Almost There: Burl Ives in "Cat on a Hot Tin Roof"

by Cláudio Alves

In 1958, Burl Ives won the Academy Award for Best Supporting Actor. Some cinephiles would, understandably, assume that the great honor came to him as a reward for his legendary turn as Big Daddy in the silver screen adaptation of Tennessee Williams' Cat on a Hot Tin Roof. It wasn't so, however. Burl Ives did indeed win his Oscar for playing the impassioned patriarch of some portentous American clan, but it was for a story set in the arid landscapes of the Far West rather than the humid heat of Mississippi. The winning movie was William Wyler's The Big Country, a sublime epic of its genre whose taste for cruelty is only matched by the lushness of its score. It's not a well-remembered flick despite its quality, and, while great, Ives' supporting turn pales in comparison to what he did as Big Daddy in Cat on a Hot Tin Roof that same cinematic year...

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Sessue Hayakawa: From sex symbol to Oscar nominee

We've been celebrating 1957 for a couple of weeks. Here's one more from Cláudio Alves

In 1957, Miyoshi Umeki became the first and only Asian woman to win an acting Oscar. However, the Best Supporting Actress champion wasn't the only Japanese performer to score an Academy Award nomination that year. Sessue Hayakawa, who played the ruthless Colonel Saito in the Best Picture winner The Bridge on the River Kwai, became the first male actor of Japanese descent to be nominated by the Academy. Unlike Umeki, who had less than a decade of experience in show business by the time she achieved Oscar glory, Hayakawa had a long history with Tinsel Town. Many decades before his nomination, when the American film industry was creating itself and Silent Cinema was entertainment for the masses, Sessue Hayakawa had been one of the first sex symbols… 

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Celebrating Father's Day: Tracy Letts in "Lady Bird"

In honor of Father’s Day, Lynn Lee pays tribute to one of her favorite on-screen fathers.  

At first glance, it may seem counter-intuitive to celebrate Lady Bird on Father’s Day instead of Mother’s Day.  The loving but fraught relationship between Saoirse Ronan’s Christine “Lady Bird” McPherson and her mother Marion (Laurie Metcalf, who should have won the Oscar) is, after all, the emotional center of the film.  Yet amid the sturm und drang of their clashes and reconciliations, the quiet, soothing presence of Lady Bird’s father, Larry, leaves an equally lasting imprint.  It’s an especially remarkable feat when one considers how few movies devote significant attention to father-daughter relationships unless the mother is dead or there are abuse, neglect, or communication issues.  Think about it.

Lady Bird is the exception that proves the rule...

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Almost There: Idris Elba in "Beasts of No Nation"

by Cláudio Alves

Spike Lee's latest joint, Da 5 Bloods, was released on Netflix last week and people are already talking about the possibility of Oscar glory. Delroy Lindo, in particular, is getting plenty of attention for what many call the best performance of his career. He's an early contender for the Academy Award. To observe such a reaction is to see how far Netflix has come in the past few years, effectively carving a place for itself in the Oscar race. It wasn't always like this and we need only look back at 2015 to find proof of it. Then, rewarding the cinematic excellence of films produced by streaming companies was still a relative taboo, a bridge too far for many awards bodies. 

If it weren't for the early resistance of AMPAS towards Netflix, Idris Elba would probably already be an Oscar-nominated actor…

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Samuel L. Jackson's Cannes glory

by Cláudio Alves

If the COVID-19 pandemic hadn't happened, Spike Lee would have presided over this year's Cannes jury.  When the festival made public their selections for 2020, I wondered which of those titles would have been rewarded by Lee's jury. It was particularly interesting to consider the director's jury presidency because he's had a somewhat contentious relationship with Europe's most prestigious film festival. Back in 1989, many believed Lee should have won the Palme d'Or for Do the Right Thing (they were right) and, when he came out empty-handed, there was a storm of controversy over the jury's decisions. Two years later, that polemic was still on people's minds as the filmmaker presented Jungle Fever at the Croisette.

Spike Lee would go on to win the Grand Jury Prize for his third film in competition, 2018's BlacKKKlansman, but that wasn't the first time one of his movies had won a Cannes prizes. 1991's aforementioned Jungle Fever managed to win a most unusual prize thanks to Samuel L. Jackson…

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