Oscar Best Picture Rundown #5

LES MISÉRABLES 

A film adaptation of mammoth musical Les Miserables (itself an adaptation of the Victor Hugo novel,) directed by a previous Oscar winner (The King’s Speech’s Tom Hooper) was always going to bait the Academy. Throw in the mixer the fact that this is the ‘first’ film to have had its actors sing on-set live (to this scale, anyway,) and the blistering performances – namely from the deadest cert of the night, Anne Hathaway (she’ll scoop Best Supporting Actress.)

Will it win?

This is the strange thing – no. It isn’t even deemed a frontrunner. In a year where Lincoln, Zero Dark Thirty, and now Argo, have been firmly fixed on everybody’s lips, Les Misérables has been largely ignored. In a sense, this means good ‘ole Les Mis could pose a threat – but it probably won’t. Hooper missing out on a Director nomination for a film directed better than the one he won for pretty much confirms this. This doesn't stop me having a strange feeling about it though.

Film: 4/5
Chances of Winning: 3/5 


Read my Les Misérables review here

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Les Misérables

2012, 12, Directed by Tom Hooper
Starring: Hugh Jackman, Russell Crowe, Eddie Redmayne, Anne Hathaway, Samantha Barks, Amanda Seyfried, Helena Bonham Carter, Sacha Baron Cohen, Aaron Tveit   

Usually, you find that people don't tend to like Les Misérables, the theatre sensation seen by over 60 million people across 42 countries... they unconditionally love it; an unthinkably tough undertaking then for Tom Hooper (looking for another King's Speech-sized hit) who has been potentially disastrously tasked with applying the Claude-Michel Schönberg, Alain Boublil and Herbert Kretzmer pinnacle of all musicals to cinemas. If that wasn’t pressure enough, Hooper has opted to shoot his subjects singing as the action transpires – in other words, live. Three cheers for none of that distracting miming! This does mean the film requires – due to this bold directorial decision (something of a revelation for a film this big) - actors who can actually hold notes. 

The story, for those not included in the hefty stats mentioned above, tracks prisoner Jean Valjean, first seen lugging warships from the ocean alongside thousands of his fellows. Prison guard Javert releases him on parole, but Valjean skips town and 8 years later, is an established factory owner in the town he has become mayor of. But through an encounter with factory worker Fantine, struggling to fend for her illegitimate daughter Cosette, he happens upon a chance encounter with Javert, who swore 8 years previous to one day bring the escaped convict to justice. Fans know this is the tip of a very large and loud iceberg – bear in mind, the musical’s source material is Victor Hugo's five-volumed brick of a novel – but at its heart, Les Misérables is Valjean’s story, a moral man who fears his petty villainy of the past may threaten whatever happiness he aspires to reach. Hugh Jackman plays the man, showcasing this moral crisis through the emotion-layered vocals. A much-loved character in theatre, Jackman won't be to everybody's taste as Valjean, but what he adds to the role in this different medium amounts to breathtaking; a career best, even. He is backed up by a supporting cast of individuals who each grab their moment when it presents itself, Anne Hathaway the one on most people’s lips. Her Oscar-winning (c'mon, she's a dead cert!) portrayal of Fantine may be brief but it lingers throughout the film, her effect on Valjean's life echoed through the lingering lyrics of the hugely enjoyable, and bloody catchy, songs. Russell Crowe's performance should do enough to put a full stop to all the critical comments undeservedly hurled his way - as Javert, he seems humbled and contained; a welcome screen presence whenever he rides his horse into the frame. The remainder are all able: Amanda Seyfried (the film's weakest addition, as Cosette,) Eddie Redmayne (the singing student revolutionist, Marius,) and plucked from the stage in her first screen role, Samantha Barks (she doesn't so much become Éponine as use her to showcase a burdgeoning film career ahead of the actress.)  Mention must go to the Thénadiers AKA Helena Bonham Carter and Sacha Baron Cohen rollicking around amongst all the doom and gloom in their crazy garb. In what could have been a serious bout of scene-stealing, it's a disappointment that the flamboyant pair (especially the former) underplay it as much as they do. 

At 158 minutes, it's no wonder that Les Misérables threatens to become a slog - but the fact it evades this ensures Tom Hooper's adaptation is the resounding success it deserves to be. The cast do all they can without going overboard, and the merging of the epic visuals and contrasting close-ups, filled with much more than your daily dose of falling tears, clenched jaws and warbling throats hits the right level of entertainment - theatre die-hard or hesitant boyfriend; plenty here for all to sit back and enjoy. 

Once the climax rolls by, regardless of whether that lump has formed in your throat or not, you'll have to fight the irrepressible urge to stand and applaud the cinematic experience that has just been offered to you. You will hear the people sing, alright.

