The Duelling Duo Christina Waters and Lisa Jensen add their final two cents (ha! that’ll be the day) to this year’s nominations. Read on!
CW: Best Original Screenplay Well here again I didn’t see one of the nominees, First Reformed, but based on the films I did screen I’d say that Vice was the sassiest, The Favourite was the most eccentric, and Green Book the most appealing. BUT, I’m thinking that Roma will take it based upon the care with which Cuaron’s memory revealed the many tiers of the class structure and family realities in Mexico City in the 60s. This may be where Roma was at its best.
LJ: And I’m at a disadvantage for not having seen Vice. I did see First Reformed, which unspooled as a taut, tightly-wound tirade against modern disconnection, as only veteran Paul Schrader (Taxi Drivr; Raging Bull) can deliver. The Academy might go for it, in honor of Schrader’s sheer, stubborn longevity. I don’t think Roma’s greatest strength is in its scriptwriting, as much as in the scope of its storytelling, but if it wins Best Picture it will likely win this prize too. By the way, of the Adapted Screenplay nominees, I only saw is Can You Ever Forgive Me, so I don’t feel qualified to weigh in on that category.
CW: Makeup and Hair: Well it HAS to be Vice for its miraculous transformation of some fine actors—especially Steve Carell, Christian Bale and Sam Rockwell—into some of the highest profile politicos in the 20th century.
LJ: Agreed! Transforming Christian Bale into Dick Cheney seems more like a job for the CGI department, but they pulled it off with cosmetic wizardry alone!
CW: Costume Design: Wish I’d seen Black Panther because I have a strong feeling that Ruth E. Carter’s costumes were bravura. But since I didn’t, I’ll take the foppish decadent crowd of 18th century dandies brilliantly costumed by Sandy Powell for The Favourite.
LJ: Black Panther all the way for me. The rich Tribal-Meets-Techno vibe created by Ruth E. Carter was eye-popping, fun, and so smart! Whereas, The Favourite costumes looked slightly fake to me, like costumes you make for the Renaissance Faire with store-bought materials like rick-rack instead of elaborate period embroidery. But, intentionally fake, like everyone in the movie was in on a big joke, and they were all sniggering behind their fans at the absurdity of it all.
CW: Lisa, Lisa, Lisa! Those costumes could have rolled right out of the history books they were so bloody exact. The film itself might have seemed absurd, but the costuming smacked of authenticity, to me.
CW: Sound, there are actually two sound awards, one for editing—and here I’ll take Bohemian Rhapsody, although I was intrigued by the sound in Roma; And there’s Sound Mixing. Ditto Bohemian Rhapsody. Seriously, the Freddie Mercury & Queen rockumentary offered up a lavish tsunami of prime ripping, peeling, screaming rock’n’roll. The sound was one of the most potent characters in the film and moved us in, out and upwards through the mercurial (sorry) journey of this tragic rock icon.
LJ: I’m with you on Bohemian Rhapsody for Sound Mixing: getting all that iconic music to blend so perfectly in and out of the narrative was quite a feat. But let me play devil’s advocate in the Sound Editing category, where one of the nominees is A Quiet Place— a vaguely futuristic, dystopian thriller in which a family must learn to hide in silence when stalked by deadly creatures with acute hearing. No, I didn’t see it (or hear it), but it sounds like the kind of stunt movie Academy voters might take note of.
And that’s it for this year’s Oscar predix! Don’t forget to tune in on Sunday Febnruary 24 to see how it all ends up!
