Emmy Category Review: Outstanding Television Movie
Tuesday, September 14, 2021 at 10:17AM
In a surprise, Dolly Parton's Christmas on the Square was announced the winner of Outstanding TV Movie at last night's Primetime Creative Arts Emmys, securing Netflix another win in this category after missing last year. While this category has gone low-profile in recent years (being “demoted” from the main ceremony to the Creative Arts), the work represented in this category is still worth recognizing and worth checking out. Unlike last year, four networks are represented in this category of five (with Prime Video getting double nods). For the last time, here were the nominees...
Dolly Parton’s Christmas on the Square (Netflix)
Synopsis (from ballot): “Seasonal cheer comes to a screeching halt when a cold-hearted woman tries to sell her hometown's land. Can music, magic and memories change her mind?”
Another year, another Dolly Parton production in this category. Having seen two Dolly Parton films nominated in this category, a pattern emerges: her films are unabashedly sentimental, with dramatic points telegraphed within a mile while still milking their possible emotional impact, and an occasional Dolly appearance. In this one, some music too! Directed by Debbie Allen, this being a Christmas film even adds more frost to the already schmaltzy affair. One can see right through the unmemorable music and the unvaried lighting and accuse this unrealistic story of active mediocrity. But I prefer to see it in a different way: this lack of ambition for a more sophisticated filmmaking is not a weakness, but the sign of the earnestness of this production, for better and for worse. If anything, this gives us a chance to see the incredibly gifted Christine Baranski in a lead role, making the best of a character so broadly written.
Oslo (HBO)
Synopsis (from ballot): “Oslo is based on a true story of negotiations between implacable enemies. The film follows the secret backchannel talks, unlikely friendships, and quiet heroics of a small but committed group of Israelis and Palestinians, plus one Norwegian couple, that led to the 1993 Oslo Peace Accords.”
Adapted from the Tony-winning play, Bartlett Sher brings to the screen what happens when the opposing sides of a political conflict actually will themselves to negotiate and have a conversation with one another. While the material promises a scorching exploration of the nitty-gritty of diplomacy, what we have is an adequately engaging one that never really rises above the cinematic needs of the narrative. The film spends most of its time building into the moments that might spark conflict, only to get bogged down by stodgy stylistic choices that hamper strong interest in the narrative. But regardless of some questionable directorial choices, the cast gives their best in magnifying the large political stakes of their political dialogue through sheer commitment. Andrew Scott and Ruth Wilson become the quiet forces of the cast that propel the emotional current of these scenes. There is an untapped potency in the story that a more inspired filmmaking would have realized.
Robin Roberts Presents: Mahalia (Lifetime)
Synopsis (from ballot): “Born in New Orleans, Mahalia Jackson began singing at an early age and went on to become one of the most revered gospel figures, melding her music with the civil rights movement. Jackson sang at numerous rallies including the March on Washington in 1963 alongside Dr. Martin Luther King Jr.”
Comfortably residing within the tradition of old-school 'television movies', this biopic finds no pretense in bringing its central story to life. The overarching broadness of Kenny Leon's film can be considered a criticism, but one almost finds it endearing. The film concerns itself with reenacting key moments in the life of its titular character and then making an easily digestible through-line in the narrative that would hopefully glue those together. However, one thing that refuses to be broad is Danielle Brooks' wonderfully layered performance as the titular singer. A performance that embodies the soul of its character and provides resonating emotional investment to it, selling this film as one that captures the essence of its lead character. Part of me feels Mahalia Jackson's story deserves something better (whether a more polished feature film or a more fleshed out limited series), but this film does right by her.
Sylvie’s Love (Prime Video)
Synopsis (from ballot): “When a young woman meets an aspiring saxophonist in her father’s record shop in 1950s Harlem, their love ignites a sweeping romance that transcends changing times, geography, and professional success.”
The film is an entrancing time machine that shoots us back in the post-WWII America and catches us in the middle of the blossoming romance. Speaking the cinematic language with delicious finesse and craftsmanship, the film never falters in building this world where love is the lifeline of the characters, the one that helps them navigate the journeys of these characters. The experience is intoxicating, one where the period setting really comes to life and invites us to feel the same emotions of the characters, whether it be the excitement of a television set or the melancholia of a lost love returning. Leads Tessa Thompson and Nnamdi Asomugha give radiant performances, true star turns, that trace the path their relationship took with exquisite nuance. There is top-notch filmmaking on display: the cinematography, editing, score, production design, costumes, makeup, hairstyling, et cetera. Helmed by Eugene Ashe, this period film finds its beating heart and centers its storytelling around it, making it one of the most beautifully crafted films of 2020.
Uncle Frank (Prime Video)
Synopsis (from ballot): “In 1973, when Frank Bledsoe and his 18-year-old niece Beth take a road trip from Manhattan to Creekville, South Carolina for the family patriarch’s funeral, they’re unexpectedly joined by Frank’s lover Walid.”
At the center of this poignant drama-comedy is Frank, a man who avoids his family to avoid any further conflict, especially since a closeted homosexual in the 1970s is not necessarily the most amicable setup for him. The film may mostly be seen through the eyes of its teenage protagonist Beth, but most of the storyline resides in the personal discomfort caused by the compartmentalization gay people of the time (and of the present) feel they need to do in order to be accepted. Elegantly written and directed by Alan Ball, this film lets us follow the process of Frank's freeing of himself beat by beat. What ensues is an emotional quest that deftly balances drama and humor, isolation and joy, love and hate. While Paul Bettany is recognized for his role in WandaVision, he even gives a much better performance here. It is a role that requires utmost grace and care, one whose backstory casts a shadow well into his life with excruciating pain.
Ranking (personal preference):
1. Sylvie’s Love
2. Uncle Frank
3. Oslo
4. Robin Roberts Presents: Mahalia
5. Dolly Parton’s Christmas on the Square
ALL CATEGORIES REVIEWED
- Limited Series
- Limited - Actress
- Limited - Actor
- Limited - Supporting Actress
- Limited - Supporting Actor
- Limited - Directing
- Limited - Writing
- Comedy - Lead Actor
- Comedy - Supporting Actor
- Comedy - Guest Actress
- Comedy - Guest Actor
- Comedy - Directing
- Comedy - Writing
- Drama - Lead Actress
- Drama - Supporting Actress
- Drama - Supporting Actor
- Drama - Guest Actress
- Drama - Guest Actor
- Drama - Directing
- Drama - Writing
- Outstanding TV Movie
- Outstanding Editing
- Outstanding Unstructured Reality
- Outstanding Main Title Design
- Outstanding Costumes, Contemporary
- Outstanding Costumes, Period
Reader Comments (4)
I LOVE Dolly, but this is a bad win. Christmas on the Square is only fun because it is so self-awarely doing a Hallmark film with an elevated cast (e.g., Baranski, Dolly, and Josh Segarra). But it isn't nearly as good as Sylive's Love and Uncle Frank.
Oslo, I think, was a pretty big failure. The play was riveting, but the screen translation just didn't work as well. I also don't understand why they cast Ruth Wilson instead of Jennifer Ehle. Surely she's big enough to anchor an HBO telefilm, and her performance was truly memorable.
They really did say, screw all the serious movies and just choose the most fun out of them all huh
Love Ruth Wilson and Andrew Scott but they do feel miscast in Oslo which was very interesting to watch if you're into politics and diplomacy.
Sylvie's Love felt like reading an old Vogue and Uncle Frank had very strong moments and a good cast. I think it gets my unpassionate vote.
Sylvie's Love was the best of the bunch by far. I had no doubt it was going to win, this was such a weird choice.