2 Nominations, 0 Wins
Nomination: Best Cinematography, Color - Charles Rosher
Nomination: Best Music, Scoring of Musical Picture - Adolph Deutsch and Conrad Salinger
The importance of the stage musical Show Boat cannot be overstated. Before it premiered on Broadway in 1927, the theater world had never seen anything like Show Boat, a show in which the musical numbers advance a serious plot, rather than existing as a series of unrelated or only marginally related songs. It is one of the most significant shows in the history of musical theater, and despite many of the themes no longer being relevant in society, the show has aged remarkably well in the 86 years since its debut.
The film adaptation of Show Boat is a dramatic departure from the musical, both due to the evolution of musical theater between 1927 and 1951 and because of racial themes. The film tones down many of these issues, though a surprising amount is maintained. Without these themes, there's not much substance left to the story beyond the tale of a gambler who abandons his family. There are some great songs along the way, but with the exception of the breathtaking rendition of "Ol' Man River" by William Warfield, there are no indelible moments. The story limps along slowly to its snooze of an ending, leaving little memorable in its wake.
Howard Keel is his usual charming self, stealing scenes with his booming baritone and not a hint of subtlety. Kathryn Grayson is fine but unspectacular, Ava Gardner gives one of her better performances, and Joe E. Brown and Agnes Moorehead are their usual wonderful selves.
The film's two nominations came for its cinematography and its score, both highlights of the film. The film's cinematography is pleasant if unambitious, but the "Ol' Man River" scene with its haunting fog and dim lighting deserved the nomination by itself (it lost the award to An American in Paris, clearly the superior effort). The score is also top notch, and likely would have won the Oscar if not for, once again, An American in Paris and its superb score. In most other years, Show Boat would have won one and possibly two Academy Awards.
Remaining: 3141 films, 870 Oscars, 5395 nominations
Monday, June 10, 2013
Sunday, June 9, 2013
Correction
While going through my Every Oscar Ever spreadsheet, I noticed that I had two separate entries for Les dimanches de Ville d'Avray (Sundays and Cybele), which was nominated for Academy Awards in two different years. The film was nominated and won the Best Foreign Film Oscar in 1963, and received two nominations the following year for its score and screenplay. I had counted the film twice, and thus should be 3,142 films remaining, not 3,143. I still have 5,397 nominations remaining. I also noticed that somewhere along the way, I incorrectly got off on my Oscar count, and now only have 870 Oscars left, not 871. Thus, my current updated numbers are...
Remaining: 3142 films, 870 Oscars, 5397 nominations
Saturday, June 8, 2013
Chasing Ice (2012)
1 Nomination, 0 Wins
Nomination: Best Achievement in Music Written for Motion Pictures, Original Song - J. Ralph for the song "Before My Time"
Though it missed out on a nomination in the Best Documentary Feature category after being named to the short list with 14 other documentaries, Chasing Ice received a nomination in the Best Original Song category for the song "Before My Time." The song, performed by Scarlett Johansson on vocals and Joshua Bell on violin, was nominated over efforts performed by such well known names as Katy Perry, Rick Ross, Fiona Apple, and, of course, Matthew McConaughey.
Chasing Ice is the story of Extreme Ice Survey, an organization led by photographer James Balog that uses photography to document the melting of glaciers due to global climate change. The team has over come some remarkable challenges to install time lapse cameras that provide an alarming visual record of the shrinking glaciers that helps take the problem out of the realm of charts and graphs and into truly terrifying photographs.
Chasing Ice largely focuses on Balog and his colleagues, but occasionally tries to zoom out a bit and take a bigger scope by looking at the larger problem of global warming, briefly looking at the so-called "scientific debate" about climate change. These moments are done well, but the film is at its best when showing the efforts of EIS and the resulting photographs and footage they recorded. The unforgettable highlight of the film is the sequence that shows the glacier calving at the Jakobshavn Glacier in western Greenland. The original footage is 75 minutes in length, the longest glacier calving ever capture on film, and though Chasing Ice is only able to show a few minutes of this event, it's a brutally powerful sequence that will likely affect people's concerns about climate change more than most scientific data.