4/5

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Oscar Nominee #9: True Grit

It's nice that the Academy are continually considering the Coen Brothers nowadays; after winning big with No country for Old Men, they got a justified nomination for last year's A Serious Man and now for True Grit. Each film they make is as good as the last and it is reassuring that Oscar notices this. Their (own) shock inclusion with A Serious Man was wholeheartedly deserved and actually a better film eventual-winner The Hurt Locker (which was still a fantastic film), and after a complete snub from the Golden Globes, in which a lot of respect and credibility was lost, True Grit was always going to be nominated by the Academy. Not so much a remake of the original, which saw John Wayne win his only Oscar, but a re-adaptation of Charles Portis’ novel, this is a true Western. Starring last years Best Actor winner Jeff Bridges on Oscar-nominated form here, this is film-making at its most stylish. Long-time cinematographer Roger Deakins deserves his consideration here. If there is any justice though, the award True Grit will definitely scoop is Supporting Actress for 14-year-old Hailee Steinfeld; she truly delivers one of the best performances out of all the acting nominations of this year. Mattie Ross is the film's heart, and somehow she managed to upstage Bridges and Matt Damon. If that is not Oscar worthy, I don't know what is. As for it winning though, if it wasn't such a strong year (what with The King's Speech and The Social Network battling it out), this would have had such a great chance.

Would it have been nominated before the 10-nomination rule?

Another difficult one – but I say when push came to shove, yes it would have been; and rightfully so. This is one of the most charming films on the list. Great performances, great direction, great script... it actually is one of the only nominated films that has it all. 

Rating out of 5: ●●●●●

Chances out of 5: ●●●●●

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Oscar Nominee #7: The Social Network

May I introduce to you the second horse in this years race. The Social Network took a lot of people by surprise and is being seen as a generational, relevant film. Directed by David Fincher and scripted by Aaron Sorkin, everybody expected this to be good, but not great. But a great film it is and will no doubt be rewarded in some way this season (most obviously bagging Best Director for Fincher and Best Screenplay for Sorkin). Personally, this was the second-best film of 2010 for me, behind Inception. Simultaneously a Director's film and a performance film, with heavy bouts of dialogue (the opening scene featuring Jesse Eisenberg and Fincher's future-Girl with the Dragon Tattoo was shot 99 times), The Social Network has tough competition from The King's Speech. Whatever happens though, I doubt anybody saw a film about Facebook becoming such a sensation. This will no doubt endure as a cult classic; and one in which Justin Timberlake was actually pretty impressive.

Would it have been nominated before the 10-nomination rule?

Without a shadow of a doubt. I predicted The Social Network would emerge victorious before the nominations were even announced, and I kind of hope it does.

Rating out of 5: ●●●●●

Chances out of 5: ●●●●●

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Oscar Nominee #5: The King's Speech

This film has been a hit in all sense of the word; at festivals, at award ceremonies, in the box office – The King’s Speech really took a small idea and moulded it into a fantastically captured story that caught the hearts of the world entire. I am 100 percent sure that Colin Firth will be this year’s Best Actor, but as for the film scooping Best Picture, it is likely - but does has worthy competition. Tom Hooper has been recognised in the Director category (for making something small so cinematic), which obviously enhances its chances. I have noticed the film receiving something of a backlash recently, especially off the back of its massive win at the BAFTAs, and this is completely unwarranted. Too little, too late? We’ll see. If you ask me though, this euphoric film and one other has the biggest chance. This year's race is a two-horse one, and this has its foot-firmly in the mixer. Not bad for a little film.

Would it have been nominated before the 10 nomination-rule?

No point wasting time here, yes it would have been. Out of all the nominees this year, this is the film with the greatest track record; and lets face it, this is now apparently the biggest favourite Oscar has ever seen. So yeah, a nomination was a dead cert.

Rating out of 5: ●●●●●

Chances out of 5: ●●●●●

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The King's Speech

2010, 12A, Directed by Tom Hooper

Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce

Colin Firth in 'The King's Speech'

On the surface, one may suspect Tom Hooper’s The King’s Speech to be another in a long line of royal dramas, in which we learn about yet another slice of history we maybe did not need to know. I urge you, however to look deep beneath the surface, for although our characters here are royalty, I doubt they have ever been so hugely humanised before. This is largely in part due to the plot, in which Bertie– the Duke of York and son of King George V - struggles with the pressure of being next in line after his anarchic brother Edward (a sneering Guy Pearce) due to a hindering stammer that prevents him from even being able to read his daughters a bedtime story. A nation wracked with fear of an oncoming war need a King to look to, and one with a voice. The eventual King George VI is played to utter perfection by Colin Firth who really has never been better and is residing at the top of his game. We feel every stutter, every hesitance and every frustration Bertie emanates that by the film’s climactic Speech of the title, we are invested. It is to as much credit that that can be thrown Firth’s way that the lines – when agonisingly delivered – perfectly pinpoint the targeted emotion; you will frown, bawl and howl. The support is just as magnificent: ever-reliable Helena Bonham Carter as Bertie’s reassuring wife (and future Queen Mother) provides a comforting presence, but it is Geoffrey Rush as speech therapist Lionel Logue that will become the film’s unsung hero. From the moment we first see him emerge from the loo to meet an unlikely customer, to the closing shot, we have no reason to ever doubt him. Logue is a good man, an honest man – a bloody hilarious man(he wants his shilling!). Then there’s the direction; you will be shocked how cinematic Hooper has managed to make this. Inspired shots fill the screen (a montage sequence of Logue’s workshop with Bertie, in which he uses a wall cleverly to replace cuts), and the King’s actual Speech is about as tense as Rocky’s final boxing match - if not, more. It is these real characters brought to life by glowing performances that will evolve The King’s Speech into a film for the ages.

As for Firth, he is most certainly next in line for the Academy Awards acting throne.

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