Latest / The Front / Why are Oscar-nominated films such a slog these days?

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Why are Oscar-nominated films such a slog these days? · The Front

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  Speaker 1: I don't like it because here's so much she's done
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  Speaker 1: on her face. Oh my god, she's not even forty.
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  Speaker 1: She's dead to me.
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  Speaker 2: Now from The Australian. This is the weekend edition of
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  Speaker 2: The Front. I'm Claire Harvey. It's Oscar's time. And if
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  Speaker 2: you love the red carpet, Monday ceremony won't disappoint. But
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  Speaker 2: if you love movies as escapist art, you might find
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  Speaker 2: the whole thing a bit tedious. Today our cheeks guide
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  Speaker 2: to the movies vying for Best Picture and a flashback
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  Speaker 2: to when movies used to be fun. Milanda Raut is
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  Speaker 2: The Australian's Culture editor and she's here to talk to
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  Speaker 2: me ahead of the ninety eight Academy Awards being held
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  Speaker 2: in Hollywood on Monday Australian time. Milanda, it's great fun
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  Speaker 2: to watch these awards being handed out. But you and
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  Speaker 2: I have been watching the Best Picture finalists over the
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  Speaker 2: past week or so. We're both busy moms, yes, busy professionals.
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  Speaker 2: It's been a slog, it has been, and it has
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  Speaker 2: been a slog. They are very long.
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  Speaker 1: Movies are very long. Now, they're long.
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  Speaker 2: They're depressing. There's a child dying and nearly every single
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  Speaker 2: one of them. No mother's a bad Motherhood is torture.
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  Speaker 2: As our producer Christen Amy it wisely observed, it's not
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  Speaker 2: a great kind of escape anymore. What's happened to cinema.
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  Speaker 1: I don't know. I don't know. I just think it's
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  Speaker 1: all very serious. It's very worthy. We can't not watch
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  Speaker 1: a movie without a point.
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  Speaker 2: Maybe you during a week were looking back at the
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  Speaker 2: list of movies that used to win Best Film, and
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  Speaker 2: they were I think, so much more fun. They were
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  Speaker 2: often blockbusters too, weren't they Absolutely?
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  Speaker 1: And you look back at the list and there's slum
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  Speaker 1: Dog Millionaire, which is amazing, the King's Speech, Lord of
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  Speaker 1: the Rings, just all fantastic movies that were amazing filmmaking.
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  Speaker 1: But also I don't know, they were I don't know,
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  Speaker 1: walked away feeling good about the world.
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  Speaker 2: Forrest Gump. Yes, they were not only technically excellent, but
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  Speaker 2: I think also they captured the mood of the time,
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  Speaker 2: whereas in recent years it's been movies that frankly, you'd
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  Speaker 2: have to pay me to go and see Parasite Anora.
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  Speaker 2: I mean, if there's not a sort of sex worker
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  Speaker 2: or a dead child in them, they don't win the
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  Speaker 2: Oscar apparently anymore.
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  Speaker 1: No, And I guess, well, what is the point of
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  Speaker 1: a movie? Is it to entertain? Do we go to
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  Speaker 1: get entertained? And I guess that's where it comes back from.
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  Speaker 1: I still love to go to the movies and have
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  Speaker 1: popcorn and maltesus and have a great time or walk out.
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  Speaker 1: That doesn't mean it's less worthy. And also to the
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  Speaker 1: amount of people who've seen the movies. I mean Anora
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  Speaker 1: that won last year, I don't know many people have
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  Speaker 1: seen that. I mean even this list. One Battle after
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  Speaker 1: the other obviously did well at the box office, and
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  Speaker 1: so did Sinners. But still like a lot of people
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  Speaker 1: would not know any of these movies.
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  Speaker 2: Okay, let's dive into this list of nominees for Best Picture.
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  Speaker 2: If oneing Brad Pitt is probably the only unashamed real
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  Speaker 2: blockbuster out of the movies, isn't it those two you mentioned?
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  Speaker 2: One Battle after another? And Sinners have done very well
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  Speaker 2: at the box office, but probably in part because they
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  Speaker 2: have been Oscar nominees and are getting a lot of buzz. Yes,
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  Speaker 2: tell me about Sinners.
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  Speaker 1: It's set in the earliest twentieth century American South, and
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  Speaker 1: it's kind of sets it up as almost looking back
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  Speaker 1: at slaves and slavery in the South. It's beautifully filmed
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  Speaker 1: and it takes you into a complete other direction which
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  Speaker 1: I didn't expect in the first half of the film.
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  Speaker 1: And it's a horror movie and it's about vampires.