The song "Before My Time" comes at the end of the film, and it's a moody and haunting song that fits the tone of the film well. I've listened to the song on its own, and though it doesn't work as well outside of the context of the film, Oscar nominated songs are considered based on how they work in the film, and "Before My Time" is a nice fit. Scarlett Johansson's voice has a rough smokiness to it that adds to the song's haunting tone, and Bell's violion is unsurprisingly lovely.
I wasn't terribly impressed by the filmmaking in Chasing Ice, and I can see why the film was not ultimately nominated for Best Documentary, but the subject is perhaps the most important subject we face as a species, and the footage made by Balog and his team is essential viewing.
Remaining: 3143 films, 871 Oscars, 5397 nominations
Nomination: Best Achievement in Music Written for Motion Pictures, Original Song - J. Ralph for the song "Before My Time"
Though it missed out on a nomination in the Best Documentary Feature category after being named to the short list with 14 other documentaries, Chasing Ice received a nomination in the Best Original Song category for the song "Before My Time." The song, performed by Scarlett Johansson on vocals and Joshua Bell on violin, was nominated over efforts performed by such well known names as Katy Perry, Rick Ross, Fiona Apple, and, of course, Matthew McConaughey.
Chasing Ice is the story of Extreme Ice Survey, an organization led by photographer James Balog that uses photography to document the melting of glaciers due to global climate change. The team has over come some remarkable challenges to install time lapse cameras that provide an alarming visual record of the shrinking glaciers that helps take the problem out of the realm of charts and graphs and into truly terrifying photographs.
Chasing Ice largely focuses on Balog and his colleagues, but occasionally tries to zoom out a bit and take a bigger scope by looking at the larger problem of global warming, briefly looking at the so-called "scientific debate" about climate change. These moments are done well, but the film is at its best when showing the efforts of EIS and the resulting photographs and footage they recorded. The unforgettable highlight of the film is the sequence that shows the glacier calving at the Jakobshavn Glacier in western Greenland. The original footage is 75 minutes in length, the longest glacier calving ever capture on film, and though Chasing Ice is only able to show a few minutes of this event, it's a brutally powerful sequence that will likely affect people's concerns about climate change more than most scientific data.
The song "Before My Time" comes at the end of the film, and it's a moody and haunting song that fits the tone of the film well. I've listened to the song on its own, and though it doesn't work as well outside of the context of the film, Oscar nominated songs are considered based on how they work in the film, and "Before My Time" is a nice fit. Scarlett Johansson's voice has a rough smokiness to it that adds to the song's haunting tone, and Bell's violion is unsurprisingly lovely.
I wasn't terribly impressed by the filmmaking in Chasing Ice, and I can see why the film was not ultimately nominated for Best Documentary, but the subject is perhaps the most important subject we face as a species, and the footage made by Balog and his team is essential viewing.
Remaining: 3143 films, 871 Oscars, 5397 nominations
Thursday, May 30, 2013
Funny Face (1957)
4 Nominations, 0 Wins
Nomination: Best Cinematography - Ray June
Nomination: Best Costume Design - Edith Head and Hubert de Givenchy
Nomination: Best Writing, Story and Screenplay Written Directly for the Screen - Leonard Gershe
Nomination: Best Art Direction, Set Decoration - Hal Pereira, George W. Davis, Sam Comer, and Ray Davis
Funny Face is one of those classic films that I felt like I had already seen even though I had never watched it, likely due to the ubiquity of the image of Audrey Hepburn dancing in skinny black pants (perhaps it was just watching this commercial so many times that made me feel that I had already seen the movie). I figured it was time to finally give Funny Face a proper viewing and enjoy it as a film instead of iconography. Unfortunately, little in the film worked for me outside of the iconography.
