids,’’ said O’Leary, who lives in Norton and goes to the Moses Brown School in Providence. “Ben just talked to me about normal stuff, asked me about my life.’’ The made-in-Massachusetts movie, which also stars Tommy Lee Jones, Maria Bello, and Rosemarie DeWitt, got good reviews at the Sundance Film Festival and a rave response at this week’s screening at the Coolidge. Another local actor with a plum role is Lance Greene, the bloodless lawyer who has pivotal scenes with both Affleck and Jones. Could this be a big break for Greene, who produced and starred in “On Broadway’’? “I do think it’s a step in the right direction,’’ he told us yesterday. “If people see that you’ve worked with that type of talent, it can open up a lot of doors.’’
In limbo
Last year, “Late Night’’ writer and Newton native Brian Kiley uprooted his family, moving from New York to Los Angeles to join his employer - and former fellow CCD student in Brighton - “Tonight Show’’ host Conan O’Brien. Now, after just seven months, it’s all over, and Kiley isn’t sure what’s next, including how much severance he’ll receive. (You’ll recall that O’Brien reached a $45 million deal with NBC to exit the show and, of that, $12.5 million would be earmarked for his staffers.) “They haven’t told us,’’ says Kiley, who has written bits for O’Brien for 16 years. “I don’t know if they haven’t figured it out.’’ LA doesn’t feel like home, but Kiley says he’s reluctant to move his 12- and 14-year-old kids twice in a year. He told us he’s been touched by all of the pro-Conan rallies, and says he and other former staffers are looking forward to being back at work soon. “We’re hoping that [Conan’s] back on the air in just a few months.’’
Theater benefit
The ART, Punchdrunk, and the cast of “Sleep No More’’ are doing a benefit performance of the sold-out show Wednesday. Proceeds will benefit Partners In Health’s relief efforts in Haiti. “I salute the artists involved in Sleep No More for making this contribution possible,’’ said ART artistic director Diane Paulus.
She draws a crowd
So many handsome men, so little time. Hasty Pudding honoree Anne Hathaway enjoyed a feast with a group of Harvard fellows before bolting Boston. Following her Hasty fete, the Oscar-nominated actress joined the Harvard Krokodiloes - the university’s oldest a cappella singing group - for a dinner prepared by Henrietta’s chef Peter Davis. The menu included herb-crusted breast of chicken, grilled salmon, oven-roasted veggies, and, of course, a hasty pudding dessert.
DeCordova fete
Neither rain, nor sleet, nor gloom of night could keep the crowd away from Thursday’s opening-night reception for the 2010 DeCordova Biennial at the DeCordova Museum in Lincoln. Over 1,100 people attended, including collectors Barbara Lee, Don Stanton, and John Shore: artists William Pope.L, Oscar Palacio, August Ventimiglia, Karin Weiner, and Laurel Sparks; gallerists Abby Ross and Kristen Dodge, Russell LaMontagne, Camilo Alvarez, and Howard Yezerski; and assorted others, namely the MFA’s William Stover, Skinner CEO Karen Keane, Art Forum’s Nuit Banai, and art critic Francine Koslow Miller. We’re told police had to turn away over 100 cars and some people parked a quarter mile away and hoofed it.
Around town
Comedian Eddie Griffin’s doing his bit to stimulate the local economy. Griffin, who’s doing two shows at the Wilbur tonight, had a lengthy list of needs. The comedian’s rider included bottles of Veuve Clicquot, a carton - no, not just a pack - of American Spirit cigarettes, and a brand new pair of White Nike Air Force Ones. . . . Boston Blazers stars Nick Cotter and Kyle Ross joined the Sparks dancers to mingle with moviegoers at a screening of “From Paris With Love’’ at the AMC Loews Boston Common. . . . Onetime “Bond’’ girl Jane Seymour lunched yesterday at the new Legal C Bar at Legacy Place in Dedham.
Globe correspondent Nick A. Zaino III contributed. Read the Names blog at www.boston.com/namesblog. Names can be reached at names@globe.com or at 617-929-8253.
Source:boston.com/
Hollywood
Mike Shepherd: Christian schools and white-flight image
Blind-sided by the reality portrayed in the Oscar-buzz-generating film starring Sandra Bullock, the public may now perceive small Christian schools not as bastions of segregation, but as beacons of hope for African-American students.
Instead of keeping black kids out, most private schools want them in. Including them gives many kids hope for staying in school and playing sports and gives the schools a real hope of being competitive in the private-school leagues.
Now that the true story of Baltimore Ravens tackle Michael Oher has made it to the big screen, no one can truthfully echo the critics of the 1960s and '70s who saw the Christian school movement as nothing more than white flight from the newly integrated public schools. Thanks to The Blind Side, that image may be changing.
The movie portrays a homeless black kid adopted by a wealthy white family and sent to a Christian school, where he excels at football. The kid who was failing learns to pass his classes; the one who had no bed to sleep on gets a room of his own; the kid who had little hope of a high school diploma goes to college.
All of this takes place because free individuals make free decisions about how they run their lives. There is no government mandate that certain kids go to private schools.
A public school teacher, I have always favored free choice in education. I spent two years in South America teaching in a private Christian school run by missionaries. My wife home-taught my daughter for 2 ½ years before my daughter entered (and excelled in) Texas public schools.
My sons have attended Christian schools. One such school, Christway Academy in Duncanville, recently won the state championship in six-man football, and African-Americans made up a majority of the team.
Another school, Canterbury Episcopal in DeSoto, has won two state championships in basketball in the Texas Association of Private and Parochial Schools league.
The Blind Side did us all a favor by focusing on real schools, not stereotypes. To the faithful, the movie gave hope that their private schools will be acknowledged for what they really are: stepping stones to success for kids of all races. As the sign over the front gate to the Memphis Christian school featured in movie reads, "With God all things are possible."
I wish continued success to The Blind Side this award season. But more important, I wish rich blessings in heaven and on earth to the teachers and coaches at private schools who help make all things possible for kids like Michael Oher.
Mike Shepherd of Duncanville is an educational writer, teacher and a Community Voices volunteer columnist. His e-mail address is shepherdmike@sbcglobal.net.
Source:dallasnews.com/
Instead of keeping black kids out, most private schools want them in. Including them gives many kids hope for staying in school and playing sports and gives the schools a real hope of being competitive in the private-school leagues.
Now that the true story of Baltimore Ravens tackle Michael Oher has made it to the big screen, no one can truthfully echo the critics of the 1960s and '70s who saw the Christian school movement as nothing more than white flight from the newly integrated public schools. Thanks to The Blind Side, that image may be changing.
The movie portrays a homeless black kid adopted by a wealthy white family and sent to a Christian school, where he excels at football. The kid who was failing learns to pass his classes; the one who had no bed to sleep on gets a room of his own; the kid who had little hope of a high school diploma goes to college.
All of this takes place because free individuals make free decisions about how they run their lives. There is no government mandate that certain kids go to private schools.
A public school teacher, I have always favored free choice in education. I spent two years in South America teaching in a private Christian school run by missionaries. My wife home-taught my daughter for 2 ½ years before my daughter entered (and excelled in) Texas public schools.
My sons have attended Christian schools. One such school, Christway Academy in Duncanville, recently won the state championship in six-man football, and African-Americans made up a majority of the team.
Another school, Canterbury Episcopal in DeSoto, has won two state championships in basketball in the Texas Association of Private and Parochial Schools league.
The Blind Side did us all a favor by focusing on real schools, not stereotypes. To the faithful, the movie gave hope that their private schools will be acknowledged for what they really are: stepping stones to success for kids of all races. As the sign over the front gate to the Memphis Christian school featured in movie reads, "With God all things are possible."
I wish continued success to The Blind Side this award season. But more important, I wish rich blessings in heaven and on earth to the teachers and coaches at private schools who help make all things possible for kids like Michael Oher.
Mike Shepherd of Duncanville is an educational writer, teacher and a Community Voices volunteer columnist. His e-mail address is shepherdmike@sbcglobal.net.
Source:dallasnews.com/
Will Shazia be a Rosa Parks?
Where is one to find answers for all the questions that stare at you? Why do parents, who cannot afford to feed or clothe their children, have them? Why hasn't the state enacted any laws to protect the rights of children in this country? The alleged mistreatment and mu-rder of a 12 year old girl has been a headline story this week and has touched everyone who is a parent or wants to be one. It has reminded me of the squalor and misery of the chil-dren in the Oscar award winning film Slum Dog Millionaire. The compensation of Ru-pees five hundred thousand to Shazia's parents is probably going to pacify them in their abject poverty. There are countless underage children who work as domestic help in homes and work long hours, for little compensation. There is no one to check the abuse they have to endure. It is a ve-ry common sight to see these little helpers sitting quietly on the side in expensive restaurants as their wards, not much younger than them, are pampered and fed in style by their parents. It has become a practice in this society to be as mean as possible to those who have nobody to side with them and are defenseless.
Where does the fear of God, so talked about in this country all the time, disappear when attacking the vulnerable? The exact cause of Shazia's death/murder has not yet been established or made public, but her frail little body had all sorts of marks on it, depicting torturous punishments. Shazia belonged to a minority religious group in Pakistan which makes it doubly shameful. The poor child could never have imagined, in her wildest dre-ams, that she would become a household name, in her death. That Parliament would observe a minute's silence for her. That political leaders would come from far and wide to offer condolences.
Perhaps, in death Shazia Masih can be a tipping point, just as Rosa Park's was in the US when she refused to give up her seat in a bus to a white person. Even as she sat firmly in her seat, Rosa Parks courage stood up for the ideals of freedom and justice for all. After this incident, Alabama's black community started a major bus boycott which was thought to be a laughable mat-ter initially but became a serious issue for the Mont-gomery Bus Service. It ended only when the US Supreme Court declared bus segregation unconstitutional.
Source:nation.com.pk/
Hollywood
Where does the fear of God, so talked about in this country all the time, disappear when attacking the vulnerable? The exact cause of Shazia's death/murder has not yet been established or made public, but her frail little body had all sorts of marks on it, depicting torturous punishments. Shazia belonged to a minority religious group in Pakistan which makes it doubly shameful. The poor child could never have imagined, in her wildest dre-ams, that she would become a household name, in her death. That Parliament would observe a minute's silence for her. That political leaders would come from far and wide to offer condolences.
Perhaps, in death Shazia Masih can be a tipping point, just as Rosa Park's was in the US when she refused to give up her seat in a bus to a white person. Even as she sat firmly in her seat, Rosa Parks courage stood up for the ideals of freedom and justice for all. After this incident, Alabama's black community started a major bus boycott which was thought to be a laughable mat-ter initially but became a serious issue for the Mont-gomery Bus Service. It ended only when the US Supreme Court declared bus segregation unconstitutional.
Source:nation.com.pk/
Hollywood
Weekend travel special: Hugh Fearnley-Whittingstall in Switzerland
Hungry skiers tuck into Hugh's apple and prune pudding cake. Photograph: Beat Schweizer
Heading home from my family ski-trip to Les Crosets, Switzerland, I'm carrying with me, along with the bumps, bruises, chapped lips and sunburned nose (and an as yet undigested kilo or so of Swiss cheese), a genuine longing to return. Odd because, after a 10-year hiatus since we last took to the slopes, I thought this was largely a mission to cross skiing off the list of things I want to do more of in the second half of my life. I thought this one was pretty much for the kids. But I had far more fun than I expected.
Luckily, the children loved it, too, as did our friends, the Skeets, all five of them. So we've agreed we'll be back within a year or three, same families, same resort, same chalet, right opposite the sensational Dents du Midi, a stunning Alpine ridge that catches the evening sun and, I suspect, persuades many loyally to return year after year.
So what else made it so good? The snow, certainly. To arrive at your chalet at around suppertime in the dark, and find that soft, fat flakes are falling fast through a black, windless sky, puts you in the mood like nothing else – except, perhaps, a quick snowball fight. Ours managed to produce plenty of laughter and no tears – not even when Oscar got Freddie right in the ear. It's special stuff, snow, and never more so than when you're together as a family.
Snow is particularly handy for the skiing, of course. The fact that our first day on the slopes – the first in a decade for us, the first ever for our kids – took place in near-perfect snow conditions was fantastic. If you're a solidly average but out of practice skier – and that's the brush with which I'd tar all four of us adults – then a dusting of real fresh snow on a well-maintained piste is a true tonic.
The weather got better, as in hotter, from each day to the next. Inevitably that meant things got pretty slushy on the lower slopes by lunchtime, but by the second day we'd sussed that a hard (well, full) morning's skiing, plus an hour or so mucking around with the kids after a quick cafe lunch, was generally going to sate the snow-lust for the day. Usually one or two of the grown-ups were back in the chalet with most of the kids by 3pm, giving everyone, particularly me, plenty of time to think about supper.
In fact, the preparation of a hearty supper for 10 was never much of a sweat. And this was largely down to a seriously well-executed shopping trip to the nearby town of Champéry at the very start of the week. Les Crosets, a small village at 1,400m, is really all about the skiing, but Champéry, a windy 400m and 20 minutes down the mountain, is a proper little Swiss alpine town. It's not exactly the hive of artesanal food boutiques I had hoped for, though look beyond the big brands in the supermarkets and you'll find plenty of cheeses and a few good-looking cured meats sourced directly from the surrounding countryside.
But the real food find was undoubtedly Champéry's fabulous cheese shop, Fromage etc. We loaded up with goodies, including an outstanding aged Gruyère, a red-skinned aged goat's cheese that was great for grating on pasta, and a Vacherin Mont d'Or, that thick-skinned, runny cheese that comes in a round pine box.
I was on dinner duty most nights; not unaided, but largely unchallenged in my culinary dictatorship – except by small children constantly demanding Nutella pancakes. In the end I made a large batch of pancake batter most nights and kept it in the fridge. Pancakes proved the perfect plug for the gap between lunch and supper, and the best possible instant fix for the fact that on a skiing holiday everyone's always hungry. But they had to be deployed strategically. From day three, pancakes were allowed only at breakfast and within half an hour of returning to the chalet from the slopes, when they bought the chef a little time to prepare a slightly more sophisticated supper aimed at pleasing all members of the party (aged from four to 44).
But in some ways the pancake approach underpinned all my cooking endeavours on the holiday. Successful ski cuisine has to deliver on the après ski appetites' uncompromising demand for maximum starch with maximum taste, while also meeting the tired chef's requirement of minimum labour… and another very large glass of wine, please. So the chalet chef has to be able to function on autopilot and yet consistently deliver big-hitting, crowd-pleasing, tummy-filling, sleep-inducing, flavour-laden feasts.
Given this mission, pasta dishes and risottos are no less valid for being obvious. Pasta carbonara, as you probably know, is the most cunningly time-efficient way yet devised to shovel 1,000 very tasty calories down each of 10 hungry gullets. But for a change, and an upping of flavours, I made one using a spicy, chorizo-style sausage instead of the bacon. The other great starchy stuffer is polenta. To my delight, I found some in the supermarket that was ready-made, in a kind of sliceable polenta sausage. I found the best way to get the kids to give it a chance was to cut thick slices, fry them until crispy, then serve with grated parmesan. The next time, it came with a topping of sautéed wild mushrooms: not all the kids were convinced, but that meant all the more for the grown-ups.