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  Speaker 2: I mean to scare you. I don't forgot about me
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  Speaker 2: hook co Op and rolling on out here.
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  Speaker 3: Stay as you of.
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  Speaker 1: Course is me open the door.
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  Speaker 2: That ain't your brother.
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  Speaker 1: And it has been a big box office success, and
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  Speaker 1: it's definitely gathered steam as the award season has progressed.
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  Speaker 1: I guess it's the most popular one of all of
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  Speaker 1: the nominees. And at the recent Actor Awards, which used
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  Speaker 1: to be the SAG Awards, which is voted by actually actors,
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  Speaker 1: it took out quite a few winners, so now it
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  Speaker 1: would be among a front runner for the Oscar.
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  Speaker 2: There were some quite remarkable performances in that movie. Michael B.
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  Speaker 2: Jordan plays twins, yes, extraordinary, amazingly well too, and lots
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  Speaker 2: of clever cinematography behind that. But it's a movie in
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  Speaker 2: two halves, really, isn't it. You know? There's this very
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  Speaker 2: sort of lyrical and evocative presentation of the American South
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  Speaker 2: in the Jim Crow era where there's still a lot
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  Speaker 2: of racism. Yeah, and then the vampires come. Did we
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  Speaker 2: need the vampires?
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  Speaker 1: I don't know. I like the first half better than
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  Speaker 1: the second.
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  Speaker 2: I've got a friend who's watched The Sound of Music
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  Speaker 2: probably three hundred times, but she's never watched it past
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  Speaker 2: the point where the Nazi's coming.
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  Speaker 1: I don't Maybe that's way to do.
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  Speaker 2: It, one battle after another. This is the Paul Thomas
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  Speaker 2: and In films starring Leonardo DiCaprio and Sean Penn. I
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  Speaker 2: hated it. What did you think?
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  Speaker 1: I didn't really like it either. It's it's very long.
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  Speaker 1: I just don't get long movies. This was very long.
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  Speaker 1: We just need an editor. Everyone needs an editor. And
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  Speaker 1: I just think it was just it was unsettling. I mean,
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  Speaker 1: Sean Penn was amazing because he was so disturbing and
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  Speaker 1: awful and gross to look at, I mean, not to
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  Speaker 1: look at, but just his character. But no, I didn't
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  Speaker 1: really like it either.
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  Speaker 2: There's a pivotal scene early in the movie where the
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  Speaker 2: very impressive female revolutionary is, you know, doing some revolutioning
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  Speaker 2: along with her slightly hapless boyfriend Leo DiCaprio.
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  Speaker 1: He's very funny, he's good.
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  Speaker 2: But Sean Penn responds to her and he's an army
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  Speaker 2: officer by having a massive erection. Yeah, or she tells
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  Speaker 2: him to get up, and they're not like you would think.
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  Speaker 2: And then she becomes sort of the white whale who
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  Speaker 2: he's chasing. He's obsessed and anyway, she escapes and then
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  Speaker 2: Leonardo Dicapri was left behind and he becomes the new target.
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  Speaker 1: Yeah.
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  Speaker 2: There's a great scene where Leo is running from the
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  Speaker 2: authorities in his dressing gown. Yes, having hilarious conversations on
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  Speaker 2: the phone, trying to remember that the kind of past
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  Speaker 2: code that the other revolutionaries wanted him to say. Before
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  Speaker 2: he'll get any assistance. We got to go. I need
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  Speaker 2: a weapon, man a, you got his gun down?
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  Speaker 3: Non chucks? Here you where you get a gun?
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  Speaker 2: You've got a gun in your place. I'll get you
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  Speaker 2: a gun.
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  Speaker 1: You have a gun?
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  Speaker 3: Right?
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  Speaker 2: Yes? Okay, he is great.
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  Speaker 1: I must say he is fantastic.
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  Speaker 2: But the film do you think deserves the best picture?
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  Speaker 1: Oscar? There is this kind of thought going around that
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  Speaker 1: he Paul Thomas Anderson has done a lot of fantastic movies.
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  Speaker 1: He's got a distinctive style of movie making and maybe
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  Speaker 1: it's his time. So a lot of the reviews that
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  Speaker 1: have been written about this movie is it is this
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  Speaker 1: the movie that will win him the Oscar? Is it
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  Speaker 1: his time? So I think maybe that kind of idea
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  Speaker 1: of rewarding a director over there, like Body of Work,
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  Speaker 1: like Christopher Nolan with Oppenheimer, and even like going back
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  Speaker 1: way back to the Lord of the Rings. They waited
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  Speaker 1: to the third one to give the Oscar to the movie,
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  Speaker 1: even though arguably the first one was better.