Funny Face tells the story of a bookish young woman who, despite her initial intellectual dismissal of the fashion industry, soon becomes a part of the world she once looked down upon. Sound like a certain film starring Anne Hathaway and Meryl Streep? Indeed, Funny Face is The Devil Wears Prada without the devil, and this is the root problem with the film. It's a narrative largely devoid of conflict. The screenplay throws in a few minor roadbumps in the romance romance between the characters portrayed by Hepburn and Fred Astaire, but they don't add up to much and there's little to stand between the characters other than their own idiocy. Hepburn's character is unlikable, Astaire's is uninteresting, and their romance is unconvincing.
Yet those who reflect fondly on Funny Face rarely mention the romance of the characters, instead reminiscing about the fashion. Indeed, Givenchy's costume work is stunning, and though the dresses aren't as iconic as his work in Sabrina, Givenchy and Edith Head were well deserving of their Oscar nomination. Astaire's dancing is great as always, though there are fewer opportunities for him to dance than in his best works. Of course, it is Hepburn's dance that is best remembered, and though the scene comes off as more than a bit goofy in the context of the film, it's easy to see why it has gained such iconic status.
If you're an Audreyphile or a fashionista, Funny Face will be up your alley, but otherwise you can just watch the GAP commercial.
Remaining: 3144 films, 871 Oscars, 5398 nominations
Nomination: Best Cinematography - Ray June
Nomination: Best Costume Design - Edith Head and Hubert de Givenchy
Nomination: Best Writing, Story and Screenplay Written Directly for the Screen - Leonard Gershe
Nomination: Best Art Direction, Set Decoration - Hal Pereira, George W. Davis, Sam Comer, and Ray Davis
Funny Face is one of those classic films that I felt like I had already seen even though I had never watched it, likely due to the ubiquity of the image of Audrey Hepburn dancing in skinny black pants (perhaps it was just watching this commercial so many times that made me feel that I had already seen the movie). I figured it was time to finally give Funny Face a proper viewing and enjoy it as a film instead of iconography. Unfortunately, little in the film worked for me outside of the iconography.
Funny Face tells the story of a bookish young woman who, despite her initial intellectual dismissal of the fashion industry, soon becomes a part of the world she once looked down upon. Sound like a certain film starring Anne Hathaway and Meryl Streep? Indeed, Funny Face is The Devil Wears Prada without the devil, and this is the root problem with the film. It's a narrative largely devoid of conflict. The screenplay throws in a few minor roadbumps in the romance romance between the characters portrayed by Hepburn and Fred Astaire, but they don't add up to much and there's little to stand between the characters other than their own idiocy. Hepburn's character is unlikable, Astaire's is uninteresting, and their romance is unconvincing.
Yet those who reflect fondly on Funny Face rarely mention the romance of the characters, instead reminiscing about the fashion. Indeed, Givenchy's costume work is stunning, and though the dresses aren't as iconic as his work in Sabrina, Givenchy and Edith Head were well deserving of their Oscar nomination. Astaire's dancing is great as always, though there are fewer opportunities for him to dance than in his best works. Of course, it is Hepburn's dance that is best remembered, and though the scene comes off as more than a bit goofy in the context of the film, it's easy to see why it has gained such iconic status.
If you're an Audreyphile or a fashionista, Funny Face will be up your alley, but otherwise you can just watch the GAP commercial.
Remaining: 3144 films, 871 Oscars, 5398 nominations
Monday, May 6, 2013
Vivacious Lady (1938)
2 Nominations, 0 Wins
Nomination: Best Cinematography - Robert De Grasse
Nomination: Best Sound, Recording - James Wilkinson (RKO Radio SSD)
George Stevens was one of the great "actors' directors" in film history, directing performers to 18 Academy Award nominations and two Oscars in his career, while picking up a pair of Best Director trophies for himself in the process. Though he had made a couple of dozen short films prior to Vivacious Lady, he was relatively new to feature films, and only Alice Adams in 1935 had earned an Oscar nomination for a performer (though three of his other films - Swing Time, Quality Street, and A Damsel in Distress - had earned nominations in other categories).
