The Oscar Nominations: Our Take

The Oscar Nominations: Our Take

Posted on Tuesday January 22, 2008, 18:03 by Olly Richards

Helen: Well, another set of nominations, another round of blitherings from the two of us. So my first impressions are that this is very much the list that everyone expected, and that I CAN’T BELIEVE NORBIT HAS AN OSCAR NOMINATION. Admittedly it’s for make-up, and the make-up was reasonably solid, but come on! Surely there should be a rule protecting the Academy’s reputation by preventing films this bad being nominated for anything. Ahem. But well done to Rick Baker et al, obviously. So let’s start with the big one, Best Picture. Not a bad five, even if Michael Clayton stole The Assassination of Jesse James’ place and it could have gone either way between Into The Wild and Juno, but surely it’s a two-horse race between the two Western-set dramas, isn’t it? Atonement won’t win, given that it hasn’t got a matching Director nomination, and the others aren’t quite Oscary enough – or are they?

Olly: Don’t ye discount Juno, Miss O’Hara. The two Westerns, being equally celebrated, could split the vote and leave the way open for cheery little Juno and her enormous bump to steal the prize. I for one would be delighted to see that happen. No Country and There Will Be Blood are terrific films – better technically than Juno – but Juno was the most fun I had in a cinema in 2007. Michael Clayton absolutely baffles me. It was like a very good TV pilot, not a great film. Although I can’t question the acting nods. Atonement’s going home empty handed, even though I’m thrilled to see Saoirse Ronan recognised. How’s about those Actress noms? I don’t think this is a particularly strong year for female acting roles, but I was disappointed to see Amy Adams not in the running for Enchanted. She should be sitting in Cate Blanchett’s little square.

Helen: And Angelina Jolie should be there for A Mighty Heart – I think the rest of that film let her down, because she was terrific. I’d be happy to see Juno win – it’s that likeable – but, while I’m not discounting it, I’d be amazed. It’s a shoo-in for Best Original Screenplay though, the traditional category for Little Indie Films That Could (and it’s good to see Ratatouille recognised there too). Anyway, acting-wise this is a list that Oscar can be proud of – excepting the aforementioned unnecessary leading Blanchett nod and omission of Jolie and Adams. It’s got the underappreciated Assassination on there, they’ve nominated Tommy Lee Jones for the right film, and they have gone beyond the big names with Dee and Ronan. Well done, the voters! Directors is a little more unusual – Julian Schnabel is there without a corresponding Best Film nod, while Joe Wright has sadly missed out for Atonement (if that film was to get one nomination, surely his should be the one). Can he win without a Best Film nod? The statistics say no.

Olly: And, on the acting front, let’s not forget Hal Holbrook. That’s a really smart nomination on the part of the Academy. Directing wise, no Schnabel’s out of it. As much as I love the movie, I can’t see Jason Reitman taking home a little guy either. Nobody can tell me that Tony Gilroy is the best director in that field and if they try I shall put my fingers in my ears and scream PAUL THOMAS ANDERSON until they go away. I’m putting my vote with PT. No Country For Old Men is stunning, but I don’t think as much of a risk. There Will Be Blood features directorial touches – the near silent opening, the unsettling use of music, the complete command of changing pace, not to mention the flat out gorgeous framing – that entire theses could be written on. Sure, it’s somewhat histrionic in moments (“DRRRRAAAAINAAAAAGE!”), but I think the only thing that comes close to it this year as a piece of direction is Ratatouille.

Helen: I don’t disagree, it’s the most mind-blowing film I’ve seen all year, but don’t discount the Coens. They have form, in that they have been nominated before (well, technically just Joel was, but let’s split neither hairs nor brothers) and haven’t won, they are generally considered two of the best American directors working today, they have had something of a return to form with this film and it’s very arguably as ace as There Will Be Blood. Those two films alone would make this a great year for cinema. Incidentally, I think you’re right on about Ratatouille – the ghettoisation of animation should stop, we gotta get films that good back into the main categories. But speaking of the illustrated films, Oscar have thoroughly shamed the Globes and the BAFTAs this year by nominating the three best animated films of the year, instead of the three biggest. No Shreks, Simpsons or Bee Movies here, but the mighty Ratatouille, the gorgeous Persepolis and the strangely adorable, even for a penguin-hater like myself, Surf’s Up.

