Paul Newman @ 100: "Road to Perdition"

by Cláudio Alves

When was the first time you saw Paul Newman on the screen? It might be hard to remember for some, but I can pinpoint it exactly. It was a summer holiday in those early years of teenhood, when my parents liked to drive across the border into Southern Spain for the afternoon. I loved those day trips for many reasons, and one of them was this big store in town where they sold movies that I couldn't ever find in Portugal. They were cheap, too, the perfect fit for a young cinephile looking to spend his allowance. At the time, I was just starting to get into the Oscars, so I always looked for films I knew AMPAS had honored.

One of them was Road to Perdition. 

When we got home, I remember waiting for nightfall to watch my new treasures in darkness. And then, there he was, Paul Newman. At the time, I was becoming aware of who he and many other Old Hollywood stars were, though I knew very little. Yet, there was a weight to my discovery of Newman. You see, my mom had pointed him out on the DVD case when she saw me with my new picture and waxed rhapsodic about the fellow who happened to be her favorite actor. She called him a legend, one of the most beautiful men she'd ever seen, his eyes piercing, intense, BLUE like nothing else in the world. She wasn't wrong…

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Ranking Roger Deakins' Oscar Nominations

by Cláudio Alves

Roger Deakins on the set of EMPIRE OF LIGHT | © Searchlight Pictures

Since two categories merged into one, no director of photography has amassed as many Oscar nominations as Roger Deakins. The British cinematographer earned his 16th nod this year for Sam Mendes' Empire of Light, having previously won for 1917 and Blade Runner 2049. His career spans continents and six decades, encompassing projects as varied as a Marvin Gaye video clip and pioneering work in animated cinema. What started as an early interest in the possibilities of digital filmmaking has turned into a veritable pursuit of innovation, bringing classic technique to virtual spaces. A visionary, a pioneer, a living legend, Roger Deakins is one of a kind.

To celebrate the master, let's look back at his many Oscar nominations, ranking them along the way. After all, in times of awards fever, everyone loves a good list…

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1917: Acting an Epic

by Cláudio Alves

Sam Mendes may be winning prizes left and right for his World War I epic, but a big element of the production has been ignored by awards bodies. As it happens with many epics, the actors of 1917 are forgotten amid their picture's celebration. It's difficult to consider the human element of a spectacle that calls so much attention to the craft of its construction, its beauty, and savagery. Instead of chewing on the scenery, these actors are consumed by it and fully digested.

As we start approaching the finish line of this Oscar race, one question looms over the Best Picture category. Can 1917 overcome its actorly lacunas and defeat Parasite in all its SAG-crowned glory? On the other hand, are those perceived lacunas a reality or a byproduct of the epic scale...

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Sam Mendes wins DGA again, 20 years later

by Nathaniel R

Sam Mendes was an acclaimed theater director when American Beauty hit the scene in 1999 asking audiences to "look closer" in its promotional material. They did. The film went on to become a sleeper hit and then a very big one and eventually win the Oscar for Best Picture and Best Director among others. Mendes is likely to repeat that trick at this year's Oscars 20 years later even though his film career in the interim hasn't been noteworthy enough to scream "2 time director winner!" But then Hilary Swank has two Oscars and Renee Zellweger is likely to join her while Close, Bening, Pfeiffer, Weaver, Garland, Stanwyck, Dunne, and many other genius actresses from Hollywood history have none so this is the way it goes sometimes...

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A long take is a held breath.

by Cláudio Alves

Long takes are a constant subject of fascination for filmmakers and film lovers alike. The technical challenge inherent to them makes many directors salivate at the prospect of showing off their craft. At least, that's what, as an audience member, it sometimes feels like. Though, to characterize the long take as a mere tool of formalistic showmanship would be wrong. Depending on the case, this mechanism can be transformative, capable of bending the audience's perception of time, their attachment to what they're watching and sentimental engagement.

In 1917, Sam Mendes uses the long take as a key to sensorial immersion and ever-tightening tension. Each cut is a blink, a breath, a repositioning of the eye and recalibration of the senses. It's something that's a convention and brings comfort to the viewer. When you take it away, one feels as if the action never stops, like there's no time to breathe or to disengage with the narrative. A long take is a held breath and it can be a gloriously suffocating thing to experience…

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