For Vivacious Lady, Stevens teamed up with two performers undergoing periods of transition in their careers. James Stewart had found success in his early roles, but was just beginning his partnership with Frank Capra that would result in many of his greatest films and make him a screen legend. Ginger Rogers was in the process of ending her partnership with Fred Astaire and was moving toward a greater focus on non-musical films.
Vivacious Lady saw these three legends-in-the-making come together to make a lighthearted and largely forgettable film. The film is the story of a young botanist (Stewart) who falls in love with a nightclub singer (Rogers) on a trip to bring home his ne'er-do-well cousin (James Ellison). The two marry after only one day of knowing each other, and Stewart's character must figure out how to tell his father (Charles Coburn), the president of the university where he works. Once the cat is out of the bag, everyone is predictably displeased, and hijinks predictably ensue.
Vivacious Lady is one of those romantic comedies that is neither terribly romantic nor comedic. The film gets by on the boyish charm of a young Jimmy Stewart and the lighthearted sass of Ginger Rogers. Both give safe but likable performances, relying on their considerable charisma more than any acting chops. The script moves along briskly and mostly effortlessly, and the film is entertaining enough without offering anything terribly unique.
Each of the triumvirate of major talents associated this film would quickly move on to bigger and better things, and Vivacious Lady feels like an easy interlude for the trio. It's an enjoyable enough film to watch if you can catch it on television, but it's a largely forgettable effort by some very talented filmmakers.
Remaining: 3145 films, 871 Oscars, 5402 nominations
Nomination: Best Cinematography - Robert De Grasse
Nomination: Best Sound, Recording - James Wilkinson (RKO Radio SSD)
George Stevens was one of the great "actors' directors" in film history, directing performers to 18 Academy Award nominations and two Oscars in his career, while picking up a pair of Best Director trophies for himself in the process. Though he had made a couple of dozen short films prior to Vivacious Lady, he was relatively new to feature films, and only Alice Adams in 1935 had earned an Oscar nomination for a performer (though three of his other films - Swing Time, Quality Street, and A Damsel in Distress - had earned nominations in other categories).
For Vivacious Lady, Stevens teamed up with two performers undergoing periods of transition in their careers. James Stewart had found success in his early roles, but was just beginning his partnership with Frank Capra that would result in many of his greatest films and make him a screen legend. Ginger Rogers was in the process of ending her partnership with Fred Astaire and was moving toward a greater focus on non-musical films.
Vivacious Lady saw these three legends-in-the-making come together to make a lighthearted and largely forgettable film. The film is the story of a young botanist (Stewart) who falls in love with a nightclub singer (Rogers) on a trip to bring home his ne'er-do-well cousin (James Ellison). The two marry after only one day of knowing each other, and Stewart's character must figure out how to tell his father (Charles Coburn), the president of the university where he works. Once the cat is out of the bag, everyone is predictably displeased, and hijinks predictably ensue.
Vivacious Lady is one of those romantic comedies that is neither terribly romantic nor comedic. The film gets by on the boyish charm of a young Jimmy Stewart and the lighthearted sass of Ginger Rogers. Both give safe but likable performances, relying on their considerable charisma more than any acting chops. The script moves along briskly and mostly effortlessly, and the film is entertaining enough without offering anything terribly unique.
Each of the triumvirate of major talents associated this film would quickly move on to bigger and better things, and Vivacious Lady feels like an easy interlude for the trio. It's an enjoyable enough film to watch if you can catch it on television, but it's a largely forgettable effort by some very talented filmmakers.
Remaining: 3145 films, 871 Oscars, 5402 nominations
Friday, May 3, 2013
The Romance of Transportation in Canada (1952)
1 Nomination, 0 Wins
Nomination: Best Short Subject, Cartoons - Tom Daly
"Romance" and "transportation" are two words not often heard in the same sentence, let alone one with the inclusion of the word "Canada." Yet in 1952, the National Film Board of Canada released the animated short "The Romance of Transportation in Canada," a humorous 11 minute short that shows the historical development of transportation in Canada.