My two big set pieces of the week were a bollito misto late lunch on the terrace (see recipe below) and, of course, like British ski parties in chalets all over the Alps, we just had to have a fondue on our last night. The cooking, by the way, is the easy part. Especially if you buy the "house fondue mix" of ready-grated cheese from the local fromagerie (they'll all be local, so there's no shame in it). Don't be tempted to add anything to the melted cheese except the prescribed quantities of white wine and kirsch, and a twist of black pepper. Have a few salad leaves standing by, if you must, but forget starters or pudding, just make a date with a pot of molten cheese and a mountain of cubed, crusty baguette. And get ready to be very silly.
Bollito misto
A massive meat fest, to be made with at least three different "boiling" meats. Make one a free-range chicken, another a good piece of ham or pancetta and the third some kind of garlicky sausage, then everyone will have something they like. Serve with Puy lentils, mustard spiced fruits (aka mostarda di Cremona; Italian delis sell the stuff), salsa verde (recipe below) and mustard. Serves eight to 10.
1 free-range chicken, jointed
1-2 boiling sausages (750g-1kg)
1 smoked ham hock (or 1 thick piece pancetta, around 1kg)
3 onions, peeled and quartered
2 bay leaves
1 small sprig fresh thyme
2 celery hearts, quartered
2 cabbage hearts, quartered
5 large carrots, peeled
Salt and black pepper
Put all the meat in a large casserole with the onions, bay, thyme and just enough water to cover. Bring to a simmer, cover and cook on a low heat for two hours. Add the celery hearts, cabbage hearts and whole carrots, season and cook until the vegetables are just tender. Lift out the meats, cut into thick slices and serve on a platter surrounded by the vegetables. Ladle over some of the rich stock (or serve it separately in a jug), and serve with mostarda, Puy lentils, mustard and the following salsa verde on the side (stir some of the salsa into the stock, too, if you like).
Salsa verde
1 small garlic clove, peeled
1 bunch flat-leaf parsley, stalks removed
15-20 basil leaves
3-4 sprigs fresh tarragon, picked
4-5 anchovy fillets
1 tsp capers
1 tsp mustard (Dijon or English)
1 pinch sugar
A few drops of lemon juice (or vinegar)
Freshly ground black pepper
2-3 tbsp extra-virgin olive oil
On a large board, chop the garlic as finely as you can. Add the herbs, anchovy fillets and capers to the pile of chopped garlic, and chop the lot together until well mixed and fairly fine in texture. Transfer to a bowl, stir in a little mustard, sugar, lemon juice and black pepper, plus enough olive oil to give it a glossy, spoonable consistency. As you add these last ingredients, taste and tweak the mixture until you get something you really like. This sauce is best made just before serving, but it does keep for a few days in the fridge, covered or in a jar.
Apple (and prune) pudding cake
At tea time, the most popular person in the chalet is the one who has made a cake. I love this "pudding cake" – you can serve it cold with a cup of tea or coffee, or for pudding in warm slabs with lots of cream, custard or yogurt. It's so good, quick and easy, we made it twice in the week. The second time we ran out of apples, so I made it with half apples, half prunes. Serves eight to 10.
For the apples
2 dessert apples (or 4, if you're making a pure apple cake and omitting the prunes)
25g unsalted butter
1 heaped tbsp granulated sugar
¼ tsp ground cinnamon (optional)
200g prunes
For the cake mix
150g unsalted butter, softened
125g caster sugar
2 medium eggs
1 tsp almond extract (optional)
75g white or wholemeal self-raising flour
75g blanched almonds, whizzed until finely ground, or ready-ground
Grease a rectangular, 20cm x 5cm deep cake tin, and line the base with buttered baking parchment. Heat the oven to 170C/325F/gas mark 3.
Peel, quarter and core the apples, then cut each quarter into three wedges. Melt 25g of butter in a frying pan until it sizzles gently, add the sugar and stir until the mixture bubbles. Add the apples and cinnamon, if using, and cook over a medium heat for five minutes, turning occasionally, until the apples are just tender and very lightly caramelised. Remove from the heat.
Put the butter and caster sugar in a bowl and beat until light and fluffy. Break in an egg, beat well, add the second egg, the almond extract, if using, and a spoonful of flour (to stop it curdling), and beat again. Add the almonds, sift in the remaining flour and fold in gently. Scrape the mix into the tin and smooth the surface with a palette knife. Arrange the apples on top of one half of the cake, the prunes on the other half, then trickle over any juices from the pan. Bake for 45–50 minutes, until a skewer inserted in the centre comes out clean. Stand on a wire rack to cool.
Chorizo carbonara
A bit of a cross-cultural mishmash, this – a classic Spanish sausage in a classic Italian pasta sauce topped with a classic Swiss cheese – but just the thing to feed a hungry ski-crowd with minimum fuss. Serves 10.
1kg spaghetti, linguine or other long pasta
Salt and black pepper
500g frozen peas (optional)
2-3 tbsp rapeseed or olive oil
800g fresh chorizo, removed from their skins and crumbled, or cured chorizo, diced
6 large egg yolks
600ml double cream
150g Emmentaler, Gruyère or Appenzeller, to grate on top
Add the pasta to a large pan of well-salted boiling water and cook until al dente, following the instructions on the packet. If you're using peas, cook them in another pan of boiling salted water.
Heat the oil in a frying pan and fry the chorizo briskly for 10 minutes, until crisp and cooked through. (If you're using fresh chorizo, start with a lump, then, as it fries, break it up so it forms lots of succulent little nuggets and crumbs, maximising the surface area available for crisping.) Meanwhile, beat the egg yolks and cream, and season lightly (the chorizo is already highly seasoned).
When the pasta is done, drain and return to the hot pan (add the drained peas at this point, too). Tip in the chorizo, followed by the egg mix. Use two forks to mix the eggy cream into the pasta. The sauce will cook in the heat of the pasta, coating each strand in a light, creamy sauce. Serve at once with a final twist of black pepper, and the grater and cheese so people can help themselves.
Polenta with mushrooms
A substantial and tasty starter. If you can't find ready-made polenta, make up a packet of instant polenta, and leave to cool and dry out a bit until it is sliceable. Serves eight to 10 as a starter.
100g dried ceps
100g unsalted butter
2-3 tbsp olive or sunflower oil
700g fresh mushrooms, cut in thick slices
Salt and black pepper
2 cloves garlic, peeled, halved and sliced thin
A little cream (optional)
750g ready-made polenta
Parmesan or aged Gruyère, to serve
Put the dried ceps in a bowl with 400ml boiling water and leave for 20 minutes. While they're plumping up, melt 70g butter with a dash of oil in a large frying pan over a medium-high heat. When the foam subsides, add the sliced fresh mushrooms a few handfuls at a time, along with a good pinch of salt. Fry until they give up their moisture and begin to brown – you may need to do this in batches as they won't brown properly in an overcrowded pan, so when they're all cooked, return any previous batches to the pan.
Strain the ceps, reserving the liquid and passing it through a cloth or coffee filter to remove any grit. Stir the plumped-up ceps and garlic into the pan and fry for two or three minutes. Add 200ml of cep liquid, season well and leave to bubble for five to 10 minutes, until most of the liquid has reduced away. Finish with a dash of cream, if you like. Keep warm while you prepare the polenta.
Cut the polenta into eight to 10 thick slices. Warm the remaining butter in a large frying pan, add a dash of oil and gently fry the polenta, a few slices at a time, until golden on both sides. Serve immediately with the mushroom mix spooned on top. Pass around the cheese and grater..
Classic fondue
Fondue is a bit like Christmas dinner. It's not necessarily going to be the best meal of the year, but it will be great fun if you get into the spirit of it, especially if you introduce the forfeit rule for accidents. Serves 10.
1 garlic clove, peeled
350ml dry (ideally Swiss) white wine
500g each Gruyère and Emmentaler (or raclette), grated
2 tbsp flour
2 tbsp kirsch
Freshly ground black pepper
Cubes of crusty bread, cut into cubes
Cut the garlic in half and rub the cut surface around the inside of a fondue pan or any small, heavy saucepan. Pour in the wine and place over a medium heat until it begins to steam. While it's warming up, mix the grated cheeses and flour in a large bowl or plastic bag, then add a handful at a time to the wine, stirring to melt before adding the next handful. When the mix is smooth, stir in the kirsch and some pepper. Leave to bubble for a couple of minutes, then place on a lighted burner to keep warm while you tuck in. Serve with a bowl of crusty bread cubes. To eat, spear a bread cube with a fondue fork or skewer, dip it into the molten cheese and devour. Lose a piece of bread in the cheese and you have to pick a forfeit out of a hat.
Getting there easyJet flies to Geneva from many UK airports, from around £23 one way; from there, Les Crosets is a 90-minute drive, though Hugh and family travelled by train to Geneva; a return ticket from London with RailEurope costs from £182.
Stay at Chalet les Béliers, Les Crosets, Switzerland. A week's stay self-catering costs from CHF500 a person (around £295), based on 10 sharing.
Source:guardian.co.uk
Go to Hollywood
Heading home from my family ski-trip to Les Crosets, Switzerland, I'm carrying with me, along with the bumps, bruises, chapped lips and sunburned nose (and an as yet undigested kilo or so of Swiss cheese), a genuine longing to return. Odd because, after a 10-year hiatus since we last took to the slopes, I thought this was largely a mission to cross skiing off the list of things I want to do more of in the second half of my life. I thought this one was pretty much for the kids. But I had far more fun than I expected.
Luckily, the children loved it, too, as did our friends, the Skeets, all five of them. So we've agreed we'll be back within a year or three, same families, same resort, same chalet, right opposite the sensational Dents du Midi, a stunning Alpine ridge that catches the evening sun and, I suspect, persuades many loyally to return year after year.
So what else made it so good? The snow, certainly. To arrive at your chalet at around suppertime in the dark, and find that soft, fat flakes are falling fast through a black, windless sky, puts you in the mood like nothing else – except, perhaps, a quick snowball fight. Ours managed to produce plenty of laughter and no tears – not even when Oscar got Freddie right in the ear. It's special stuff, snow, and never more so than when you're together as a family.
Snow is particularly handy for the skiing, of course. The fact that our first day on the slopes – the first in a decade for us, the first ever for our kids – took place in near-perfect snow conditions was fantastic. If you're a solidly average but out of practice skier – and that's the brush with which I'd tar all four of us adults – then a dusting of real fresh snow on a well-maintained piste is a true tonic.
The weather got better, as in hotter, from each day to the next. Inevitably that meant things got pretty slushy on the lower slopes by lunchtime, but by the second day we'd sussed that a hard (well, full) morning's skiing, plus an hour or so mucking around with the kids after a quick cafe lunch, was generally going to sate the snow-lust for the day. Usually one or two of the grown-ups were back in the chalet with most of the kids by 3pm, giving everyone, particularly me, plenty of time to think about supper.
In fact, the preparation of a hearty supper for 10 was never much of a sweat. And this was largely down to a seriously well-executed shopping trip to the nearby town of Champéry at the very start of the week. Les Crosets, a small village at 1,400m, is really all about the skiing, but Champéry, a windy 400m and 20 minutes down the mountain, is a proper little Swiss alpine town. It's not exactly the hive of artesanal food boutiques I had hoped for, though look beyond the big brands in the supermarkets and you'll find plenty of cheeses and a few good-looking cured meats sourced directly from the surrounding countryside.
But the real food find was undoubtedly Champéry's fabulous cheese shop, Fromage etc. We loaded up with goodies, including an outstanding aged Gruyère, a red-skinned aged goat's cheese that was great for grating on pasta, and a Vacherin Mont d'Or, that thick-skinned, runny cheese that comes in a round pine box.
I was on dinner duty most nights; not unaided, but largely unchallenged in my culinary dictatorship – except by small children constantly demanding Nutella pancakes. In the end I made a large batch of pancake batter most nights and kept it in the fridge. Pancakes proved the perfect plug for the gap between lunch and supper, and the best possible instant fix for the fact that on a skiing holiday everyone's always hungry. But they had to be deployed strategically. From day three, pancakes were allowed only at breakfast and within half an hour of returning to the chalet from the slopes, when they bought the chef a little time to prepare a slightly more sophisticated supper aimed at pleasing all members of the party (aged from four to 44).
But in some ways the pancake approach underpinned all my cooking endeavours on the holiday. Successful ski cuisine has to deliver on the après ski appetites' uncompromising demand for maximum starch with maximum taste, while also meeting the tired chef's requirement of minimum labour… and another very large glass of wine, please. So the chalet chef has to be able to function on autopilot and yet consistently deliver big-hitting, crowd-pleasing, tummy-filling, sleep-inducing, flavour-laden feasts.
Given this mission, pasta dishes and risottos are no less valid for being obvious. Pasta carbonara, as you probably know, is the most cunningly time-efficient way yet devised to shovel 1,000 very tasty calories down each of 10 hungry gullets. But for a change, and an upping of flavours, I made one using a spicy, chorizo-style sausage instead of the bacon. The other great starchy stuffer is polenta. To my delight, I found some in the supermarket that was ready-made, in a kind of sliceable polenta sausage. I found the best way to get the kids to give it a chance was to cut thick slices, fry them until crispy, then serve with grated parmesan. The next time, it came with a topping of sautéed wild mushrooms: not all the kids were convinced, but that meant all the more for the grown-ups.
My two big set pieces of the week were a bollito misto late lunch on the terrace (see recipe below) and, of course, like British ski parties in chalets all over the Alps, we just had to have a fondue on our last night. The cooking, by the way, is the easy part. Especially if you buy the "house fondue mix" of ready-grated cheese from the local fromagerie (they'll all be local, so there's no shame in it). Don't be tempted to add anything to the melted cheese except the prescribed quantities of white wine and kirsch, and a twist of black pepper. Have a few salad leaves standing by, if you must, but forget starters or pudding, just make a date with a pot of molten cheese and a mountain of cubed, crusty baguette. And get ready to be very silly.
Bollito misto
A massive meat fest, to be made with at least three different "boiling" meats. Make one a free-range chicken, another a good piece of ham or pancetta and the third some kind of garlicky sausage, then everyone will have something they like. Serve with Puy lentils, mustard spiced fruits (aka mostarda di Cremona; Italian delis sell the stuff), salsa verde (recipe below) and mustard. Serves eight to 10.
1 free-range chicken, jointed
1-2 boiling sausages (750g-1kg)
1 smoked ham hock (or 1 thick piece pancetta, around 1kg)
3 onions, peeled and quartered
2 bay leaves
1 small sprig fresh thyme
2 celery hearts, quartered
2 cabbage hearts, quartered
5 large carrots, peeled
Salt and black pepper
Put all the meat in a large casserole with the onions, bay, thyme and just enough water to cover. Bring to a simmer, cover and cook on a low heat for two hours. Add the celery hearts, cabbage hearts and whole carrots, season and cook until the vegetables are just tender. Lift out the meats, cut into thick slices and serve on a platter surrounded by the vegetables. Ladle over some of the rich stock (or serve it separately in a jug), and serve with mostarda, Puy lentils, mustard and the following salsa verde on the side (stir some of the salsa into the stock, too, if you like).