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  Speaker 2: Coming up more of Milanda Route. While I've got to you,
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  Speaker 2: come and check out the Australian dot com dot au
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  Speaker 2: this weekend. Everything's free to read, and you might know
• 7:22
  Speaker 2: we usually have a pretty hard paywall. This is a
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  Speaker 2: chance to sample our journalism and get to know our
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  Speaker 2: incredible reporters.
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  Speaker 3: We'll be back after the break.
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  Speaker 2: So those are the kind of very masculine movie you
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  Speaker 2: set are up for Best Picture. There's a couple of
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  Speaker 2: very feminine ones. Yes, I watched Hamnet, you watched If
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  Speaker 2: I had legs, I kick you. Let's start with that.
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  Speaker 1: How was Rose Bern She was phenomenal. I really would
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  Speaker 1: love her to win the Oscar more than anything, because
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  Speaker 1: not only is she she is Australian, but she's fabulous.
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  Speaker 1: In this movie, it's lots of close ups. She's a
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  Speaker 1: woman in her forties who has not had worked on her.
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  Speaker 1: It looks like a woman her forties, and she's got
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  Speaker 1: the camera very close up for a lot of the time.
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  Speaker 1: And she is really just an exhausted, stressed mother trying
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  Speaker 1: to deal with a sick child, a plumbing crisis, and
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  Speaker 1: a husband who is never there and kind of yelling
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  Speaker 1: her at the phone, going well, we just have to
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  Speaker 1: make it work while he's thousands of miles away. So
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  Speaker 1: I thought she was fantastic.
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  Speaker 2: I'm supposed to know how to fix this. I'm supposed
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  Speaker 2: to know how toffects her. What is it? You think
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  Speaker 2: it's your job defects? I'm asking you what I suppose
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  Speaker 2: you know? Can you hear me? I would like you
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  Speaker 2: to get a good night's sleep.
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  Speaker 1: The movie was really good at looking at motherhood and
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  Speaker 1: how much of it's beyond our control and how difficult
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  Speaker 1: it is. And she's stuck in this hotel room with
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  Speaker 1: the red light of a feeding machine of a tube
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  Speaker 1: into her child. So it's unclear about whether the child's
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  Speaker 1: sick because she has a stomach condition or she's refusing
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  Speaker 1: to eat. But I think she should win it. I'm
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  Speaker 1: not saying she will, but I think she should.
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  Speaker 2: One of her rivals for Best Actress is Jesse Buckley
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  Speaker 2: from Hamnet, an English actress in an adaptation of the
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  Speaker 2: Maggi O'Farrell novel based on I guess a slightly fantastical
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  Speaker 2: reading of Shakespeare's life hypothesis that Shakespeare wrote Hamlet after
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  Speaker 2: the death of his son Hamnet, Yes, and that loss
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  Speaker 2: of the child inspired the play Hamlet. That's a longboat
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  Speaker 2: to drawer, and I think academics who study Shakespeare don't
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  Speaker 2: really take that theory very seriously. But it's a great
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  Speaker 2: subject for a.
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  Speaker 1: Film, absolutely, And I think it's there's a lot of
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  Speaker 1: historical fiction. It's like a big genre. Sure everyone likes
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  Speaker 1: taking one detail and then love.
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  Speaker 2: So yeah, Unfortunately, I don't think this one really works.
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  Speaker 2: There's a lot of close ups of Jesse Buckley crying.
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  Speaker 2: There's you know, a lot of sort of rolling around
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  Speaker 2: in the dirt in the forest. Poor Mescal, who plays
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  Speaker 2: William Shakespeare without any apparent signs of genius, invents freestyle
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  Speaker 2: at one stage, swimming across a river in the rain,
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  Speaker 2: of course, and is doing freestyle, which I thought was
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  Speaker 2: an interesting portrayal of sixteenth century.
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  Speaker 1: Tell me a story, what story?
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  Speaker 2: Would you like?
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  Speaker 1: Something that moves you?
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  Speaker 2: But I found it really depressing. I watched it at
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  Speaker 2: home on my laptop and found myself hitting the fifteen
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  Speaker 2: seconds forward quite a lot. It's another example of a
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  Speaker 2: movie I think that is too long when not enough happens.