The National Film Board of Canada is one of the most recognized entities in Academy Awards history, receiving 72 Oscar nominations, 11 competitive Oscars, and an honorary Oscar. The NFB's importance in both cinematic history and in promoting Canadian culture cannot be overstated. "The Romance of Transportation in Canada was the first film from the National Film Board of Canada to receive a nomination in the "Short Subject, Cartoons" category.
This isn't my favorite of the NFB's offerings. Its narrative structure is more in the style of a promotional film than a story, but the film moves along briskly and there is a nice, subtle sense of humor that pervades the film. It is also brightened by a lively score from the great Eldon Rathburn that almost singlehandedly keeps the film from dragging.
If you only have time to watch one NFB short (which are generously offered for free viewing on the NFB website), there are better options than "The Romance of Transportation in Canada," but if you have a little time it's worth checking out.
Remaining: 3146 films, 871 Oscars, 5404 nominations
Nomination: Best Short Subject, Cartoons - Tom Daly
"Romance" and "transportation" are two words not often heard in the same sentence, let alone one with the inclusion of the word "Canada." Yet in 1952, the National Film Board of Canada released the animated short "The Romance of Transportation in Canada," a humorous 11 minute short that shows the historical development of transportation in Canada.
The National Film Board of Canada is one of the most recognized entities in Academy Awards history, receiving 72 Oscar nominations, 11 competitive Oscars, and an honorary Oscar. The NFB's importance in both cinematic history and in promoting Canadian culture cannot be overstated. "The Romance of Transportation in Canada was the first film from the National Film Board of Canada to receive a nomination in the "Short Subject, Cartoons" category.
This isn't my favorite of the NFB's offerings. Its narrative structure is more in the style of a promotional film than a story, but the film moves along briskly and there is a nice, subtle sense of humor that pervades the film. It is also brightened by a lively score from the great Eldon Rathburn that almost singlehandedly keeps the film from dragging.
If you only have time to watch one NFB short (which are generously offered for free viewing on the NFB website), there are better options than "The Romance of Transportation in Canada," but if you have a little time it's worth checking out.
Remaining: 3146 films, 871 Oscars, 5404 nominations
Thursday, May 2, 2013
The Glenn Miller Story (1954)
3 Nominations, 1 Win
Win: Best Sound, Recording - Leslie I. Carey
Nomination: Best Music, Scoring of a Musical Picture - Joseph Gershenson and Henry Mancini
Nomination: Best Writing, Story and Screenplay - Valentine Davies and Oscar Brodney
Watching The Glenn Miller Story, it is impossible not to reflect on how much the biopic has changed over the past half century. In modern films like Ray, Walk the Line, and The Iron Lady, the film is judged in large part by how closely the lead's performance resembles the film's subject. Performers go to great lengths to fully inhabit the person they are depicting, studying footage of deceased figures or spending time with those who are still alive. One of the best ways to score an Oscar nomination is to portray a famous figure in a biopic in a convincing manner.
This wasn't always the case. While performers would adopt noticeable accents or change hairstyles to resemble the subject more closely, it was far more common for the performer to put forth his or her own film persona, only slightly modified. James Stewart's performance in The Glenn Miller Story is an example of this, as he retains his unmistakable aww-shucks Jimmy Stewart persona while portraying the famous bandleader.
This isn't to say that Stewart didn't push himself at all. He reportedly worked hard to learn to play the trombone, and though he didn't play the actual notes heard in the film, he convincingly mimics the motions of a trombone player, at least well enough to fool me (while I don't play trombone, I played in bands throughout middle and high school and have a passing familiarity with the instrument). He is far less convincing as a bandleader/conductor, but I was still impressed by his work on the trombone, something that would be a given in modern times but was far more rare at the time The Glenn Miller Story was made.
Aside from his mimicry of Miller, Stewart's chemistry with costar June Allyson is obvious, with Allyson's spunk and charm pushing Stewart a bit out of his comfort zone. Stewart was one of the most reliable stars in film history, capable of turning in a solid performance even with the least talented of co-stars, but like most actors, he comes alive when paired with real talents. Allyson brings out the best in Stewart, and the two starred in two other films together (both biopics), The Stratton Story (1949) and Strategic Air Command (1955).