Salsa verde
1 small garlic clove, peeled
1 bunch flat-leaf parsley, stalks removed
15-20 basil leaves
3-4 sprigs fresh tarragon, picked
4-5 anchovy fillets
1 tsp capers
1 tsp mustard (Dijon or English)
1 pinch sugar
A few drops of lemon juice (or vinegar)
Freshly ground black pepper
2-3 tbsp extra-virgin olive oil
On a large board, chop the garlic as finely as you can. Add the herbs, anchovy fillets and capers to the pile of chopped garlic, and chop the lot together until well mixed and fairly fine in texture. Transfer to a bowl, stir in a little mustard, sugar, lemon juice and black pepper, plus enough olive oil to give it a glossy, spoonable consistency. As you add these last ingredients, taste and tweak the mixture until you get something you really like. This sauce is best made just before serving, but it does keep for a few days in the fridge, covered or in a jar.
Apple (and prune) pudding cake
At tea time, the most popular person in the chalet is the one who has made a cake. I love this "pudding cake" – you can serve it cold with a cup of tea or coffee, or for pudding in warm slabs with lots of cream, custard or yogurt. It's so good, quick and easy, we made it twice in the week. The second time we ran out of apples, so I made it with half apples, half prunes. Serves eight to 10.
For the apples
2 dessert apples (or 4, if you're making a pure apple cake and omitting the prunes)
25g unsalted butter
1 heaped tbsp granulated sugar
¼ tsp ground cinnamon (optional)
200g prunes
For the cake mix
150g unsalted butter, softened
125g caster sugar
2 medium eggs
1 tsp almond extract (optional)
75g white or wholemeal self-raising flour
75g blanched almonds, whizzed until finely ground, or ready-ground
Grease a rectangular, 20cm x 5cm deep cake tin, and line the base with buttered baking parchment. Heat the oven to 170C/325F/gas mark 3.
Peel, quarter and core the apples, then cut each quarter into three wedges. Melt 25g of butter in a frying pan until it sizzles gently, add the sugar and stir until the mixture bubbles. Add the apples and cinnamon, if using, and cook over a medium heat for five minutes, turning occasionally, until the apples are just tender and very lightly caramelised. Remove from the heat.
Put the butter and caster sugar in a bowl and beat until light and fluffy. Break in an egg, beat well, add the second egg, the almond extract, if using, and a spoonful of flour (to stop it curdling), and beat again. Add the almonds, sift in the remaining flour and fold in gently. Scrape the mix into the tin and smooth the surface with a palette knife. Arrange the apples on top of one half of the cake, the prunes on the other half, then trickle over any juices from the pan. Bake for 45–50 minutes, until a skewer inserted in the centre comes out clean. Stand on a wire rack to cool.
Chorizo carbonara
A bit of a cross-cultural mishmash, this – a classic Spanish sausage in a classic Italian pasta sauce topped with a classic Swiss cheese – but just the thing to feed a hungry ski-crowd with minimum fuss. Serves 10.
1kg spaghetti, linguine or other long pasta
Salt and black pepper
500g frozen peas (optional)
2-3 tbsp rapeseed or olive oil
800g fresh chorizo, removed from their skins and crumbled, or cured chorizo, diced
6 large egg yolks
600ml double cream
150g Emmentaler, Gruyère or Appenzeller, to grate on top
Add the pasta to a large pan of well-salted boiling water and cook until al dente, following the instructions on the packet. If you're using peas, cook them in another pan of boiling salted water.
Heat the oil in a frying pan and fry the chorizo briskly for 10 minutes, until crisp and cooked through. (If you're using fresh chorizo, start with a lump, then, as it fries, break it up so it forms lots of succulent little nuggets and crumbs, maximising the surface area available for crisping.) Meanwhile, beat the egg yolks and cream, and season lightly (the chorizo is already highly seasoned).
When the pasta is done, drain and return to the hot pan (add the drained peas at this point, too). Tip in the chorizo, followed by the egg mix. Use two forks to mix the eggy cream into the pasta. The sauce will cook in the heat of the pasta, coating each strand in a light, creamy sauce. Serve at once with a final twist of black pepper, and the grater and cheese so people can help themselves.
Polenta with mushrooms
A substantial and tasty starter. If you can't find ready-made polenta, make up a packet of instant polenta, and leave to cool and dry out a bit until it is sliceable. Serves eight to 10 as a starter.
100g dried ceps
100g unsalted butter
2-3 tbsp olive or sunflower oil
700g fresh mushrooms, cut in thick slices
Salt and black pepper
2 cloves garlic, peeled, halved and sliced thin
A little cream (optional)
750g ready-made polenta
Parmesan or aged Gruyère, to serve
Put the dried ceps in a bowl with 400ml boiling water and leave for 20 minutes. While they're plumping up, melt 70g butter with a dash of oil in a large frying pan over a medium-high heat. When the foam subsides, add the sliced fresh mushrooms a few handfuls at a time, along with a good pinch of salt. Fry until they give up their moisture and begin to brown – you may need to do this in batches as they won't brown properly in an overcrowded pan, so when they're all cooked, return any previous batches to the pan.
Strain the ceps, reserving the liquid and passing it through a cloth or coffee filter to remove any grit. Stir the plumped-up ceps and garlic into the pan and fry for two or three minutes. Add 200ml of cep liquid, season well and leave to bubble for five to 10 minutes, until most of the liquid has reduced away. Finish with a dash of cream, if you like. Keep warm while you prepare the polenta.
Cut the polenta into eight to 10 thick slices. Warm the remaining butter in a large frying pan, add a dash of oil and gently fry the polenta, a few slices at a time, until golden on both sides. Serve immediately with the mushroom mix spooned on top. Pass around the cheese and grater..
Classic fondue
Fondue is a bit like Christmas dinner. It's not necessarily going to be the best meal of the year, but it will be great fun if you get into the spirit of it, especially if you introduce the forfeit rule for accidents. Serves 10.
1 garlic clove, peeled
350ml dry (ideally Swiss) white wine
500g each Gruyère and Emmentaler (or raclette), grated
2 tbsp flour
2 tbsp kirsch
Freshly ground black pepper
Cubes of crusty bread, cut into cubes
Cut the garlic in half and rub the cut surface around the inside of a fondue pan or any small, heavy saucepan. Pour in the wine and place over a medium heat until it begins to steam. While it's warming up, mix the grated cheeses and flour in a large bowl or plastic bag, then add a handful at a time to the wine, stirring to melt before adding the next handful. When the mix is smooth, stir in the kirsch and some pepper. Leave to bubble for a couple of minutes, then place on a lighted burner to keep warm while you tuck in. Serve with a bowl of crusty bread cubes. To eat, spear a bread cube with a fondue fork or skewer, dip it into the molten cheese and devour. Lose a piece of bread in the cheese and you have to pick a forfeit out of a hat.
Getting there easyJet flies to Geneva from many UK airports, from around £23 one way; from there, Les Crosets is a 90-minute drive, though Hugh and family travelled by train to Geneva; a return ticket from London with RailEurope costs from £182.
Stay at Chalet les Béliers, Les Crosets, Switzerland. A week's stay self-catering costs from CHF500 a person (around £295), based on 10 sharing.
Source:guardian.co.uk
Go to Hollywood
Oscar de la Renta on 'The View': Don't Miss This
Barbara Walters said on Friday's episode of The View that Fashion Friday guest Oscar de la Renta has reached "the highest peak of fashion" but has "never forgotten where he came from". The 77-year-old Dominican -- iconic! -- designer talked about the situation in Haiti, and subjects personal to him.
Oscar de la Renta told the ladies of The View that Americans have done amazing things to provide relief to the people of Haiti in the wake of their earthquake disaster, but de la Renta added this caveat: "We tend to sometimes move on to the next tragedy."
De la Renta told the story of how he wanted to be a painter and traveled to Spain from the Dominican Republic. He said that his mother made it possible for him to pursue his dream, and when he arrived in Spain, he realized that he loved fashion. De la Renta gave up painting altogether when he moved to America to focus on his fashion career.
In an admirably humble interview, de la Renta also dished on dressing First Ladies. Watch the video to see part of what he had to say.
Meanwhile here's an interesting tidbit. Oscar de la Renta has been married two times, the first time to French Vogue editor-in-chief fashion consultant Francoise de Langlade. She once said about Oscar de la Renta's designs: "Oscar is not my favorite designer--just one of them."
Source:limelife.com/
Oscar de la Renta told the ladies of The View that Americans have done amazing things to provide relief to the people of Haiti in the wake of their earthquake disaster, but de la Renta added this caveat: "We tend to sometimes move on to the next tragedy."
De la Renta told the story of how he wanted to be a painter and traveled to Spain from the Dominican Republic. He said that his mother made it possible for him to pursue his dream, and when he arrived in Spain, he realized that he loved fashion. De la Renta gave up painting altogether when he moved to America to focus on his fashion career.
In an admirably humble interview, de la Renta also dished on dressing First Ladies. Watch the video to see part of what he had to say.
Meanwhile here's an interesting tidbit. Oscar de la Renta has been married two times, the first time to French Vogue editor-in-chief fashion consultant Francoise de Langlade. She once said about Oscar de la Renta's designs: "Oscar is not my favorite designer--just one of them."
Source:limelife.com/
Battle of the exes
It's been dubbed the battle of the exes. In one corner stands a blowhard moviemaker whose latest project is a visual extravaganza with an eye-popping budget to match. In the other, his former wife, a respected director in her own right who has wooed critics with her unsentimental take on the Iraq war. With Oscar season looming, the question on tinseltown lips is, will the race for the coveted best picture statuette descend into a straightforward tussle between the former spouses?
In a showdown that could only have been scripted in Hollywood, Avatar director James Cameron appears almost certain to be pitted against ex-wife Kathryn Bigelow and her gritty Iraq drama The Hurt Locker.
Both films appear to be a shoo-in for the short list, raising the delicious prospect of Titanic director Cameron being denied another 'King of the World' moment by none other than his former wife. The fact that Cameron beat Bigelow to claim the Golden Globe for best drama has merely added spice to proceedings.
On paper, Avatar and The Hurt Locker couldn't be less alike. Featuring boundary-shattering 3D technology and stunning sci-fi vistas, Avatar is, depending on your opinion, either a tour de force in the tradition of The Ten Commandments and Star Wars or a depressing example of the movie industry at its most bloated. What can't be denied is that it's an epic slab of corn-ball.
Conversely, The Hurt Locker is the little movie that could. Released with no fanfare and with a largely unknown cast, it came in the wake of a series of flop Iraq movies. But Bigelow has proved you can make a decent Iraq film with commercial appeal. Perhaps the most striking thing about The Hurt Locker is its price tag -- $11m (€7.8m), less than one-twentieth of Cameron's $230m (€163m) Avatar.
"Cameron has been divorced more times than he's been nominated, he was bound to come face to face with an ex sooner or later," says Vincent Donnelly of website Movies.ie. "He and Bigelow are still good friends; they've worked together after their split in the early 1990s.
Cameron reportedly advised Bigelow to drop what she was working on to direct The Hurt Locker. So even if she wins the Oscar, he's going to take some of the credit for her success.
"A contest where former husband and wife are the frontrunners for the two big awards certainly adds some spice to the event," says Hollywood insider Steve Pond. "It's Hollywood and people love intrigue and gossip."
Publicly, both parties are playing down the potential for conflict. Since divorcing, Cameron and Bigelow have always insisted they remained on friendly terms.
"I would love to see The Hurt Locker get nominated and see her get the recognition she has deserved for a long time," said the five-times married Cameron. "Nothing would make me happier." Bigelow, for her part, has been tripping over herself to laud her ex, declaring Avatar one of her favourite movies of the year. "I've seen Avatar, and I love it, love it, love it," she told Entertainment Weekly. Perhaps her generosity can be explained by the fact that, if critics are to be believed, and notwithstanding the Golden Globes, the Hurt Locker is in pole position to be named best picture. It has already been given that honour at the Producers' Guild of America, LA Film Critics and American Film Institute awards and won Venice Film Festival Grand Prize (closer to home, it's been nominated for an IFTA).
Bigelow and Cameron were married for two years. Shortly after their split, he began a relationship with his Terminator II star Linda Hamilton, though that relationship eventually flamed out too. Today, Cameron is on wife number five, with actress Suzy Amis, who he met on the set of Titanic.
Joking about his colourful love life, Cameron said: "I've been divorced more times than I've been nominated (for the Globes). I don't really know which one is more awkward."
An Oscar-night triumph for Bigelow would be inevitably hailed as a major step forward for women in cinema. In the 75-year history of the Oscars, only three have even received best director nominations (Lina Wertmuller for Seven Beauties in 1976, Jane Campion for The Piano in 1993 and Sofia Coppola for Lost in Translation in 2003). And yet, in many ways, she makes for a peculiar role-model for female movie makers. Certainly her previous films -- action flicks like K19: The Widowmaker and Point Break -- have been as testosterone splashed as anything her one-time husband has made.
Speaking to reporters last week, Cameron insisted that he wasn't too bothered about winning the approval of the Academy of Motion Pictures (then again with Avatar on course to eclipse the record $1.8bn box take achieved by Titanic, why would he?).
"Do I think we'll get some nominations? Hell, yeah. For visual effects and things like that, I think we should be strongly considered for that," he told the QMI Agency. "The genre of this film isn't typically honoured by Oscar in the acting, directing and best picture categories.
"Not like Titanic, which was a historical drama and costume piece. So the stars don't quite line up in that way."
Some, though, see the impending Oscar face-off as nothing less than a battle for the soul of the movie industry. To such commentators, a victory for The Hurt Locker would prove that, even in this era of $200m budgets and deafening marketing campaigns, it is still possible for intelligent low-budget pictures to sneak into the mainstream.
Writing in the online magazine Slate, esteemed American movie critic Roger Ebert couched the tussle in apocalyptic terms.
"For all I know, James and Kathryn speak on the phone every day and wish each other's movies nothing but good fortune," he said.
"But anyone who's ever watched as a smug ex goes on to enormous success has to place him or herself squarely in Bigelow's camp."
Source:independent.ie/
In a showdown that could only have been scripted in Hollywood, Avatar director James Cameron appears almost certain to be pitted against ex-wife Kathryn Bigelow and her gritty Iraq drama The Hurt Locker.
Both films appear to be a shoo-in for the short list, raising the delicious prospect of Titanic director Cameron being denied another 'King of the World' moment by none other than his former wife. The fact that Cameron beat Bigelow to claim the Golden Globe for best drama has merely added spice to proceedings.
On paper, Avatar and The Hurt Locker couldn't be less alike. Featuring boundary-shattering 3D technology and stunning sci-fi vistas, Avatar is, depending on your opinion, either a tour de force in the tradition of The Ten Commandments and Star Wars or a depressing example of the movie industry at its most bloated. What can't be denied is that it's an epic slab of corn-ball.
Conversely, The Hurt Locker is the little movie that could. Released with no fanfare and with a largely unknown cast, it came in the wake of a series of flop Iraq movies. But Bigelow has proved you can make a decent Iraq film with commercial appeal. Perhaps the most striking thing about The Hurt Locker is its price tag -- $11m (€7.8m), less than one-twentieth of Cameron's $230m (€163m) Avatar.
"Cameron has been divorced more times than he's been nominated, he was bound to come face to face with an ex sooner or later," says Vincent Donnelly of website Movies.ie. "He and Bigelow are still good friends; they've worked together after their split in the early 1990s.
