Burning Questions: Can Biopics Help But Glorify Their Subjects?

Michael C. here, just returned from witnessing Meryl Streep in all her awards bait glory.

When controversy arrives in Phyllida Lloyd’s Thatcher biopic The Iron Lady, it comes in the standard form of news footage montages depicting seas of angry protesters clashing with policemen. The actual substance of the issues - massive union strikes, war in the Falkland Islands – is not discussed so much as reframed in the most generic possible terms. Every issue boils down to the same dynamic: Thatcher’s opponents are invariably lily-livered scaredy cats pushing for compromise if not outright surrender, while The Iron Lady holds firm to strength, courage, and principle over popularity. The filmmakers would no doubt say that they are focusing on character over unimportant detail, but it has the direct effect of letting Thatcher off the hook for her positions. Conservatives are free to mentally fill in their ideology and cheer her resolve, while the rest are encouraged to ignore partisanship and admire her gumption.

To be fair to the filmmakers, if Iron Lady had taken the opposite tack and really dug into the thought process of why Thatcher did what she did it would no doubt serve to amplify charges that the movie was aggrandizing its subject. It appears to be a case of damned if they did and damned if they didn’t. The very act of storytelling itself invites the audience to understand the protagonist’s motives and actions. It begs the question: Can biopics help but glorify their subjects? 

Click to read more ...

Good Morning. Happy News!

It's a pancake version of DRIVE's scorpion jacket, see?! No? Okay an Alien face-hugger? Humor me.No, no. Stop salivating. It's not another announcement that I've made pancakes in the shape of movie whatsits. The happy news is that tomorrow afternoon there will be an Emergency Podcast Broadcast. What emergency, you ask? The Oscar nominations, silly... 22 hours and counting!

Tuesday is Christmas morning for Nick and I, don't you know. We'll be here to discuss. Possibly with another guest.

I  ♥  this time of year hard. You read lots of web griping that awards season is too torturously long. Oh please. Punish me with red carpets and star sighting and predictions and list-making!!! I don't need a safe word.

The only part of awards season that is reliably awful is the mad rush of movies, more than anyone can possibly see, all in the space of a two week period and the weird fatigue that can set in as a result when you realize you won't be able to see, think about, write about, or revisit everything you'd like to before you have to move on to the next thing and then the next and the next. It's like running a 26 mile marathon with only one stop wherein they may hand you repleneshing treats and juices. Or attending a wedding where the flower girls drop all the petals in one square inch of the aisle. Or... okay I'll stop now. 

FINAL OSCAR PREDICTIONS ~ THE ARTICLE | THE INDEX TO CATEGORY PAGES

Box Office: Kate Beckinsale Still Unstaked, Oscar Hopeful Money

There's just no killing Kate Beckinsale's career. No matter how many terrible movies she throws at you, her undead heart will go on. I think she avoids Heigl levels of hatred because she doesn't make as many movies. That's my theory. But nevertheless the fourth installment of her werewolf vs. vampire franchise Underworld Awakening took the top spot at the box office, besting the George Lucas' produced war drama Red Tails and the third week of the hit action film Contraband, and the wide release of the presumed to be failing Oscar hopeful Extremely Loud and Incredibly Close. Steven Soderbergh's Haywire (reviewed) had a rough first weekend coming in fifth but there were a lot of other action films fighting it for dollars. Plus wouldn't people who go "ooh!" when they hear 'Steven Soderbergh' have been seeing the Oscar contenders anyway?

What did you see this weekend?

Oscar Money Talking Points...
The Artist finally got a major expansion though it's per screen average is no longer something to celebrate. Nevertheless this is good news. Within the next couple of weeks it's likely to pass The Hurt Locker's gross so if it wins Best Picture it won't be the lowest grossing BP ever. The film has earned $33 million worldwide to date. That's pretty impressive for a black and white silent. It just passed one of its Weinstein stablemates My Week With Marilyn's in terms of domestic gross. Although it's roughly 47 times better than that film I think it only goes to show how mishandled Marilyn was ... such a small release for such a pre-branded "wide" topic! 

The Descendants just crossed the $50 million mark and will soon leapfrog Hugo and Midnight in Paris for the "Top Grosser That Isn't Named The Help" title among the predicted BP nominees. Unless Moneyball or Dragon Tattoo get nominated in which case this milestone is no biggie.

Best Picture Hopeful Grosses as of 01/22/2012

P.S. I was at a birthday party last night attended by a very international crowd (the birthday girl, a good friend of mine, is German). The movie everyone was talking about was... A Separation. I was surprised how many people had seen it and everyone seemed to love it... though one woman told me she just thought it was "good" until about 20 minutes after it ended when it hit her in full force. It just crossed the 1/2 a million mark at the box office but it's still barely at any theaters. One wonders how well it can expand with word of mouth so strong and potential Oscar glory coming? 

Naturally all of these movies are hoping for a boost next weekend to capitalize on their presumed Oscar nominations. How many of them will keep expanding and how many will wither from people losing interest?

Naked Gold Man: Final Oscar Predictions !

I've never been good at math so predicting this year's Oscar race feels especially challenging. You can tell me that a picture requires 5% of #1 votes or that it's 10% or 406 votes or that you need #2 or #3 placements on 69.3% of ballots with odd #1 choices that weren't already tossed aside... None of it will really sink in. For the first time in well over a decade, I had a flashback to my high school algebra class and how my friends (who were in calculus) kept teasing me about my "polynomials?" confusion.  I hate math!*

But in the end what does it matter? Buzz, also an abstraction, is more fun to play with and closer to the truth for non-mathematicians. Best Picture nominations have long required #1 votes, maybe not in the same configurations but they've always required them. And as Joe recently pointed out on the podcast, we're tricked into thinking too deeply about this each and every year. Who thought Frost/Nixon was the best movie of 2008? Who would ever have voted for Chocolat as the best film of 2000? And yet it happens year in and year out. Focusing too much on #1 votes can cloud this certainty: Any film still being discussed as a possibility this late in the game has a fanbase. The question is just 'is that base big / loyal enough within the Academy to secure it a best picture nomination?'