The film has some truly wonderful scenes, namely the Army marching scene in which Miller gets the band to swing and the scene toward the end of the film in which Miller and his band play on through an air raid. There are also fun cameos from Louis Armstrong, Gene Krupa, and others that will appeal to jazz fans. The narrative structure is a collection of set pieces instead of a fluid story, however, resulting in an uneven pace and choppy storytelling.
I also wasn't terribly impressed with the score. The music performed by the characters in the film is outstanding and sounds great, but the score itself is a generic Hollywood score, and was a wasted opportunity to create a jazz-infused score, possibly with nods to Miller's music. Instead it consisted of generic legato orchestra music that is instantly forgettable.
Despite the film's unevenness, it's a very enjoyable film that is absolutely worth watching. The music is great, Stewart is relatively convincing as Miller, and the chemistry between Stewart and Allyson is exceptional.
Remaining: 3147 films, 871 Oscars, 5405 nominations
Win: Best Sound, Recording - Leslie I. Carey
Nomination: Best Music, Scoring of a Musical Picture - Joseph Gershenson and Henry Mancini
Nomination: Best Writing, Story and Screenplay - Valentine Davies and Oscar Brodney
Watching The Glenn Miller Story, it is impossible not to reflect on how much the biopic has changed over the past half century. In modern films like Ray, Walk the Line, and The Iron Lady, the film is judged in large part by how closely the lead's performance resembles the film's subject. Performers go to great lengths to fully inhabit the person they are depicting, studying footage of deceased figures or spending time with those who are still alive. One of the best ways to score an Oscar nomination is to portray a famous figure in a biopic in a convincing manner.
This wasn't always the case. While performers would adopt noticeable accents or change hairstyles to resemble the subject more closely, it was far more common for the performer to put forth his or her own film persona, only slightly modified. James Stewart's performance in The Glenn Miller Story is an example of this, as he retains his unmistakable aww-shucks Jimmy Stewart persona while portraying the famous bandleader.
This isn't to say that Stewart didn't push himself at all. He reportedly worked hard to learn to play the trombone, and though he didn't play the actual notes heard in the film, he convincingly mimics the motions of a trombone player, at least well enough to fool me (while I don't play trombone, I played in bands throughout middle and high school and have a passing familiarity with the instrument). He is far less convincing as a bandleader/conductor, but I was still impressed by his work on the trombone, something that would be a given in modern times but was far more rare at the time The Glenn Miller Story was made.
Aside from his mimicry of Miller, Stewart's chemistry with costar June Allyson is obvious, with Allyson's spunk and charm pushing Stewart a bit out of his comfort zone. Stewart was one of the most reliable stars in film history, capable of turning in a solid performance even with the least talented of co-stars, but like most actors, he comes alive when paired with real talents. Allyson brings out the best in Stewart, and the two starred in two other films together (both biopics), The Stratton Story (1949) and Strategic Air Command (1955).
The film has some truly wonderful scenes, namely the Army marching scene in which Miller gets the band to swing and the scene toward the end of the film in which Miller and his band play on through an air raid. There are also fun cameos from Louis Armstrong, Gene Krupa, and others that will appeal to jazz fans. The narrative structure is a collection of set pieces instead of a fluid story, however, resulting in an uneven pace and choppy storytelling.
I also wasn't terribly impressed with the score. The music performed by the characters in the film is outstanding and sounds great, but the score itself is a generic Hollywood score, and was a wasted opportunity to create a jazz-infused score, possibly with nods to Miller's music. Instead it consisted of generic legato orchestra music that is instantly forgettable.
Despite the film's unevenness, it's a very enjoyable film that is absolutely worth watching. The music is great, Stewart is relatively convincing as Miller, and the chemistry between Stewart and Allyson is exceptional.
Remaining: 3147 films, 871 Oscars, 5405 nominations
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