Cameron reportedly advised Bigelow to drop what she was working on to direct The Hurt Locker. So even if she wins the Oscar, he's going to take some of the credit for her success.
"A contest where former husband and wife are the frontrunners for the two big awards certainly adds some spice to the event," says Hollywood insider Steve Pond. "It's Hollywood and people love intrigue and gossip."
Publicly, both parties are playing down the potential for conflict. Since divorcing, Cameron and Bigelow have always insisted they remained on friendly terms.
"I would love to see The Hurt Locker get nominated and see her get the recognition she has deserved for a long time," said the five-times married Cameron. "Nothing would make me happier." Bigelow, for her part, has been tripping over herself to laud her ex, declaring Avatar one of her favourite movies of the year. "I've seen Avatar, and I love it, love it, love it," she told Entertainment Weekly. Perhaps her generosity can be explained by the fact that, if critics are to be believed, and notwithstanding the Golden Globes, the Hurt Locker is in pole position to be named best picture. It has already been given that honour at the Producers' Guild of America, LA Film Critics and American Film Institute awards and won Venice Film Festival Grand Prize (closer to home, it's been nominated for an IFTA).
Bigelow and Cameron were married for two years. Shortly after their split, he began a relationship with his Terminator II star Linda Hamilton, though that relationship eventually flamed out too. Today, Cameron is on wife number five, with actress Suzy Amis, who he met on the set of Titanic.
Joking about his colourful love life, Cameron said: "I've been divorced more times than I've been nominated (for the Globes). I don't really know which one is more awkward."
An Oscar-night triumph for Bigelow would be inevitably hailed as a major step forward for women in cinema. In the 75-year history of the Oscars, only three have even received best director nominations (Lina Wertmuller for Seven Beauties in 1976, Jane Campion for The Piano in 1993 and Sofia Coppola for Lost in Translation in 2003). And yet, in many ways, she makes for a peculiar role-model for female movie makers. Certainly her previous films -- action flicks like K19: The Widowmaker and Point Break -- have been as testosterone splashed as anything her one-time husband has made.
Speaking to reporters last week, Cameron insisted that he wasn't too bothered about winning the approval of the Academy of Motion Pictures (then again with Avatar on course to eclipse the record $1.8bn box take achieved by Titanic, why would he?).
"Do I think we'll get some nominations? Hell, yeah. For visual effects and things like that, I think we should be strongly considered for that," he told the QMI Agency. "The genre of this film isn't typically honoured by Oscar in the acting, directing and best picture categories.
"Not like Titanic, which was a historical drama and costume piece. So the stars don't quite line up in that way."
Some, though, see the impending Oscar face-off as nothing less than a battle for the soul of the movie industry. To such commentators, a victory for The Hurt Locker would prove that, even in this era of $200m budgets and deafening marketing campaigns, it is still possible for intelligent low-budget pictures to sneak into the mainstream.
Writing in the online magazine Slate, esteemed American movie critic Roger Ebert couched the tussle in apocalyptic terms.
"For all I know, James and Kathryn speak on the phone every day and wish each other's movies nothing but good fortune," he said.
"But anyone who's ever watched as a smug ex goes on to enormous success has to place him or herself squarely in Bigelow's camp."
Source:independent.ie/
Sundance Film Festival Showcases Independent Films
The 2010 Sundance Film Festival is underway in Park City, Utah. The heavy snow and subfreezing temperatures do not stop almost 50,000 visitors from enjoying the films and exhibits around town. Documentaries, feature films and shorts -- 186 of them -- are being showcased here. The festival is a top venue for independent filmmakers.
This quaint alpine town is America's hottest venue for independent films. Directors, critics, movie stars and others are here to see the almost 200 films selected for the 2010 Sundance Film Festival.
Competition to get in is fierce. Almost 10,000 films were submitted for this year's event.
As independent filmmaker Gabriel Griffin Filmmaker says, "Sundance is truly organic."
Griffin is ahead of the game. He's already publicizing his latest film by putting it up on a public poster board in the middle of Main Street. He hopes the film will be accepted for Sundance next year. But the poster board is filling up quickly. Griffin looks at his poster stoically. "In an hour this will be covered up," he says.
The festival shows only independent films. Low budget documentaries, features, and shorts are screened across the ski resort of Park City.
The Egyptian Theater, on Main Street, figures prominently in the festival. The street is full of 19th century storefronts built during the silver mining boom.
Here, Sundance founder and president Robert Redford opened the 10-day festival. Redford says his brain child, now 26 years old, is in the vanguard of independent filmmaking. "I do honestly take pride in the fact that we've been doing this for so long and we send programmers all over the world to find these films in these countries that I honestly do think that we have the best films and the best documentaries from all over the world," said the legendary actor to a room filled with reporters.
Audiences too come from all over the world. Like Eduardo from Brazil. "Two Brazilian directors are showing movies, documentaries about the Amazon and maybe I will get tickets to enjoy," he says.
About 1,500 volunteers are here to help visitors like Eduardo find their way in the snow and subfreezing temperatures.
The "New Frontier" exhibit on Main Street is a highlight of the festival.
There, one steps onto a virtual map projected on the floor and travels the world over, or sees oneself on an electronic mirror that turns everyone into a comic book figure with bubble thoughts overhead.
Shari Frilo is the curator. She says the exhibit reflects the all-present media culture we live in.
"When you walk in," she says, "you're surrounded by images rather than a little gallery here or a little gallery there. It's supposed to be a social experience that resonates with our everyday life, that encourages conversation around this kind of experience in a hypermedia environment that is an artistic one rather than one that's powered by commerce and surveillance."
The festival offers filmmakers -- like Oscar winner Davis Guggenheim -- the chance to meet with the press and exchange ideas.
And although the weather doesn't cooperate, it doesn't stop people from venturing out.
Sundance is art in the making.
By now, Gabriel Griffin's poster has been covered by many others and soon new ones will cover those.
One thing is certain: some of these independent films will go on to compete for the top prizes.
Just like the independent film "Precious." It won a triple award at Sundance last year and is expected to make it at the Oscars in March
Source:voanews.com/
This quaint alpine town is America's hottest venue for independent films. Directors, critics, movie stars and others are here to see the almost 200 films selected for the 2010 Sundance Film Festival.
Competition to get in is fierce. Almost 10,000 films were submitted for this year's event.
As independent filmmaker Gabriel Griffin Filmmaker says, "Sundance is truly organic."
Griffin is ahead of the game. He's already publicizing his latest film by putting it up on a public poster board in the middle of Main Street. He hopes the film will be accepted for Sundance next year. But the poster board is filling up quickly. Griffin looks at his poster stoically. "In an hour this will be covered up," he says.
The festival shows only independent films. Low budget documentaries, features, and shorts are screened across the ski resort of Park City.
The Egyptian Theater, on Main Street, figures prominently in the festival. The street is full of 19th century storefronts built during the silver mining boom.
Here, Sundance founder and president Robert Redford opened the 10-day festival. Redford says his brain child, now 26 years old, is in the vanguard of independent filmmaking. "I do honestly take pride in the fact that we've been doing this for so long and we send programmers all over the world to find these films in these countries that I honestly do think that we have the best films and the best documentaries from all over the world," said the legendary actor to a room filled with reporters.
Audiences too come from all over the world. Like Eduardo from Brazil. "Two Brazilian directors are showing movies, documentaries about the Amazon and maybe I will get tickets to enjoy," he says.
About 1,500 volunteers are here to help visitors like Eduardo find their way in the snow and subfreezing temperatures.
The "New Frontier" exhibit on Main Street is a highlight of the festival.
There, one steps onto a virtual map projected on the floor and travels the world over, or sees oneself on an electronic mirror that turns everyone into a comic book figure with bubble thoughts overhead.
Shari Frilo is the curator. She says the exhibit reflects the all-present media culture we live in.
"When you walk in," she says, "you're surrounded by images rather than a little gallery here or a little gallery there. It's supposed to be a social experience that resonates with our everyday life, that encourages conversation around this kind of experience in a hypermedia environment that is an artistic one rather than one that's powered by commerce and surveillance."
The festival offers filmmakers -- like Oscar winner Davis Guggenheim -- the chance to meet with the press and exchange ideas.
And although the weather doesn't cooperate, it doesn't stop people from venturing out.
Sundance is art in the making.
By now, Gabriel Griffin's poster has been covered by many others and soon new ones will cover those.
One thing is certain: some of these independent films will go on to compete for the top prizes.
Just like the independent film "Precious." It won a triple award at Sundance last year and is expected to make it at the Oscars in March
Source:voanews.com/
Ranking Meryl Streep's Oscar-nominated roles
Meryl Streep has been nominated for an Oscar a record 18,785,947 times. Well, close, anyway: she's received 15 Oscar nominations -- 12 for Best Actress and 3 for Best Supporting Actress -- which is more than any other performer in the history of the Academy Awards (she's won twice). And we might as well make that 16, because she's sure to be nominated for Best Actress for her 2009 performance as Julia Child in Julie & Julie. How do they stand up to the test of time? We run them down:
Not so bestest (in which Streep is the best thing in a movie that doesn't truly deserve her goddessness, or else makes otherwise mediocre material highly watchable):
Ironweed (1987)/nominated for Best Actress: Streep does alcoholism porn.
Postcards from the Edge (1990)/nominated for Best Actress: Streep does more substance-abuse porn.
The Bridges of Madison County (1995)/nominated for Best Actress: Streep does romance porn.
One True Thing (1998)/nominated for Best Actress: Streep does cancer porn.
Music of the Heart (1999)/nominated for Best Actress: Streep does education porn.
Medium bestest (in which Streep demonstrates her divinity by seducing you into honestly believing that the movie you're watching is hella better than it is):
Kramer vs. Kramer (1979)/won for Best Supporting Actress: Streep won, I think, for this melodrama because the Academy was stunned by a female character who lived her own life even though -- *gasp* -- she had a child.
The Devil Wears Prada (2006)/nominated for Best Actress: Streep's Wicked Witch of High Fashion is instantly iconic -- watch how she whispers, forcing everyone to get closer to her even though they hate her -- but this is basically a sitcom.
Doubt (2008)/nominated for Best Actress: Streep's mean ol' nun is a hoot, but the film lacks the power of the stage play it's based on.
Julie & Julia (2009)/anticipated nomination for Best Actress: Streep transcends impersonation to breath real life into a woman who had become more punch line than anything else; but she's a character who warrants her own movie, not half of one.
Almost bestest (in which the light of Streep-ness transcends other problems with a film):
The Deer Hunter (1978)/nominated for Best Supporting Actress: Great, great film, but Streep's role is so small -- the film isn't really about her character at all.
The French Lieutenant's Woman (1981)/nominated for Best Actress: Victorian romantic scandal! Plus movie-within-a-movie meta!
Silkwood (1983)/nominated for Best Actress: A beautiful portrait of a complex, flawed person who happens to be female and working class ... but the rest of the package is flawed.
A Cry in the Dark (1988)/nominated for Best Actress: A dingo ate her baby. Features the famous Streep aptitude for accents -- in this case, Australian.
Bestest bestest (perfect movies, with Streep's perfection the cherry on top):
Sophie's Choice (1982)/won for Best Actress: What is the long-term impact of war? The horrors are right here.
Out of Africa (1985)/nominated for Best Actress: One of the best movies about women ever, thanks to Streep's honesty and strength.
Adaptation (2002)/nominated for Best Supporting Actress: Streep is the author of the impossible-to-adapt book, and she's nothing like you'd expect, and everything individual and unconventional and human.
Our prediction: She'll win this year. Even if it isn't for one of her best movies -- one of her best performances, sure, but not one of her best movies. Because the Academy will finally wake up and realize it's been almost 30 years since the Best Actress Evah got an official recognition of such.
Source:seattlepi.com/
Not so bestest (in which Streep is the best thing in a movie that doesn't truly deserve her goddessness, or else makes otherwise mediocre material highly watchable):
Ironweed (1987)/nominated for Best Actress: Streep does alcoholism porn.
Postcards from the Edge (1990)/nominated for Best Actress: Streep does more substance-abuse porn.
The Bridges of Madison County (1995)/nominated for Best Actress: Streep does romance porn.
One True Thing (1998)/nominated for Best Actress: Streep does cancer porn.
Music of the Heart (1999)/nominated for Best Actress: Streep does education porn.
Medium bestest (in which Streep demonstrates her divinity by seducing you into honestly believing that the movie you're watching is hella better than it is):
Kramer vs. Kramer (1979)/won for Best Supporting Actress: Streep won, I think, for this melodrama because the Academy was stunned by a female character who lived her own life even though -- *gasp* -- she had a child.
The Devil Wears Prada (2006)/nominated for Best Actress: Streep's Wicked Witch of High Fashion is instantly iconic -- watch how she whispers, forcing everyone to get closer to her even though they hate her -- but this is basically a sitcom.
Doubt (2008)/nominated for Best Actress: Streep's mean ol' nun is a hoot, but the film lacks the power of the stage play it's based on.
Julie & Julia (2009)/anticipated nomination for Best Actress: Streep transcends impersonation to breath real life into a woman who had become more punch line than anything else; but she's a character who warrants her own movie, not half of one.
Almost bestest (in which the light of Streep-ness transcends other problems with a film):
The Deer Hunter (1978)/nominated for Best Supporting Actress: Great, great film, but Streep's role is so small -- the film isn't really about her character at all.
The French Lieutenant's Woman (1981)/nominated for Best Actress: Victorian romantic scandal! Plus movie-within-a-movie meta!
Silkwood (1983)/nominated for Best Actress: A beautiful portrait of a complex, flawed person who happens to be female and working class ... but the rest of the package is flawed.
A Cry in the Dark (1988)/nominated for Best Actress: A dingo ate her baby. Features the famous Streep aptitude for accents -- in this case, Australian.
Bestest bestest (perfect movies, with Streep's perfection the cherry on top):
Sophie's Choice (1982)/won for Best Actress: What is the long-term impact of war? The horrors are right here.
Out of Africa (1985)/nominated for Best Actress: One of the best movies about women ever, thanks to Streep's honesty and strength.
Adaptation (2002)/nominated for Best Supporting Actress: Streep is the author of the impossible-to-adapt book, and she's nothing like you'd expect, and everything individual and unconventional and human.
Our prediction: She'll win this year. Even if it isn't for one of her best movies -- one of her best performances, sure, but not one of her best movies. Because the Academy will finally wake up and realize it's been almost 30 years since the Best Actress Evah got an official recognition of such.
Source:seattlepi.com/
Oscars Try to Navigate Through Babel
THERE was a time when the Academy Award for best foreign-language film reflected the state of world cinema: Fellini films won back-to-back Oscars in the mid 1950s, as did Bergman films in the early ’60s. But the category has come to suggest a peculiar gulf between Academy opinion and the tastes of critics and audiences alike.
Roger Arpajou/Sony Pictures Classics
Tahar Rahim, left, and Pierre Leccia in “A Prophet” (France).
“Police, Adjective,” an acclaimed Romanian film, didn’t make the cut. The five final nominees will be announced on Tuesday.