Mo'Nique reading the Best Picture nominees last year!

What Happens With The Screens Behind the Presenters?
For the first time in modern history we'll have no idea until the names are read whether there will be five, six, seven, eight, nine or ten nominees. In past years when they announced the nominees you'd see the blank boxes where the nominees would be revealed while they read out the names. You knew, for instance, if there would be 3 or 5 animated nominees by how many boxes were there even if you hadn't been paying attention to the number of eligible pictures released.

My current hourly obsession is wondering whether we'll be tipped off to how many pictures there are seconds before we hear the titles...

When we knew there would be ten they simply appeared as they were read but there weren't actually boxes behind the announcers to be filled in as there were in years with five. You follow? So this year if there are, say, 6 nominees will we first see the empty boxes and KNOW there will be six before the names are read? 

PICTURE
If we only had five nominees, this race would be easy to call. Our nominees would be: The Artist, The Descendants, The Help, Hugo, and Midnight in Paris. And in that order of likelihood. (My preference order, just as reminder from my year in review, would be The Artist, Midnight in Paris, The Help, Hugo and The Descendants.) I believe the nomination tally hierarchy is going to be Hugo, The Artist, and The Help way out in front of other films. Moneyball would, I think, be the spoiler in a traditional shortlist year. No matter how you feel about those films on an individual basis, as a group that's a pretty beautiful spread of the film year: message movies, family dramas, cinematic novelties, smart comedies and releases stretching from summer to Christmas, from critical triumphs to sleeper hits. It's representative and we like the Oscars that way.

More after the jump...

Click to read more ...

Scene Work: Corey Stoll On Ernest Hemingway and Woody Allen

With the SAG Awards fast approaching, Oscar nominations hitting on Tuesday and "Original Screenplay" wins and Best Director nominations piling up for Woody Allen how about a little trip back to Midnight In Paris? Specifically to that magical hour when all of the movie's best moments take place. On the first of Gil's (Owen Wilson) midnight adventures he meets the Fitzgeralds who then introduce him to Ernest Hemingway (Corey Stoll). This introduction -- Stoll pisses off the Fitzgeralds (on purpose) and then badgers and ingratiates himself with Gil, who is reeling from meeting his hero. It's one of the movie's most memorable scenes and Corey Stoll immediately establishes himself as the film's MVP despite a plethora of famous actors in showy cameos.

If you're a writer, declare yourself the best writer! But you're not as long as I'm around unless you want to put the gloves on and settle it."
-Stoll as Hemingway. 

This introduction was also, not so surprisingly, the rising actor's most satisfying scene to shoot. When I spoke to him in December about that bizarre SAG rule which prevented him from technically being part of the movie's Best Ensemble nomination, we discussed this introduction in particular and his working relationship with comeback kid Woody Allen.

"That's the scene I was most nervous about," the actor recalls about his memorable introduction. He loved how 'commanding and unapologetically self-centered' this fictionalized Heminway was. "It's actually the scene where Woody let me do a number of takes. I think often he just lets actors find it themselves. They either find it immediately or not and he still moves on."

He recounts the speed at which Woody works. He doesn't want the actors to obsess too much on the work and wants to keep things more spontaneous. "With this I lucked out. At a certain point after my final take of the closeup he said 'that's 100% what I was looking for'."

I can't help but register surprise that Allen spoke to him at all. You hear stories. His funny response:

That was the only praise that I heard the entire time! He's not big on ass-kissing."
-Stoll on Woody Allen 

Amusingly enough, Allen's purposeful steering of the actors away from actual biography towards communal fantasies presented a slight obstacle for Stoll after the fact. "I've sort of been asked a lot of questions about Hemingway." When he did a public reading of Hemingway's letters he worried that he'd be "a bit of a fraud" in front of scholars. "I knew the basics of his life," the actor says about the famous author, but that isn't what he used, creatively, for the performance.  "What was most important in this context was having his rhythm and cadence and his use of language be the driving force of the performance. As a reader that's what you get.  That's where I put my energy and attention."

The work paid off and the actors career is on the upswing. "All this attention and praise is really nice," he confesses. "But the role itself is so much more satisfying. Whatever happens, I played Ernest Hemingway in a Woody Allen movie!"

Two Stoll Roles: North Country with Charlize Theron. Intimate Apparel with Viola Davis

Currently Stoll is enjoying running into old co-stars on the awards circuit including Charlize Theron (North Country). His "Intimate Apparel" stage partner Viola Davis is also on the campaign trail this year. Would he like to reprise that for a film? "Any day. Any time. Wonderful experience." He's up for Best Supporting Actor next month at the Spirit Awards and one can't help but pray that he'll be a shock surprise on Oscar Nomination morning this year in the same category.

Before we wrap up, I had to ask him about his role in the upcoming summer blockbuster Bourne Legacy opposite Jeremy Renner, also a former co-star

"Please don't tell me you're playing a villain, " I say sharing with him one of my major movie pet peeves. "They always make bald men villains!"

"I can't tell you anything," Stoll says laughing. "I'm contractually obligated! They weren't specific about how they were going to ruin me but there's nothing to be gained."

Interview Index | Nathaniel's Supporting Actor Ballot