Olly: Yes, if I could pull off actually shouting out ‘whoop-whoop’ without looking like a moron, I would be whoop-whooping all over the shop. I’m so happy about all three. My fingers were crossed that the snubbing of Persepolis in Foreign Film would mean a shot in animation, but I didn’t expect Surf’s Up. I honestly think that film features some of the best animation voice work I’ve heard (seen?). And the animation of the water? Wow. I love that film more every time I see it. On the Coens, I take your point on career reward. I’d never discount them, nor be anything other than delighted if they won, but I’ve still got an Anderson feeling. Talking of No Country, Javier Bardem a cert for Best Supporting Actor? Or will Casey Affleck, the sole Assassination of Jesse James nominee, pull an upset? Or may even Hal Holbrook, for being not only perfect in Into The Wild (hey, just thought, whither Emile Hirsch?) but pretty old too?

Helen: Bardem’d be my guess, but I don’t think there’s a cert in that category. Holbrook could take it for longevity, always a powerful weapon come Oscar-time; Affleck could take it for a revelatory performance; Hoffman for a fabulously funny character turn from a very consistent performer or Wilkinson for being consistently good and British (hey, it doesn’t hurt!). Best Supporting Actress will be, I guess, Cate Blanchett – unless she splits her own vote. If she does, I’m guess Amy Ryan is next in line, with strong jostling from the (probably too-well-mannered-to-jostle) Tilda Swinton. Ruby Dee and Saoirse Ronan are, sadly, the outsiders, I’m guessing. How about the Screenplay categories? Does No Country pip There Will Be Blood in Best Adapted for the fidelity of its translation? Can anything challenge Juno for Original?

Olly: I think Supporting Actress is the one where any of them could win it and be considered deserving. If anything does challenge Juno for Original Screenplay I will roll my eyes with all my might and exhale as dramatically as possible. That’ll learn ‘em. Actually, I wouldn’t be sad to see Ratatouille win, but the others don’t touch Juno, for me (though I haven’t managed to see Lars and the Real Girl yet, although I will). Surely, Best Adapted is the Coens’? Atonement doesn’t have the support, Away From Her is a shock nominee, There Will Be Blood is a tad sparse on words and The Diving Bell and the Butterfly wasn’t considered worthy of Best Picture. We don’t need to discuss Best Actor, do we? It’s Day Lewis’s, plain and simple. If anybody else wins Hollywood will fall over.

Helen: No argument, it’s Day Lewis. Not that the others aren’t good, but it doesn’t feel possible to look past him. Lars, incidentally, is also good and funny and sweet but not so good that it should beat Juno (or, indeed, Ratatouille), and I think Adapted should be the Coens’ too. Just to zip quickly through some of the rest, it’s great to see The Assassination of Jesse James By The Really Long Title up for Cinematography – that one shot of a train rounding the bend (if you’ve seen it, you’ll know exactly what I mean) deserves an Oscar, although any of them could take it. Bourne and Transformers should share most of the technical categories if there’s any justice, and three cheers for Once landing a Best Song nomination – given Once’s great success Stateside on a tiny budget, given that August Rush sort of vanished and given that Enchanted’s three nominations are likely to split its vote, I think it might even win. And as for Best Score, it’s a shame that There Will Be Blood was ruled ineligible (on the basis that much of the music in the film is classical in origin rather than part of Jonny Greenwood’s blistering score) but the rest feel worthy.

Olly: Hear hear for Once. Almost thought it would get more nominations. Overall, this is a list of nominations that I feel almost no anger about and that’s very rare for the Oscars. I’m disappointed by the lack of brilliant documentary entries, but this wasn’t a great year for factual filming, so Oscar can hardly be blamed. I’m confused as to how Pirates 3 got a make-up nod when all the best stuff was digital. Still think Michael Clayton is over-represented, but it’s got to be a good year when the one film you think has too many nods is still a very good movie. Generally, I’m delighted. Let’s hope the WGA can finally make a deal they’re happy with so that we can actually watch what promises to be a great show.

Helen: Amen to that last bit. After all, what’s really important is not honouring the films that have made us laugh, cry and hurl over the past year, but the ceremony itself. Ridiculous dresses, handsome suits, beautiful people, so many diamonds that Blofeld could build a world-threatening satellite laser of considerable power from them and Jon Stewart wittily making up for the general lack of eloquence on the part of the nominees – what’s not to love? Also, moments like this. Roll on the Oscars.