Some Oscar-nominated foreign titles from the past decade will leave even committed art-house audiences drawing a blank: “Zelary” from the Czech Republic, “As It Is in Heaven” from Sweden, “Zus & Zo” from the Netherlands. Meanwhile critical favorites and festival hits have often gone unacknowledged; a list of conspicuous omissions might start — but certainly would not end — with “4 Months, 3 Weeks and 2 Days,” “Caché,” “Silent Light,” “Gomorrah,” “The Edge of Heaven,” “Secret Sunshine” and “Volver.”
This incongruity has much to do with the category’s submission and nominating process, which is more byzantine than for any other, involving nominating bodies in various countries and several Academy committees. This year’s nine-film shortlist, announced this month, was whittled down by two committees from 65 submissions; the final five, to be determined by a third committee, will be revealed along with the other Oscar nominations on Tuesday. Mark Johnson, a veteran producer (“The Notebook,” “Ballast,” the “Narnia” films) and chairman of the Academy’s foreign-language committee since 1999, said that he has been striving in recent years to improve a process that, he acknowledged, often left the impression of an out-of-touch voting body. “We’ve attacked some of what I think have been real legitimate problems and criticisms,” he said.
While Mr. Johnson’s efforts have been largely focused on arriving at a more credible group of nominees, they have not streamlined the complex, multistage procedure. At each phase “there are always surprises and disappointments,” said Michael Barker, the co-president of Sony Pictures Classics, which is distributing three of this year’s nine shortlisted films: Michael Haneke’s “White Ribbon” (Germany), Jacques Audiard’s “Prophet” (France) and Juan José Campanella’s “Secret in Their Eyes” (Argentina).
The rule changes have not eliminated controversy. This year some critics pointed to omissions like “Police, Adjective” (from Romania), “Mother” (South Korea) and “I Killed My Mother” (Canada), all of which were the submissions of their respective countries, and films like “The Maid” (Chile) and “Vincere” (Italy), which were not selected in the first place.
Jonathan Sehring, the president of IFC Entertainment, an active distributor of foreign films, called the nominating process “terribly flawed” and singled out for criticism the one-film-per-country rule.
Some countries arrive at their choice by polling an Academy-like professional organization with hundreds or thousands of members; countries with less robust film industries might have more ad-hoc groups, sometimes with as few as a dozen voters. While the system is designed to allow even the smallest of film-producing nations a shot, it also ends up punishing relative powerhouses like France and Italy, which have many more acclaimed releases in a given year than, say, Iceland or the Ivory Coast, but must pick only one.
The emphasis on national origin means that international co-productions (like “The Motorcycle Diaries”) tend to fall by the wayside. Until recently the Academy also insisted that the foreign language match the foreign country; for instance, Mr. Haneke’s “Caché,” a French-language film by an Austrian director, was deemed ineligible. And two years ago “The Band’s Visit” was disqualified from being Israel’s official candidate because too much of the movie was in English.
At the national level the decisions are often tangled in internal politics. “Some countries approach the process in terms of ‘Whose turn is it?’ ” Mr. Sehring said, adding that personal agendas can come into play. Some questioned Italy’s decision this year to submit Giuseppe Tornatore’s big-budget period epic “Baaria” over Marco Bellochio’s “Vincere,” a film about Mussolini’s secret lover that has been received with greater enthusiasm at festivals (and is being released in the United States by IFC this year); it has not gone unnoticed that one financial backer of “Baaria” is Silvio Berlusconi, the Italian prime minister.
Voting bodies are apt to consider, sometimes above all other factors, how well a film might travel. Mr. Barker of Sony recalled being at an Academy-related panel at a film festival in Norway and hearing the question come up in the bluntest terms: “Do we pick what we think is the best film, or do we pick what we think the Americans will vote for?” France has fielded suspiciously treacly fare like “Merry Christmas” and “The Chorus,” ignoring work by better-known auteurs like Arnaud Desplechin and Olivier Assayas.
The record in the foreign-language category suggests a weakness for stodgy, conservative films, and the Academy members who vote in the category are usually older.
Gary Palmucci, general manager of Kino International, attended a few Academy screenings two years ago, when one of his films, “Beaufort” (Israel), was up for an Oscar. With a few exceptions, he said, “it looked like everybody was over 65.” (Kino has another Israeli film on this year’s shortlist: “Ajami,” which opens in New York this week.)
This demographic quirk can be partly chalked up to the rigors of the nomination process. Every year the submitted movies are divided into four groups; an Academy member who wishes to participate in the nominations must see at least 80 percent of the films in one group (which usually works out to more than a dozen films). All films must be seen in theaters; since most of the titles are not in commercial release, that usually means attending special Academy screenings.
“The people who have that kind of time are often the older members who are retired,” Mr. Johnson said. And they tend to favor what Mr. Palmucci described as “a more meat-and-potatoes kind of film.” Mr. Sehring noted that movies with relatively challenging subject matter (“4 Months, 3 Weeks and 2 Days,” about abortion in Ceausescu-era Romania) or form (the hand-drawn animation of “Persepolis”) have often been overlooked.
Such criticisms are hardly new, but they intensified two years ago when the Academy snubbed “4 Months, 3 Weeks and 2 Days,” a Palme d’Or winner at Cannes. Mr. Johnson responded by introducing an intermediate step in the nominating process to try to create a safeguard measure against glaring oversights.
“I don’t mean to be critical of the general committee because it’s older,” Mr. Johnson said, “but I wanted to make the selection process reflect more the Academy at large.”
Instead of entrusting the general membership with arriving at the nine-film shortlist, the Academy now takes the top six choices of the voting members (an average of 300 every year, Mr. Johnson said); the remaining three are wild-card selections by an executive committee appointed by Mr. Johnson, including the director Curtis Hanson, the cinematographer Janusz Kaminski and the German director Florian Henckel von Donnersmark, whose film “The Lives of Others” was a foreign-language winner. (The shortlist is narrowed to the final five by yet another committee’s members, who watch all nine films in a three-day period.)
Last year — the first time the shortlist was determined by two separate committees — the eventual nominees included well-reviewed art-house hits like “The Class” and “Waltz With Bashir” as well as an under-the-radar critical favorite, “Revanche.” This year’s list includes the Berlin festival’s top prizewinner, “The Milk of Sorrow” (Peru), and two Cannes hits, “The White Ribbon” (Germany) and “A Prophet” (France), films that might be too dark or difficult to have made it this far under the old system.
But there is nothing Mr. Johnson can do once the nominees are set and the vote is opened to the entire membership. Last year his rule changes produced the category’s most respectable lineup in some time. But it was the Japanese film “Departures,” which many considered the most conventional and sentimental of the five, that won.
That decision may not stand the test of time, but in a sense it is in keeping with tradition. In 1981, when Mr. Barker and his partner Tom Bernard were at United Artists, they had a foreign-language Oscar frontrunner in François Truffaut’s “Last Metro.” The other prime contender was thought to be Akira Kurosawa’s “Kagemusha.” But the eventual winner was a Russian film, long since forgotten, called “Moscow Does Not Believe in Tears.”
“It was a surprise to us that this could happen,” Mr. Barker said. “But then we realized this kind of thing has been happening for generations.”
Sign in to RecommendNext Article in Movies (47 of 47) » A version of this article appeared in print on January 31, 2010, on page AR13 of the New York edition.
Source:nytimes.com/
Roger Arpajou/Sony Pictures Classics
Tahar Rahim, left, and Pierre Leccia in “A Prophet” (France).
“Police, Adjective,” an acclaimed Romanian film, didn’t make the cut. The five final nominees will be announced on Tuesday.
Some Oscar-nominated foreign titles from the past decade will leave even committed art-house audiences drawing a blank: “Zelary” from the Czech Republic, “As It Is in Heaven” from Sweden, “Zus & Zo” from the Netherlands. Meanwhile critical favorites and festival hits have often gone unacknowledged; a list of conspicuous omissions might start — but certainly would not end — with “4 Months, 3 Weeks and 2 Days,” “Caché,” “Silent Light,” “Gomorrah,” “The Edge of Heaven,” “Secret Sunshine” and “Volver.”
This incongruity has much to do with the category’s submission and nominating process, which is more byzantine than for any other, involving nominating bodies in various countries and several Academy committees. This year’s nine-film shortlist, announced this month, was whittled down by two committees from 65 submissions; the final five, to be determined by a third committee, will be revealed along with the other Oscar nominations on Tuesday. Mark Johnson, a veteran producer (“The Notebook,” “Ballast,” the “Narnia” films) and chairman of the Academy’s foreign-language committee since 1999, said that he has been striving in recent years to improve a process that, he acknowledged, often left the impression of an out-of-touch voting body. “We’ve attacked some of what I think have been real legitimate problems and criticisms,” he said.
While Mr. Johnson’s efforts have been largely focused on arriving at a more credible group of nominees, they have not streamlined the complex, multistage procedure. At each phase “there are always surprises and disappointments,” said Michael Barker, the co-president of Sony Pictures Classics, which is distributing three of this year’s nine shortlisted films: Michael Haneke’s “White Ribbon” (Germany), Jacques Audiard’s “Prophet” (France) and Juan José Campanella’s “Secret in Their Eyes” (Argentina).
The rule changes have not eliminated controversy. This year some critics pointed to omissions like “Police, Adjective” (from Romania), “Mother” (South Korea) and “I Killed My Mother” (Canada), all of which were the submissions of their respective countries, and films like “The Maid” (Chile) and “Vincere” (Italy), which were not selected in the first place.
Jonathan Sehring, the president of IFC Entertainment, an active distributor of foreign films, called the nominating process “terribly flawed” and singled out for criticism the one-film-per-country rule.
Some countries arrive at their choice by polling an Academy-like professional organization with hundreds or thousands of members; countries with less robust film industries might have more ad-hoc groups, sometimes with as few as a dozen voters. While the system is designed to allow even the smallest of film-producing nations a shot, it also ends up punishing relative powerhouses like France and Italy, which have many more acclaimed releases in a given year than, say, Iceland or the Ivory Coast, but must pick only one.
The emphasis on national origin means that international co-productions (like “The Motorcycle Diaries”) tend to fall by the wayside. Until recently the Academy also insisted that the foreign language match the foreign country; for instance, Mr. Haneke’s “Caché,” a French-language film by an Austrian director, was deemed ineligible. And two years ago “The Band’s Visit” was disqualified from being Israel’s official candidate because too much of the movie was in English.
At the national level the decisions are often tangled in internal politics. “Some countries approach the process in terms of ‘Whose turn is it?’ ” Mr. Sehring said, adding that personal agendas can come into play. Some questioned Italy’s decision this year to submit Giuseppe Tornatore’s big-budget period epic “Baaria” over Marco Bellochio’s “Vincere,” a film about Mussolini’s secret lover that has been received with greater enthusiasm at festivals (and is being released in the United States by IFC this year); it has not gone unnoticed that one financial backer of “Baaria” is Silvio Berlusconi, the Italian prime minister.
Voting bodies are apt to consider, sometimes above all other factors, how well a film might travel. Mr. Barker of Sony recalled being at an Academy-related panel at a film festival in Norway and hearing the question come up in the bluntest terms: “Do we pick what we think is the best film, or do we pick what we think the Americans will vote for?” France has fielded suspiciously treacly fare like “Merry Christmas” and “The Chorus,” ignoring work by better-known auteurs like Arnaud Desplechin and Olivier Assayas.
The record in the foreign-language category suggests a weakness for stodgy, conservative films, and the Academy members who vote in the category are usually older.
Gary Palmucci, general manager of Kino International, attended a few Academy screenings two years ago, when one of his films, “Beaufort” (Israel), was up for an Oscar. With a few exceptions, he said, “it looked like everybody was over 65.” (Kino has another Israeli film on this year’s shortlist: “Ajami,” which opens in New York this week.)
This demographic quirk can be partly chalked up to the rigors of the nomination process. Every year the submitted movies are divided into four groups; an Academy member who wishes to participate in the nominations must see at least 80 percent of the films in one group (which usually works out to more than a dozen films). All films must be seen in theaters; since most of the titles are not in commercial release, that usually means attending special Academy screenings.
“The people who have that kind of time are often the older members who are retired,” Mr. Johnson said. And they tend to favor what Mr. Palmucci described as “a more meat-and-potatoes kind of film.” Mr. Sehring noted that movies with relatively challenging subject matter (“4 Months, 3 Weeks and 2 Days,” about abortion in Ceausescu-era Romania) or form (the hand-drawn animation of “Persepolis”) have often been overlooked.
Such criticisms are hardly new, but they intensified two years ago when the Academy snubbed “4 Months, 3 Weeks and 2 Days,” a Palme d’Or winner at Cannes. Mr. Johnson responded by introducing an intermediate step in the nominating process to try to create a safeguard measure against glaring oversights.
“I don’t mean to be critical of the general committee because it’s older,” Mr. Johnson said, “but I wanted to make the selection process reflect more the Academy at large.”
Instead of entrusting the general membership with arriving at the nine-film shortlist, the Academy now takes the top six choices of the voting members (an average of 300 every year, Mr. Johnson said); the remaining three are wild-card selections by an executive committee appointed by Mr. Johnson, including the director Curtis Hanson, the cinematographer Janusz Kaminski and the German director Florian Henckel von Donnersmark, whose film “The Lives of Others” was a foreign-language winner. (The shortlist is narrowed to the final five by yet another committee’s members, who watch all nine films in a three-day period.)
Last year — the first time the shortlist was determined by two separate committees — the eventual nominees included well-reviewed art-house hits like “The Class” and “Waltz With Bashir” as well as an under-the-radar critical favorite, “Revanche.” This year’s list includes the Berlin festival’s top prizewinner, “The Milk of Sorrow” (Peru), and two Cannes hits, “The White Ribbon” (Germany) and “A Prophet” (France), films that might be too dark or difficult to have made it this far under the old system.
But there is nothing Mr. Johnson can do once the nominees are set and the vote is opened to the entire membership. Last year his rule changes produced the category’s most respectable lineup in some time. But it was the Japanese film “Departures,” which many considered the most conventional and sentimental of the five, that won.
That decision may not stand the test of time, but in a sense it is in keeping with tradition. In 1981, when Mr. Barker and his partner Tom Bernard were at United Artists, they had a foreign-language Oscar frontrunner in François Truffaut’s “Last Metro.” The other prime contender was thought to be Akira Kurosawa’s “Kagemusha.” But the eventual winner was a Russian film, long since forgotten, called “Moscow Does Not Believe in Tears.”
“It was a surprise to us that this could happen,” Mr. Barker said. “But then we realized this kind of thing has been happening for generations.”
Sign in to RecommendNext Article in Movies (47 of 47) » A version of this article appeared in print on January 31, 2010, on page AR13 of the New York edition.
Source:nytimes.com/
Oscar winners of old worth watching again
Turner Classic Movies is kicking off its "31 Days of Oscar" campaign on Monday. It's just what it sounds like — a nonstop, commercial-free marathon of Oscar-winning (or at least nominated) movies on the classic Hollywood cable channel. Give this year's Academy Award contenders a few decades and perhaps they'll be on TCM's playlist, too. Thirty-one days is a lot of couch time for anyone, so Times film critic Steve Persall suggests 10 movies from TCM's lineup that remind him of this year's Oscar contenders. Warm up those DVRs for these selections to kill time before this year's Oscars telecast airs on March 7. You can find the entire schedule at tcm.com.
Feb. 2, 3:15 p.m.
