Venice at Home – Day 8: Who Are We?

by Cláudio Alves

Before either film had been screened to the public or press, there was already buzz surrounding Alice Diop and Florian Zeller's newest films. Many called Saint-Omer, Diop's first narrative feature after many documentaries, a likely contender for the Golden Lion. Lo and behold, the picture has receiving glowing reviews, which is unsurprising. In contrast, this eighth day of competition at the Lido saw a shocking development with Florian Zeller's follow-up to The Father. Defying expectations The Son has received mixed reviews, some of which lambast it unsparingly. Not even the cast is above reproach to the naysayers. Even so, Hugh Jackman remains mostly unscathed, keeping those Best Actor dreams alive.  Let's not forget that Zeller directed Anthony Hopkins to his second Academy Award. So let's take a look back at The Father and Alice Diop's last documentary before Saint-Omer…

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Venice Diary #04 - "The Whale" is a major contender

by Elisa Giudici

As festival goers, we are always waiting for that moment in which we can clearly perceive a film moving into a territory of absolute excellence, far above the norm. It's a sensation that is rare and powerful, and the only response is to shout superlative and add to the hype. I'm happy to report that the new Darren Aronofsky feature, The Whale, is one of those gigantic achievements...

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Almost There: James Dean in "Rebel Without a Cause"

by Cláudio Alves

Today, it's time for another name from your list of requests – James Dean. The doomed star was nominated posthumously for Best Actor in 1955 and 1956 for his work on East of Eden and Giant. In that first year, however, he was also in Nicholas Ray's Rebel Without a Cause, delivering a performance that's arguably more iconic than the one that got him Academy recognition. Playing a troubled teen, Dean embodied a new archetype and carved a place for himself in the annals of Hollywood history.

Considering the actor's meteoric rise and both films' popularity, it's fair to say that Dean got some votes for the Ray-helmed adolescent drama. Indeed, if not for the other flick, he probably would have scored a nom for Rebel Without a Cause…

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Tennessee Williams @ the Oscars

by Cláudio Alves

Vivien Leigh accepts her second Oscar in 1952.

The Supporting Actress Smackdown of 1951 is coming at the end of the month, bringing with it a revisit to the first Tennessee Williams adaptation to catch the Academy's eye. Elia Kazan's A Streetcar Named Desire marked the start of a period when Hollywood couldn't get enough of the American playwright, bringing most of his celebrated texts to the screen in big studio productions that attracted the cream of the talent crop of filmmakers and actors. These projects were incredibly captivating for the latter, with their guarantee of juicy roles prone to critical acclaim. Over just fourteen years, 19 performances were Oscar-nominated, and five won. 

Let's explore the list of AMPAS-approved Williams adaptations, find out where one can watch them, and share some Oscar trivia along the way... 

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Almost There: Donald O'Connor in "Singin' in the Rain"

by Cláudio Alves

Reader James Lovelace requested that the 'Almost There' series would examine more films from Hollywood's Golden Era. Indeed, along with his request, he sent a list of pre-1970 suggestions, including the one featured today. Looking away from more recent Oscar snubs, let's start August by considering one of the 1950s' best and most joyous musicals. Though nowadays Singin' in the Rain is often cited as a pinnacle of its genre, back in the day, AMPAS and the public weren't nearly as effusive. The picture was only a modest hit and only scored two Oscar nominations – for its music and Jean Hagen's iconic performance as Lina Lamont.

In a just world, other actors from the classic would have joined Hagen on Oscar night. Chief among them, we have Donald O'Connor, a vaudevillian veteran turned musical movie star…

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