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  Speaker 2: There are no explosions. No, I'm joking. I don't need
• 10:45
  Speaker 2: there to be explosions in a film like this, And
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  Speaker 2: I think contemplative movies are fine, but they have to
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  Speaker 2: be sustained by an incredible script. This one, I think
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  Speaker 2: the script was very wooden and sort of silly. Chloe's'w
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  Speaker 2: the director said. I read an interview with her where
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  Speaker 2: she said she didn't really understand Shakespeare, and I think
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  Speaker 2: that's obvious in the portrayal of Hamlet that they do,
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  Speaker 2: in that they do a play within the story. They
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  Speaker 2: show Hamlet being portrayed on the stage in London, and
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  Speaker 2: it's awful. I mean, you wouldn't watch it in a
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  Speaker 2: year nine drama production.
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  Speaker 1: Because I think, also too from what I've read, about
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  Speaker 1: it is that it doesn't portray Shakespeare in a particularly
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  Speaker 1: niceold either. He's the absent father.
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  Speaker 2: He's a complete drip as well, instead of hanging around
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  Speaker 2: in the attic all the time with candle wax dripping
• 11:32
  Speaker 2: all over his fingers. And his wife is the one
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  Speaker 2: with the wherewithal and she's got her act together and
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  Speaker 2: of course she's dealing with the grief of losing her child.
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  Speaker 2: It's now officially eclipsed Shakespeare in Love as my least
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  Speaker 2: favorite portrayal of Shakespeare.
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  Speaker 1: Well, if Jesse Buckley wins Best Oscar for her acting,
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  Speaker 1: well hopefully her speech is better than Gwyneth paltrowit.
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  Speaker 2: Well, it's stunning that Shakespeare in Love won Best That's extraordinary.
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  Speaker 2: That's the power of Harvey Weinstein, right, totally different time.
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  Speaker 2: And that's the other part about modern oscars. Yeah, absolutely,
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  Speaker 2: there's a lot of campaigning.
• 12:05
  Speaker 1: Guy. Yes, Well, in fact, I was reading something the
• 12:07
  Speaker 1: other day he was quoting consultants. So there's consultants in
• 12:10
  Speaker 1: Hollywood hire to run campaigns. So I mean, like it
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  Speaker 1: sounds it's like an election.
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  Speaker 2: Sometimes the studios try to conceal the fact that their
• 12:18
  Speaker 2: campaigning I think, but Timothy Shaller May brought it all
• 12:21
  Speaker 2: really out into the open, didn't he. We've got an
• 12:23
  Speaker 2: obvious campaign for Mighty Supreme.
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  Speaker 1: Oh. Absolutely, From the moment he stepped out on the
• 12:26
  Speaker 1: red carpet with a matching orange outfit to his glamorous
• 12:30
  Speaker 1: not wife yet girlfriend Kylie Jenner, he's just been on
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  Speaker 1: the pr train ever since. And in this instance, I
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  Speaker 1: don't think it's worked though. Yeah, that's interesting.
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  Speaker 2: Undone why it's too much?
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  Speaker 1: I think like there's now in the marketing campaigns behind
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  Speaker 1: the movies are almost, if not more expensive than the
• 12:47
  Speaker 1: movies themselves. They'll spend one hundred million dollars marketing something.
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  Speaker 1: And then recently in an interview, said something like I
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  Speaker 1: love doing movies because I wouldn't want to do ballet
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  Speaker 1: or opera because no one watches that he was a
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  Speaker 1: darling and now he's not.
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  Speaker 2: He kind of implied that if you have to fight
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  Speaker 2: for the existence of an art form, you've already lost
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  Speaker 2: the battle. Didn't he like ballet and opera? I mean
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  Speaker 2: I would kind of agree with him in the sense
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  Speaker 2: that I think if something has to be incredibly heavily
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  Speaker 2: subsidized by tax payers, yeah, it probably doesn't.
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  Speaker 1: Have much of a future. Yeah, but then film is
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  Speaker 1: also propped up by the texts Actually we're here in Australia.
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  Speaker 1: Well absolutely. I mean every film known to man is
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  Speaker 1: probably funded by a government or another. But I think
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  Speaker 1: maybe the oscars are more symptomatic of huge change in
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  Speaker 1: the industry, even with the recent deals with Netflix and Paramount.
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  Speaker 1: It's just an AI like, I just don't know that.
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  Speaker 1: I don't think that's what the future looks like.
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  Speaker 2: Well, one of the OSCAR Best Picture finalists was actually
• 13:46
  Speaker 2: a Netflix production, wasn't it. That's Frankenstein by Cmo del Toro.
• 13:50
  Speaker 1: Yeah, so it did the stream a trick of being
• 13:52
  Speaker 1: out in the movies for two weeks, so then it
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  Speaker 1: gets seen by nobody, but then it goes onto Netflix
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  Speaker 1: and gets seen by millions. Well or so they else.