Sergeant York — The flip side of The Hurt Locker, with best actor Oscar winner Gary Cooper, above, as a pacifist sharpshooter turned reluctant war hero.
Feb. 7, 8 p.m.
81/2 — Federico Fellini's Oscar winner for best foreign film inspired the musical Nine, with its creatively blocked director (Marcello Mastroianni) confronting the women in his life.
Feb. 10, 2:30 a.m.
Tender Mercies — Jeff Bridges' country music has-been in Crazy Heart could be the illegitimate son of Robert Duvall's Mac Sledge. Duvall earned a best actor Oscar, and his appearance in Crazy Heart makes this connection even clearer.
Feb. 13, 5:45 p.m.
Roman Holiday — The first time I saw Carey Mulligan in An Education, she brought memories of the gamine beauty of Audrey Hepburn, below with Eddie Albert, left, and Gregory Peck, in this best actress Oscar winner.
Feb. 19, 2:15 p.m.
Forbidden Planet — In order to truly appreciate the special effects in Avatar, revisit this 1957 nominee, featuring a crew of astronauts (including Leslie Nielsen when he acted seriously) in an alien world.
Feb. 20, 8 p.m.
Close Encounters of the Third Kind — Steven Spielberg's notions of alien contact with Earthlings are much more benign than District 9. At least Spielberg put the creatures in a mothership, above Wyoming's Devil's Tower, with enough fuel to return home.
Feb. 22, 6 a.m.
The Stratton Story — Think football player Michael Oher had it tough in The Blind Side? Try being a major league baseball pitcher after losing an leg in a hunting accident. James Stewart, above with June Allyson, is terrific in this fact-based sports drama.
Feb. 23, 2:45 p.m.
The Awful Truth — In order to fully appreciate how (500) Days of Summer reinvents the romantic comedy, check out this 1937 gem starring Cary Grant and Irene Dunne, above.
Feb. 25, 3:15 a.m.
Mrs. Brown — Emily Blunt's portrayal of Young Victoria is a fitting companion to Judi Dench's Oscar-winning turn as the British monarch in old age.
Feb. 26, 12:15 a.m.
The Dirty Dozen — Wouldn't you love to see a war movie teaming Lee Marvin's convict commandos with Brad Pitt's Inglourious Basterds? Just try to not cry when Jim Brown takes a Nazi bullet in the back.
Steve Persall can be reached at persall@sptimes.com or (727) 893-8365. Read his blog, Reeling in the Years, at blogs.tampabay.com/movies
Source:tampabay.com/
Feb. 2, 3:15 p.m.
Sergeant York — The flip side of The Hurt Locker, with best actor Oscar winner Gary Cooper, above, as a pacifist sharpshooter turned reluctant war hero.
Feb. 7, 8 p.m.
81/2 — Federico Fellini's Oscar winner for best foreign film inspired the musical Nine, with its creatively blocked director (Marcello Mastroianni) confronting the women in his life.
Feb. 10, 2:30 a.m.
Tender Mercies — Jeff Bridges' country music has-been in Crazy Heart could be the illegitimate son of Robert Duvall's Mac Sledge. Duvall earned a best actor Oscar, and his appearance in Crazy Heart makes this connection even clearer.
Feb. 13, 5:45 p.m.
Roman Holiday — The first time I saw Carey Mulligan in An Education, she brought memories of the gamine beauty of Audrey Hepburn, below with Eddie Albert, left, and Gregory Peck, in this best actress Oscar winner.
Feb. 19, 2:15 p.m.
Forbidden Planet — In order to truly appreciate the special effects in Avatar, revisit this 1957 nominee, featuring a crew of astronauts (including Leslie Nielsen when he acted seriously) in an alien world.
Feb. 20, 8 p.m.
Close Encounters of the Third Kind — Steven Spielberg's notions of alien contact with Earthlings are much more benign than District 9. At least Spielberg put the creatures in a mothership, above Wyoming's Devil's Tower, with enough fuel to return home.
Feb. 22, 6 a.m.
The Stratton Story — Think football player Michael Oher had it tough in The Blind Side? Try being a major league baseball pitcher after losing an leg in a hunting accident. James Stewart, above with June Allyson, is terrific in this fact-based sports drama.
Feb. 23, 2:45 p.m.
The Awful Truth — In order to fully appreciate how (500) Days of Summer reinvents the romantic comedy, check out this 1937 gem starring Cary Grant and Irene Dunne, above.
Feb. 25, 3:15 a.m.
Mrs. Brown — Emily Blunt's portrayal of Young Victoria is a fitting companion to Judi Dench's Oscar-winning turn as the British monarch in old age.
Feb. 26, 12:15 a.m.
The Dirty Dozen — Wouldn't you love to see a war movie teaming Lee Marvin's convict commandos with Brad Pitt's Inglourious Basterds? Just try to not cry when Jim Brown takes a Nazi bullet in the back.
Steve Persall can be reached at persall@sptimes.com or (727) 893-8365. Read his blog, Reeling in the Years, at blogs.tampabay.com/movies
Source:tampabay.com/
Eyeing the Oscars: Brian picks his favorite flicks from 2009
On Tuesday, all eyes will be on Hollywood as the 2010 Academy Award nominees are announced. Ten movies may be set to be nominated for Best Picture - not five, as in years past - but that does not mean there is any less debate about the ballot. Which movie will take home the top honors? Who were the best actors and actresses of the last year? And is there any category in which Avatar will not be nominated?
What follows is a summary of the best movies of 2009 in two parts. At the end, I name some probable Oscar winners and a few movies which might receive surprise nominations. But first I list my five favorite films of the last year - I'll leave the debate about the 10 best to others. These are not necessarily predictions of which films will get Best Picture nominations; instead, read them as one avid moviegoer's attempt to sort out his favorites from a great year at the movies.
5. (500) Days of Summer
When was the last time a romantic comedy was this original? (500) Days of Summer is heartwarming, heartbreaking, hilarious and poignant, a riot of awesome characters and memorable dialogue. Rookie director Marc Webb - who will soon be helming the Spiderman reboot - makes this rom-com defy the Hollywood formula by telling the story out of chronological order and creating one unforgettable sequence in which the left side of the screen shows what a character wants to happen, and the right side shows what actually happens.
Strengths: The funniest, most remarkable romantic comedy since Much Ado About Nothing (1993).
Weaknesses: The movie's style seems gimmicky at first. Also, why are there parentheses around the 500 in the title?
4. Up in the Air
George Clooney (Ocean's Eleven) stars in the year's most timely movie, a story about a man (Clooney) whose job is to fire people. He lives and works deep in the heart of the current economic crisis, but the movie is at its strongest examining his own problems. Clooney's character is a loner who thinks he is happy, but what happens when he finally discovers the joys of human attachment? A marvelous character study that just happens to preserve as art the spirit of 2009.
Strengths: Clooney gives the performance of a lifetime, and Vera Farmiga (Orphan) and Anna Kendrick (Twilight) deliver great supporting performances. Hilarious one-liners and a surprisingly honest, realistic ending.
Weaknesses: The interviews with actual fired people, about how it feels to be unemployed, are unnecessary.
3. Up
Pixar has only ever had one slip-up (Cars), but even in the midst of its glorious run of movie magic, Up stands out. This is a movie fueled by magic, awash with glorious colors and propelled to greatness by a beyond-perfect soundtrack. Make no mistake: Up is a movie for adults. A friend of mine, Wiess College junior Michelle Conway, described the opening montage showing the lives of Carl and Elly Fredricksen as "the most romantic thing I've ever seen in a movie." And come to think of it, I agree.
Avatar set a new standard for special effects, but with that incredible opening sequence, Up set a new standard for computer-generated storytelling. And storytelling beats special effects any time.
Strengths: Incredibly mature themes, fabulous colors and music, perhaps the most romantic scenes ever, characters who defy family-movie stereotypes and an adorable bird.
Weaknesses: Like most animated movies, Up has an annoyingly one-dimensional villain.
2. Sugar
The most underappreciated movie of the year, Sugar begins as a baseball movie and ends up being something much more important. It tells the story of Miguel "Sugar" Santos, a Dominican baseball player who is drafted by a major league team and heads to the United States to prove his worth. Despite the appearance of several ballgames in the movie, Sugar is more about the immigrant experience, and ultimately about chasing the American dream. It's heartwarming and surprising, and it defies all the stereotypes of sports movies.
Strengths: Vivid, realistic, humorous and original, with great plot turns and a beautiful ending. Algenis Perez Soto, who is not an actor at all but a real Dominican baseball player, turns in a wonderful performance as Sugar Santos.
Weaknesses: For the DVD release, the creators censored the movie in an attempt to reduce the rating from R to PG-13. Why would anybody want to lower the rating on a DVD? At any rate, I want to see Sugar again but will wait until they sell the original release. In theaters, the movie was just about perfect.
1. The Hurt Locker
The Hurt Locker is an all-time great film. It is a war movie about an Iraq War soldier (Jeremy Renner, 28 Weeks Later) whose job is to dismantle roadside bombs in Baghdad. Director Kathryn Bigelow - likely to become the first woman ever to win an Oscar for Best Director - controls the story with incredible suspense and power.
Strengths: Like no other movie this year, The Hurt Locker feels authoritative. It expresses itself with such confidence, such assurance and such authenticity that I never questioned or doubted the way the story was told. It disarms the critic's sense of "could that have been better?" The Hurt Locker will be watched, analyzed and maybe even taught decades from now.
Weaknesses: None. Seriously, none. If Locker loses the Oscar for Best Picture to Avatar, the only reason will be money. Locker is the best movie of the year, plain and simple.
Honorable mentions: I loved An Education and thought Inglourious Basterds was pretty cool. Star Trek exceeded my expectations, since I'd never watched the original series. Funny People was a better movie than everybody thinks, even though it was way too long.
Notably absent: Avatar. Special effects, imaginative settings and a wildly plagiaristic story do not a great movie make, unless you're Star Wars.
Best male acting performance: Christoph Waltz, Inglourious Basterds
As SS Colonel Hans Landa, Waltz owned this movie; he is quite possibly one of the scariest movie villains of all time, and certainly Hollywood's greatest Nazi. More importantly, Basterds just wasn't as good when Waltz was off the screen. His energy and his evil charisma were the best parts of the whole film.
Best female acting performance: Carey Mulligan, An Education
Mulligan is the next Audrey Hepburn, a future superstar. Her performance in An Education defined the movie and announced her arrival as a major actress, the same way that Ellen Page won our hearts in Juno. The problem is that Mulligan is too young, so, like Page, she will lose the Oscar to an older actress, probably Sandra Bullock (The Blind Side).
Best director: Kathryn Bigelow, The Hurt Locker
Just think about this: One of the most emotionally powerful moments in The Hurt Locker is a man buying cereal at the grocery store. How many directors could make such a dull scene into a gripping psychological turning point? How many directors can justify putting a grocery store in a war movie? No woman has ever won an Oscar for Best Director. Bigelow will change that.
Best original musical score: Michael Giacchino, Up
The best soundtrack of the year gives us an unforgettably beautiful tune which we will always mentally associate with images of old Carl flying through the sky in his floating house. When I hear the music from Up in my head, my mind's eye can see Carl and Elly waltzing around their living room. Movie music doesn't get more perfectly suited to the subject matter than this.
Likely Oscar winners: The Hurt Locker, best picture; Jeff Bridges, best actor (Crazy Heart); Bullock, best actress (The Blind Side); Waltz, best supporting actor (Inglourious Basterds); Mo'Nique, best supporting actress (Precious); Bigelow, best director (The Hurt Locker); Quentin Tarantino, best original screenplay (Inglourious Basterds); Jason Reitman and Sheldon Turner, best adapted screenplay (Up in the Air).
Some possible surprise nominations: Adam Sandler for best actor (Funny People), Marc Webb for best director ((500) Days of Summer), Ramin Bahrani for best director (Goodbye Solo), Star Trek for best adapted screenplay, Star Trek for best picture, Up for best picture.
Source:ricethresher.org/
What follows is a summary of the best movies of 2009 in two parts. At the end, I name some probable Oscar winners and a few movies which might receive surprise nominations. But first I list my five favorite films of the last year - I'll leave the debate about the 10 best to others. These are not necessarily predictions of which films will get Best Picture nominations; instead, read them as one avid moviegoer's attempt to sort out his favorites from a great year at the movies.
5. (500) Days of Summer
When was the last time a romantic comedy was this original? (500) Days of Summer is heartwarming, heartbreaking, hilarious and poignant, a riot of awesome characters and memorable dialogue. Rookie director Marc Webb - who will soon be helming the Spiderman reboot - makes this rom-com defy the Hollywood formula by telling the story out of chronological order and creating one unforgettable sequence in which the left side of the screen shows what a character wants to happen, and the right side shows what actually happens.
Strengths: The funniest, most remarkable romantic comedy since Much Ado About Nothing (1993).
Weaknesses: The movie's style seems gimmicky at first. Also, why are there parentheses around the 500 in the title?
4. Up in the Air
George Clooney (Ocean's Eleven) stars in the year's most timely movie, a story about a man (Clooney) whose job is to fire people. He lives and works deep in the heart of the current economic crisis, but the movie is at its strongest examining his own problems. Clooney's character is a loner who thinks he is happy, but what happens when he finally discovers the joys of human attachment? A marvelous character study that just happens to preserve as art the spirit of 2009.
Strengths: Clooney gives the performance of a lifetime, and Vera Farmiga (Orphan) and Anna Kendrick (Twilight) deliver great supporting performances. Hilarious one-liners and a surprisingly honest, realistic ending.
Weaknesses: The interviews with actual fired people, about how it feels to be unemployed, are unnecessary.
3. Up
Pixar has only ever had one slip-up (Cars), but even in the midst of its glorious run of movie magic, Up stands out. This is a movie fueled by magic, awash with glorious colors and propelled to greatness by a beyond-perfect soundtrack. Make no mistake: Up is a movie for adults. A friend of mine, Wiess College junior Michelle Conway, described the opening montage showing the lives of Carl and Elly Fredricksen as "the most romantic thing I've ever seen in a movie." And come to think of it, I agree.
Avatar set a new standard for special effects, but with that incredible opening sequence, Up set a new standard for computer-generated storytelling. And storytelling beats special effects any time.
Strengths: Incredibly mature themes, fabulous colors and music, perhaps the most romantic scenes ever, characters who defy family-movie stereotypes and an adorable bird.
Weaknesses: Like most animated movies, Up has an annoyingly one-dimensional villain.
2. Sugar
The most underappreciated movie of the year, Sugar begins as a baseball movie and ends up being something much more important. It tells the story of Miguel "Sugar" Santos, a Dominican baseball player who is drafted by a major league team and heads to the United States to prove his worth. Despite the appearance of several ballgames in the movie, Sugar is more about the immigrant experience, and ultimately about chasing the American dream. It's heartwarming and surprising, and it defies all the stereotypes of sports movies.
Strengths: Vivid, realistic, humorous and original, with great plot turns and a beautiful ending. Algenis Perez Soto, who is not an actor at all but a real Dominican baseball player, turns in a wonderful performance as Sugar Santos.
Weaknesses: For the DVD release, the creators censored the movie in an attempt to reduce the rating from R to PG-13. Why would anybody want to lower the rating on a DVD? At any rate, I want to see Sugar again but will wait until they sell the original release. In theaters, the movie was just about perfect.
1. The Hurt Locker
The Hurt Locker is an all-time great film. It is a war movie about an Iraq War soldier (Jeremy Renner, 28 Weeks Later) whose job is to dismantle roadside bombs in Baghdad. Director Kathryn Bigelow - likely to become the first woman ever to win an Oscar for Best Director - controls the story with incredible suspense and power.
Strengths: Like no other movie this year, The Hurt Locker feels authoritative. It expresses itself with such confidence, such assurance and such authenticity that I never questioned or doubted the way the story was told. It disarms the critic's sense of "could that have been better?" The Hurt Locker will be watched, analyzed and maybe even taught decades from now.
Weaknesses: None. Seriously, none. If Locker loses the Oscar for Best Picture to Avatar, the only reason will be money. Locker is the best movie of the year, plain and simple.
Honorable mentions: I loved An Education and thought Inglourious Basterds was pretty cool. Star Trek exceeded my expectations, since I'd never watched the original series. Funny People was a better movie than everybody thinks, even though it was way too long.
Notably absent: Avatar. Special effects, imaginative settings and a wildly plagiaristic story do not a great movie make, unless you're Star Wars.
Best male acting performance: Christoph Waltz, Inglourious Basterds
As SS Colonel Hans Landa, Waltz owned this movie; he is quite possibly one of the scariest movie villains of all time, and certainly Hollywood's greatest Nazi. More importantly, Basterds just wasn't as good when Waltz was off the screen. His energy and his evil charisma were the best parts of the whole film.
Best female acting performance: Carey Mulligan, An Education
Mulligan is the next Audrey Hepburn, a future superstar. Her performance in An Education defined the movie and announced her arrival as a major actress, the same way that Ellen Page won our hearts in Juno. The problem is that Mulligan is too young, so, like Page, she will lose the Oscar to an older actress, probably Sandra Bullock (The Blind Side).
Best director: Kathryn Bigelow, The Hurt Locker
Just think about this: One of the most emotionally powerful moments in The Hurt Locker is a man buying cereal at the grocery store. How many directors could make such a dull scene into a gripping psychological turning point? How many directors can justify putting a grocery store in a war movie? No woman has ever won an Oscar for Best Director. Bigelow will change that.
Best original musical score: Michael Giacchino, Up
The best soundtrack of the year gives us an unforgettably beautiful tune which we will always mentally associate with images of old Carl flying through the sky in his floating house. When I hear the music from Up in my head, my mind's eye can see Carl and Elly waltzing around their living room. Movie music doesn't get more perfectly suited to the subject matter than this.
Likely Oscar winners: The Hurt Locker, best picture; Jeff Bridges, best actor (Crazy Heart); Bullock, best actress (The Blind Side); Waltz, best supporting actor (Inglourious Basterds); Mo'Nique, best supporting actress (Precious); Bigelow, best director (The Hurt Locker); Quentin Tarantino, best original screenplay (Inglourious Basterds); Jason Reitman and Sheldon Turner, best adapted screenplay (Up in the Air).
Some possible surprise nominations: Adam Sandler for best actor (Funny People), Marc Webb for best director ((500) Days of Summer), Ramin Bahrani for best director (Goodbye Solo), Star Trek for best adapted screenplay, Star Trek for best picture, Up for best picture.
Source:ricethresher.org/
Mel Gibson reminisces over some old pictures: 'Braveheart,' 'Lethal Weapon' and more
Mel Gibson nodded toward a DVD copy of “Braveheart,” which was perched atop a stack of movies from the Oscar winner’s three-decade career. “It doesn’t always end well for the guys I play, does it? They get their guts cut out or it gets nasty at the end. This new guy, he’s like that too.”
The new guy is Thomas Craven, the main character in “Edge of Darkness,” which marks Gibson’s first leading-man job since 2002. The Craven role is fairly familiar character territory for Gibson — he’s a desperate father, a cop on the edge, a man looking for revenge — but the 54-year-old is on uncertain ground with moviegoers after a career calamity with the worldwide press coverage of his anti-Semitic rant while in police custody for a 2006 DUI.
The trajectory of Gibson’s career has been startling in its left turns — when People magazine put the actor on the cover of its first “sexiest man alive” issue in 1985, who would have suspected that he would go on almost two decades later to direct, produce and co-write a film that would become a flash point in contemporary American religious life?
Last week, Gibson sat down to reflect on some mile markers in his own cinematic journey by watching scenes from past films. “I don’t revisit, it’s not something I do,” he said, studying his youthful visage from “Mad Max 2: The Road Warrior,” the high-octane film that kicked off a decade that saw Gibson go from an unknown Australian actor to one of the most bankable stars in Hollywood. “Look at him, I’m not sure I even know this guy.”
For Gibson's thoughts on "Lethal Weapon," "The Passion of the Christ" and more, click on the image of "Braveheart" above.
Source:latimesblogs.latimes.com/
The new guy is Thomas Craven, the main character in “Edge of Darkness,” which marks Gibson’s first leading-man job since 2002. The Craven role is fairly familiar character territory for Gibson — he’s a desperate father, a cop on the edge, a man looking for revenge — but the 54-year-old is on uncertain ground with moviegoers after a career calamity with the worldwide press coverage of his anti-Semitic rant while in police custody for a 2006 DUI.
The trajectory of Gibson’s career has been startling in its left turns — when People magazine put the actor on the cover of its first “sexiest man alive” issue in 1985, who would have suspected that he would go on almost two decades later to direct, produce and co-write a film that would become a flash point in contemporary American religious life?
Last week, Gibson sat down to reflect on some mile markers in his own cinematic journey by watching scenes from past films. “I don’t revisit, it’s not something I do,” he said, studying his youthful visage from “Mad Max 2: The Road Warrior,” the high-octane film that kicked off a decade that saw Gibson go from an unknown Australian actor to one of the most bankable stars in Hollywood. “Look at him, I’m not sure I even know this guy.”
For Gibson's thoughts on "Lethal Weapon," "The Passion of the Christ" and more, click on the image of "Braveheart" above.
Source:latimesblogs.latimes.com/
Kristen and Anna: Too Good for Twilight?
Twilight darlings Kirsten Stewart and Anna Kendrick are quickly breaking out of their vampire coffins. We're all aware by now that Anna has received tons of acclaim for her performance alongside George Clooney in Up in the Air, and Kristen was the talk of Sundance town.
Got it?
That's why we think yesterday's item about Kristen and Robert Pattinson was totally fair game. We're not "pitting them against each other," as so many Twi-screamers say, but pointing out R and K both have the opportunities with their upcoming flicks to become major players in this entertainment biz.
Heck, while Ashley Greene is shooting some horror movie in Germany and Kellan Lutz is losing Barbarian roles, Kendrick is picking out her Oscar gown! And According to people who have worked with Kristen, she, too is already headed for Oscar's stage—and we don't mean as a presenter:
"Kristen's got this innate quality, that gift, that not everyone has," Welcome to the Rileys director Jake Scott told us. "She's magic. I can see it happening. I can see her becoming a major star. She's grounded, which is important to say about her. She's really grounded. She's a cool chick."
Oscar-nominated actress Melissa Leo, who costars with K.Stew in Welcome, was eager to throw in her experienced two cents on Kristen's potential.
"I'm sure she'll be up there on that stage one day, I'm positive."
Leo, whose performance in Frozen River last year put her in a gown alongside Meryl Streep and Kate Winslet, says she sees a lot of herself in young K.Stew.
"Something happens with actors who are committed to what they do. We enjoyed each other because we were so serious about work; we adored each other."
Dang, if we were Kristen, we'd not only have suck faced with R.Pattz in public 232 years ago, we'd be nervous about acting out possibly two more of Melissa Rosenberg's movies. After what seems like a lot of successful reviews post-New Moon, it doesn't sound too fun to go back to your not-very-well-written roots.
We all know Anna Kendrick's thinking the same damn thing, right?
Everyone in town is expecting A.K. to get a nomination for Best Supporting Actress.
Now that she's been catapulted to the major leagues, we bet this petite cutie is counting her blessings that she has maybe two lines in all the Twilight flicks. It actually wouldn't surprise us if Annie wanted to finagle her way out of the franchise, seeing as movie offers are pouring in for her now, but she strikes us as the type to stay loyal to her fans, à la Kristen.
Stewart would never leaver her Twi-fans high and dry (as if Summit would let her), but it'll be interesting to see if K.Stew is as eager about two Breaking Dawn flicks as she might have once been.
Come on, Stephenie Meyer, let's do one more movie. For all our sake, yeah?
Source:
Got it?
That's why we think yesterday's item about Kristen and Robert Pattinson was totally fair game. We're not "pitting them against each other," as so many Twi-screamers say, but pointing out R and K both have the opportunities with their upcoming flicks to become major players in this entertainment biz.
Heck, while Ashley Greene is shooting some horror movie in Germany and Kellan Lutz is losing Barbarian roles, Kendrick is picking out her Oscar gown! And According to people who have worked with Kristen, she, too is already headed for Oscar's stage—and we don't mean as a presenter:
"Kristen's got this innate quality, that gift, that not everyone has," Welcome to the Rileys director Jake Scott told us. "She's magic. I can see it happening. I can see her becoming a major star. She's grounded, which is important to say about her. She's really grounded. She's a cool chick."
Oscar-nominated actress Melissa Leo, who costars with K.Stew in Welcome, was eager to throw in her experienced two cents on Kristen's potential.
"I'm sure she'll be up there on that stage one day, I'm positive."
Leo, whose performance in Frozen River last year put her in a gown alongside Meryl Streep and Kate Winslet, says she sees a lot of herself in young K.Stew.
"Something happens with actors who are committed to what they do. We enjoyed each other because we were so serious about work; we adored each other."
Dang, if we were Kristen, we'd not only have suck faced with R.Pattz in public 232 years ago, we'd be nervous about acting out possibly two more of Melissa Rosenberg's movies. After what seems like a lot of successful reviews post-New Moon, it doesn't sound too fun to go back to your not-very-well-written roots.
We all know Anna Kendrick's thinking the same damn thing, right?
Everyone in town is expecting A.K. to get a nomination for Best Supporting Actress.
Now that she's been catapulted to the major leagues, we bet this petite cutie is counting her blessings that she has maybe two lines in all the Twilight flicks. It actually wouldn't surprise us if Annie wanted to finagle her way out of the franchise, seeing as movie offers are pouring in for her now, but she strikes us as the type to stay loyal to her fans, à la Kristen.
Stewart would never leaver her Twi-fans high and dry (as if Summit would let her), but it'll be interesting to see if K.Stew is as eager about two Breaking Dawn flicks as she might have once been.
Come on, Stephenie Meyer, let's do one more movie. For all our sake, yeah?
Source:
Odds of Hollywood finally making a 'Catcher in the Rye' movie: Less than zero
Hollywood never had a chance to make a movie out of J.D. Salinger's delightful "The Catcher in the Rye," though it wasn't for lack of trying. Over the years, everyone gave it a shot -- Sam Goldwyn, Billy Wilder, even Steven Spielberg. Let's face it. It ain't gonna happen now, even though Entertainment Weekly has a post up floating the slightly preposterous theory that things could change with Salinger's death, since the reclusive author once wrote a letter to a fan in 1957 saying that he might leave the movie rights to his wife and daughter as a way of helping them make ends meet.
Of course, by the time Salinger died, he'd long ago separated from his wife, while his daughter had written a nasty memoir about dear old dad, making it highly unlikely that any movie rights would have remained in their possession.
Anyway, it's hard to imagine that if Salinger had seen any youth-culture movies over the past 20 years that he would've felt any more optimistic about a good Hollywood outcome for his beloved masterpiece. In fact, it's hard to imagine a modern-day filmmaker (OK, excepting Wes Anderson, who acts like he for all intents and purposes grew up in a Salinger story) who has the right sensibility for capturing the distinctively disaffected tone of "Catcher in the Rye."
But Salinger's death reminded me of Hollywood's cheekiest attempt to win over the old master. Way, way back in 1982, Larry Mark -- now a successful film producer who was co-producer of last year's Oscars -- was a brash young production executive at Paramount Pictures. The studio wanted to do a film in a prep school setting, so Mark, who'd gone to Hotchkiss, was given the job of overseeing the project. As he told me last year during Oscar season, after reading several lackluster scripts, Mark realized that if the studio were going to all that trouble to make a prep school movie, why not go after the holy grail of preppy literary properties.
Mark had just seen a photo of Salinger snapped outside his local post office, so Mark identified what he believed to be the exact location and sent Salinger a pitch letter. There's no evidence that Salinger ever read it -- he certainly didn't reply -- but it's a classic of its kind. On official Paramount stationery, Mark tells Salinger that the studio has been trying to develop a prep school project, saying: "We have managed to come up with several scripts -- all of them awful. You see, there's no way to do such a project -- unless it happens to be 'Catcher in the Rye.' "
Mark acknowledges Salinger's concerns about being raped and pillaged by Hollywood, shrewdly adding that "I share many of these feelings." So he offers Salinger the ability to oversee each step of the way from novel to film, concluding with this wonderful flourish: "Please give a kid a break -- and advise me how to go about changing your mind." I still have a copy of the letter on my wall, as a reminder of what deep roots chutzpah has in the showbiz family tree. I often fantasized that Salinger kept his copy as well, as a reminder that some books are best left on the shelf, safely nestled in our individual imaginations, free from any Hollywood interpretation.
Source:latimesblogs.latimes.com/
Of course, by the time Salinger died, he'd long ago separated from his wife, while his daughter had written a nasty memoir about dear old dad, making it highly unlikely that any movie rights would have remained in their possession.
Anyway, it's hard to imagine that if Salinger had seen any youth-culture movies over the past 20 years that he would've felt any more optimistic about a good Hollywood outcome for his beloved masterpiece. In fact, it's hard to imagine a modern-day filmmaker (OK, excepting Wes Anderson, who acts like he for all intents and purposes grew up in a Salinger story) who has the right sensibility for capturing the distinctively disaffected tone of "Catcher in the Rye."
But Salinger's death reminded me of Hollywood's cheekiest attempt to win over the old master. Way, way back in 1982, Larry Mark -- now a successful film producer who was co-producer of last year's Oscars -- was a brash young production executive at Paramount Pictures. The studio wanted to do a film in a prep school setting, so Mark, who'd gone to Hotchkiss, was given the job of overseeing the project. As he told me last year during Oscar season, after reading several lackluster scripts, Mark realized that if the studio were going to all that trouble to make a prep school movie, why not go after the holy grail of preppy literary properties.
Mark had just seen a photo of Salinger snapped outside his local post office, so Mark identified what he believed to be the exact location and sent Salinger a pitch letter. There's no evidence that Salinger ever read it -- he certainly didn't reply -- but it's a classic of its kind. On official Paramount stationery, Mark tells Salinger that the studio has been trying to develop a prep school project, saying: "We have managed to come up with several scripts -- all of them awful. You see, there's no way to do such a project -- unless it happens to be 'Catcher in the Rye.' "
Mark acknowledges Salinger's concerns about being raped and pillaged by Hollywood, shrewdly adding that "I share many of these feelings." So he offers Salinger the ability to oversee each step of the way from novel to film, concluding with this wonderful flourish: "Please give a kid a break -- and advise me how to go about changing your mind." I still have a copy of the letter on my wall, as a reminder of what deep roots chutzpah has in the showbiz family tree. I often fantasized that Salinger kept his copy as well, as a reminder that some books are best left on the shelf, safely nestled in our individual imaginations, free from any Hollywood interpretation.