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  Speaker 2: And that starred Jacob Lardie, Yes, the Australian actor as
• 14:03
  Speaker 2: Frankenstein's monster.
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  Speaker 1: So he's our Australian for Best Acts.
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  Speaker 2: Well, he's got better reviews for Frankenstein than he did
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  Speaker 2: for Wuthering Height.
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  Speaker 1: Absolutely he did. They have really praised his portrayal of
• 14:15
  Speaker 1: the monster in that movie.
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  Speaker 2: If you enough to award me, then I really Dodge.
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  Speaker 3: Enraged.
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  Speaker 1: And there's also another kind of Aussie or New Zealander.
• 14:36
  Speaker 1: We may claim her for our own, Kate Hawley, who's
• 14:38
  Speaker 1: up for Best Costume Design with that, so she's got
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  Speaker 1: a good chance of winning as well.
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  Speaker 2: There are three more finalists for Best Picture, and we
• 14:51
  Speaker 2: better talk about them in case one of them wins,
• 14:53
  Speaker 2: and we want to look like we knew what was
• 14:55
  Speaker 2: going to exactly. That's Trained Dreams, the Gonia and The
• 14:59
  Speaker 2: Secret Agent. What do you know about those well?
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  Speaker 1: Trained Dreams has Joel Egiton in it, and that's an
• 15:04
  Speaker 1: historical movie as well, which hasn't had a huge impact
• 15:08
  Speaker 1: on Netflix Lord box office, so that was a bit
• 15:10
  Speaker 1: of a surprise being there. But at the same time
• 15:12
  Speaker 1: he has been acknowledged in the other awards ceremonies, but
• 15:15
  Speaker 1: I think it's an outlier. Bagonia stars Emma Stone as
• 15:19
  Speaker 1: kind of a tech bro or a female version who
• 15:22
  Speaker 1: gets kidnapped by a couple of crazies who think that
• 15:25
  Speaker 1: she's an alien, and the idea is whether you believe
• 15:28
  Speaker 1: them or not. Emma Stone's won two Oscars, one Four
• 15:31
  Speaker 1: Poor Things and La La Land and been nominated for
• 15:34
  Speaker 1: multiple others, so I doubt she'll take Best Actress out
• 15:37
  Speaker 1: for this movie.
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  Speaker 2: There are two more films that are finalists for Best Picture.
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  Speaker 2: There's a Brazilian movie called The Secret Agent and Sentimental Value,
• 15:49
  Speaker 2: which is a Norwegian movie. I'm not sure if either
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  Speaker 2: of these are depressing enough to win Best Picture, but
• 15:54
  Speaker 2: they've certainly got the foreign language factor behind them absolutely.
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  Speaker 1: I mean, I think that all change around Parasite one
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  Speaker 1: a few years ago, so that kind of opened it
• 16:01
  Speaker 1: all up. So who knows.
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  Speaker 2: Melanda Rout, thank you very much. I'm sorry for putting
• 16:06
  Speaker 2: you through this all, dear.
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  Speaker 1: That's okay. I feel like it was very funny because
• 16:10
  Speaker 1: I watched If I Had Legs, I Kick You quite
• 16:12
  Speaker 1: late at night, and then I dealt with my own
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  Speaker 1: children in the morning, and I was too many flashbacks
• 16:16
  Speaker 1: to the movie. I was yelling at them, and I
• 16:18
  Speaker 1: was getting confused about which was my children. So it
• 16:20
  Speaker 1: definitely had a lasting impact for things. I think I
• 16:23
  Speaker 1: yelled at them too much for not eating their breakfast,
• 16:25
  Speaker 1: and I may be in rosebands head too much.
• 16:27
  Speaker 2: Straight to the feeding tube.
• 16:28
  Speaker 1: Yeah, exactly what I should have said, eat you obviously.
• 16:31
  Speaker 2: Thanks Malanda, thank you. Melander Route edits the Australian's Culture
• 16:39
  Speaker 2: section and you'll be able to follow the oscars live
• 16:42
  Speaker 2: on Monday March sixteen at our site, The Australian dot
• 16:46
  Speaker 2: com au. This episode at the Front was hosted by
• 16:50
  Speaker 2: me Claire Harvey and produced by Kristin Amiot. Tiffany Dimac
• 16:53
  Speaker 2: edited the episode and Jasper Leik wrote our theme. Thanks
• 16:57
  Speaker 2: for joining us on the Front this week. Our team
• 16:59
  Speaker 2: also includes Leah Tamaclu and Josh Burton.