Source:latimesblogs.latimes.com/
Oscar Update: New Oscar Predictions and the SAGs are Just Around the Corner
I haven't updated my predictions for almost a month, but following the Golden Globes and a month's worth of box-office business there are plenty of changes to be made as we make our way toward the Screen Actors Guild Awards this coming Saturday, January 23 and the announcement of the Oscar nominations almost a month later on Tuesday, February 2nd. Yeah, perhaps that's the most interesting part of this whole race. Following the SAGs this Saturday, we will be waiting over a month for the Academy to weigh in with its awards. However, on the bright side this gives Academy members more time to see all the potential nominees as nomination ballots are due on Saturday, January 23 and final voting ballots are due on March 2.
But enough of all that, let's try and sort out those potential Oscar nominees as I have made significant movement on four of my six prediction charts and will be curious to hear your thoughts.
BEST ACTRESS (get the full chart here)
I've decided to begin with one of the more interesting races as it appears Carey Mulligan (An Education) and Gabourey Sidibe (Precious) are battling for third and fourth place with Meryl Streep (Julie and Julia) and Sandra Bullock (The Blind Side) facing off for the top prize. Currently I have Streep in the #1 slot, and the only thing that could possibly make me change my mind would be a Bullock win at the SAGs.
One thing I have to ask, however, is how much does an actor donning an accent for a role help their award chances? Had Streep and Bullock used their normal voices for their roles would they be looked at in the same way? Personally I think an accent changes voters' perspectives way more than it should and people begin looking more at the mimicry rather than the performance. Both Mulligan and Sidibe gave powerful, emotionally charged performances that didn't require them to change their voice, but the fact they were offering more of a performance rather than an imitation seems to be a non-factor. I guess my question is when does imitation end and performance begin? Or is there even a difference and the two are one-in-the-same?
EDIT: A couple of commenters have challenged my assertion that Sidibe did not "change her voice" for Precious and in hindsight I think they are absolutely right, she not only changed her voice, but overhauled her entire being to become Precious. Perhaps I just respected it more than what Bullock and Streep were doing and the fact I didn't necessarily see it as an "imitation", which is why I didn't think of it in that way. Either way, I think the question is still valid, when does imitation end and performance begin? Do you think of Sidibe's performance as imitation in the same way Streep and Bullock were imitating their true life personas?
Now don't run off to the comments all upset, I think both Streep and Bullock did a fine job. Personally I would hand the award to Sidibe with the likes of Mulligan and probably Zoe Saldana as my runners-up, but that isn't to say I didn't find both Streep and Bullock to be very impressive.
BEST ACTOR (get the full chart here)
The Best Actor race has boiled down to three contenders with Jeff Bridges currently in the driver's seat for his outstanding performance as down-on-his-luck country singer Bad Blake in Crazy Heart. Bridges just won the Golden Globe and should he come out on top at the Screen Actors Guild Awards this weekend there is no doubt in my mind he will take home the Oscar. There is very little doubt in my mind right now he will take home the Oscar, but the likes of George Clooney (Up In the Air) and the most-deserving Colin Firth (A Single Man) still loom and a change in the winds thanks to SAG could throw a real monkey wrench in the works.
BEST SUPPORTING ACTRESS AND ACTOR (get the full charts here: supporting actress | supporting actor)
No sense in doing these two separately as these are the two top line awards that are pretty much all sewn up. Mo'Nique will sweep the major awards following her Globe win on Sunday with a SAG win this Saturday and an Oscar win on March 7. The same goes for Christoph Waltz (Inglourious Basterds) and I wonder if there will be anyone in the audience cheering for anyone else.
Woody Harrelson (The Messenger) is coming on strong in this category and I am still holding out faith Christian McKay (Me and Orson Welles) will get a nomination. On the ladies side I would love to see Marion Cotillard (Public Enemies) get a nom and I think Harrelson's Messenger co-star Samantha Morton is assured a nod. However, we are talking nominations here as the wins are pretty much already in the bag.
Source:ropeofsilicon.com/
But enough of all that, let's try and sort out those potential Oscar nominees as I have made significant movement on four of my six prediction charts and will be curious to hear your thoughts.
BEST ACTRESS (get the full chart here)
I've decided to begin with one of the more interesting races as it appears Carey Mulligan (An Education) and Gabourey Sidibe (Precious) are battling for third and fourth place with Meryl Streep (Julie and Julia) and Sandra Bullock (The Blind Side) facing off for the top prize. Currently I have Streep in the #1 slot, and the only thing that could possibly make me change my mind would be a Bullock win at the SAGs.
One thing I have to ask, however, is how much does an actor donning an accent for a role help their award chances? Had Streep and Bullock used their normal voices for their roles would they be looked at in the same way? Personally I think an accent changes voters' perspectives way more than it should and people begin looking more at the mimicry rather than the performance. Both Mulligan and Sidibe gave powerful, emotionally charged performances that didn't require them to change their voice, but the fact they were offering more of a performance rather than an imitation seems to be a non-factor. I guess my question is when does imitation end and performance begin? Or is there even a difference and the two are one-in-the-same?
EDIT: A couple of commenters have challenged my assertion that Sidibe did not "change her voice" for Precious and in hindsight I think they are absolutely right, she not only changed her voice, but overhauled her entire being to become Precious. Perhaps I just respected it more than what Bullock and Streep were doing and the fact I didn't necessarily see it as an "imitation", which is why I didn't think of it in that way. Either way, I think the question is still valid, when does imitation end and performance begin? Do you think of Sidibe's performance as imitation in the same way Streep and Bullock were imitating their true life personas?
Now don't run off to the comments all upset, I think both Streep and Bullock did a fine job. Personally I would hand the award to Sidibe with the likes of Mulligan and probably Zoe Saldana as my runners-up, but that isn't to say I didn't find both Streep and Bullock to be very impressive.
BEST ACTOR (get the full chart here)
The Best Actor race has boiled down to three contenders with Jeff Bridges currently in the driver's seat for his outstanding performance as down-on-his-luck country singer Bad Blake in Crazy Heart. Bridges just won the Golden Globe and should he come out on top at the Screen Actors Guild Awards this weekend there is no doubt in my mind he will take home the Oscar. There is very little doubt in my mind right now he will take home the Oscar, but the likes of George Clooney (Up In the Air) and the most-deserving Colin Firth (A Single Man) still loom and a change in the winds thanks to SAG could throw a real monkey wrench in the works.
BEST SUPPORTING ACTRESS AND ACTOR (get the full charts here: supporting actress | supporting actor)
No sense in doing these two separately as these are the two top line awards that are pretty much all sewn up. Mo'Nique will sweep the major awards following her Globe win on Sunday with a SAG win this Saturday and an Oscar win on March 7. The same goes for Christoph Waltz (Inglourious Basterds) and I wonder if there will be anyone in the audience cheering for anyone else.
Woody Harrelson (The Messenger) is coming on strong in this category and I am still holding out faith Christian McKay (Me and Orson Welles) will get a nomination. On the ladies side I would love to see Marion Cotillard (Public Enemies) get a nom and I think Harrelson's Messenger co-star Samantha Morton is assured a nod. However, we are talking nominations here as the wins are pretty much already in the bag.
Source:ropeofsilicon.com/
Oscar Predictions: The Screenplay Categories
The screenplay races just may be the purest contests of the entire Oscar ceremony. After all, these are the awards where the presence of big movie stars or flashy special effects shouldn't matter. The Academy is voting exclusively on the merits of the words on the page. Here are the films whose stories I expect will make the cut this season:
Best Original Screenplay
Inglorious Basterds: How could Quentin Tarantino's war drama be considered anything but a lock for a nomination in the Best Original Screenplay category? This script is bursting with originality, from its controversial rewriting of WWII history to the spelling of its title. The typical Academy members may be a little too squeamish to hand QT a Best Picture or Best Director prize for such an unabashedly violent film, but they can't resist his stellar dialogue.
A Serious Man: Despite heaps of critical praise, the latest offering from the Coen brothers failed to ignite enough of a fire to establish itself as much of a contender for the major races, most likely due to its lack of big-name stars. A writing award would be the easiest way for the Academy to recognize the Coens' fine work without risking losing any glamour from the acting and Best Picture races.
Up: Pixar's latest may be one of the most visually beautiful films of the year, but it also told an emotionally rich story that still has people reaching for the Kleenex six months after it hit theaters. It also features the most realistic dog dialogue of all time.
(500) Days of Summer: Unfortunately, this innovative indie gem may seem like "too small" a film to secure a Best Picture nomination. Luckily, the Academy's rom-com prejudice doesn't seem to extend to the writing categories, which have shown love for films like Juno and Eternal Sunshine of the Spotless Mind in the past decade. Look for Summer to shine brightly here.
The Hurt Locker: The most honored film of the year is a safe bet to be nominated in pretty much every category except the acting races. This war drama most likely won't take home a writing award, but it won't be left out of the mix.
Possible spoilers: It's Complicated simply because it's Nancy Meyers , and Avatar, simply because it's Avatar.
Best Adapted Screenplay
An Education: I, for one, would be perfectly OK if the Academy called off the race and just handed the award directly to Nick Hornby for his sparkling story about a young girl ready to give up her schoolbooks for some real world lessons.
Up in the Air: It's funny, it's timely, it gives good banter to glamorous movie stars, and it leaves the audience with some things to think about. Up in the Air may be losing its front-runner status in the Best Picture race, but it is definitely the film to beat here.
Fantastic Mr. Fox: Like the aforementioned Quentin Tarantino, Wes Anderson is an offbeat writer/director who the Academy may prefer to recognize for his writing rather than his directing. Hopefully they'll find this comedy about the existential angst of a restless fox as fantastic as the Film.com staff did.
A Single Man and Precious: Look for the last two slots in this category to be filled by two moving adaptations of two equally moving novels.
Possible Spoilers: District 9 and Crazy Heart have both picked up enough smaller prizes that they shouldn't be counted out here yet.
Source:seattlepi.com/
Best Original Screenplay
Inglorious Basterds: How could Quentin Tarantino's war drama be considered anything but a lock for a nomination in the Best Original Screenplay category? This script is bursting with originality, from its controversial rewriting of WWII history to the spelling of its title. The typical Academy members may be a little too squeamish to hand QT a Best Picture or Best Director prize for such an unabashedly violent film, but they can't resist his stellar dialogue.
A Serious Man: Despite heaps of critical praise, the latest offering from the Coen brothers failed to ignite enough of a fire to establish itself as much of a contender for the major races, most likely due to its lack of big-name stars. A writing award would be the easiest way for the Academy to recognize the Coens' fine work without risking losing any glamour from the acting and Best Picture races.
Up: Pixar's latest may be one of the most visually beautiful films of the year, but it also told an emotionally rich story that still has people reaching for the Kleenex six months after it hit theaters. It also features the most realistic dog dialogue of all time.
(500) Days of Summer: Unfortunately, this innovative indie gem may seem like "too small" a film to secure a Best Picture nomination. Luckily, the Academy's rom-com prejudice doesn't seem to extend to the writing categories, which have shown love for films like Juno and Eternal Sunshine of the Spotless Mind in the past decade. Look for Summer to shine brightly here.
The Hurt Locker: The most honored film of the year is a safe bet to be nominated in pretty much every category except the acting races. This war drama most likely won't take home a writing award, but it won't be left out of the mix.
Possible spoilers: It's Complicated simply because it's Nancy Meyers , and Avatar, simply because it's Avatar.
Best Adapted Screenplay
An Education: I, for one, would be perfectly OK if the Academy called off the race and just handed the award directly to Nick Hornby for his sparkling story about a young girl ready to give up her schoolbooks for some real world lessons.
Up in the Air: It's funny, it's timely, it gives good banter to glamorous movie stars, and it leaves the audience with some things to think about. Up in the Air may be losing its front-runner status in the Best Picture race, but it is definitely the film to beat here.
Fantastic Mr. Fox: Like the aforementioned Quentin Tarantino, Wes Anderson is an offbeat writer/director who the Academy may prefer to recognize for his writing rather than his directing. Hopefully they'll find this comedy about the existential angst of a restless fox as fantastic as the Film.com staff did.
A Single Man and Precious: Look for the last two slots in this category to be filled by two moving adaptations of two equally moving novels.
Possible Spoilers: District 9 and Crazy Heart have both picked up enough smaller prizes that they shouldn't be counted out here yet.
Source:seattlepi.com/
Oscar Best Foreign Language Film
The best foreign language film category is especially difficult to predict because only a group of about 20 Academy members will decide on the five nominees. Thanks to that set-up, Pedro Almodovar’s Volver — sure to get nominated three years ago — was left out.
The White Ribbon, A Prophet, and The Secret of Her Eyes are about as sure to be included as possible. (But don’t forget Volver.) Winter in Wartime would have been a shoo-in if the Academy’s old set-up were still in place — it’s set during World War II, those foreign-language film voting members’ all-time favorite era. But under the new set-up, three years ago Paul Verhoeven’s Dutch-made World War II-set The Black Book ended up not getting a nomination. So, who knows?
Ajami, last year’s winner of the Israeli Academy Award, is the iffiest one on the list above. Claudia Llosa’s Berlin winner The Milk of Sorrow (Peru) and Warwick Thornton’s Australian Film Institute winner Samson & Delilah (Australia) are two other strong possibilities. But don’t be too shocked if two little-known films, Ermek Tursunov’s Kelin (Kazakhstan) and Stephan Komandarev’s The World Is Big and Salvation Lurks around the Corner (Bulgaria), end up shortlisted.
Photos: A Prophet (Roger Arpajou / Sony Pictures Classics); The White Ribbon (Films du Losange / Sony Pictures Classics); Winter in Wartime (Isabella Films); Ajami (Inosan / Vertigo); The World Is Big and Salvation Lurks around the Corner (Vertigo / Inforg / Pallas)
Source:altfg.com/
The White Ribbon, A Prophet, and The Secret of Her Eyes are about as sure to be included as possible. (But don’t forget Volver.) Winter in Wartime would have been a shoo-in if the Academy’s old set-up were still in place — it’s set during World War II, those foreign-language film voting members’ all-time favorite era. But under the new set-up, three years ago Paul Verhoeven’s Dutch-made World War II-set The Black Book ended up not getting a nomination. So, who knows?
Ajami, last year’s winner of the Israeli Academy Award, is the iffiest one on the list above. Claudia Llosa’s Berlin winner The Milk of Sorrow (Peru) and Warwick Thornton’s Australian Film Institute winner Samson & Delilah (Australia) are two other strong possibilities. But don’t be too shocked if two little-known films, Ermek Tursunov’s Kelin (Kazakhstan) and Stephan Komandarev’s The World Is Big and Salvation Lurks around the Corner (Bulgaria), end up shortlisted.
Photos: A Prophet (Roger Arpajou / Sony Pictures Classics); The White Ribbon (Films du Losange / Sony Pictures Classics); Winter in Wartime (Isabella Films); Ajami (Inosan / Vertigo); The World Is Big and Salvation Lurks around the Corner (Vertigo / Inforg / Pallas)
Source:altfg.com/