At 5:30am Los Angeles time, Oscars host Seth MacFarlane and Emma Stone announced the nominees for the 85th Academy Awards. While there were a few categories which panned out exactly as expected, the nominations did throw up more than the usual number of surprises. Here are five of the biggest…
1) Only 9 in the Best Picture
There were a few notable omissions in the Best Picture category. Moonrise Kingdom, The Master, The Sessions and, to a lesser extent, Skyfall had all been talked about as Best Picture contenders but all were notably absent from the nominees announced. What makes that even more surprising is the Academy chose only to give out nine of a possible ten nominations. So it wasn’t even that these films were simply squeezed out by other worthy pictures, rather they were deemed not worthy of a nomination.
2) Amour gets some love
It is not often that a foreign language film gets Academy recognition outside of the Best Foreign Language Film category. So it was somewhat of a surprise to see Michael Haneke’s Palme d’Or winner, Amour, pick up five nominations including Best Picture and Best Director. If nothing else it means that Amour will be the shortest of short priced favourites to win the Best Foreign Language Film category.
3) Big names missing in the Best Director field
It was the Best Director nominations which contained the biggest surprises, primarily as a result of who wasn’t there. Ben Affleck, Quentin Tarantino and Kathryn Bigelow had all been talked about as serious contenders to take the award home, yet none of them managed to get a nomination. The most obvious beneficiaries of these ‘snubbings’ are the surprise – unexpected but not undeserved – nominations of Michael Haneke and Behn Zeitlin (Beasts of the Southern Wild).
4) Silver Lining Support
The surprise nominations in both the Supporting Actor and Actress categories both came from Silver Linings Playbook. Robert De Niro had only received a handful of lead up nominations, none of them major, for his role as Pat Sr. His surprise nomination means that there wasn’t room for some more fancied possible nominees, particularly Django Unchained’s Leonardo DiCaprio and Samuel L. Jackson. Australian Jackie Weaver came from right out of left field to score a nomination in the Supporting Actress category having not received any lead up nominations, other than as part of an ensemble cast. The Golden Globes and SAG nominations had opted for Nicole Kidman (The Paperboy) or Maggie Smith (Best Exotic Marigold Hotel) to round of their fields, but neither seem any more deserving than Weaver.
5) The Dark Knight does not rise
While I don’t think anyone was realistically expecting The Dark Knight Rises to earn a best picture nomination, most would have expected it to figure somewhere (maybe in visual effect?), but instead it became the highest profile film to be completely overlooked by the Academy this year.
As the end of the year draws closer the top ten lists from different critics, magazines and institutions are coming thick and fast. Today the American Film Institute named its top ten for the year and there were a couple of surprises. The list was unranked, and looks like this:
Argo (Ben Affleck)
Beasts of the Southern Wild (Benh Zeitlin)
The Dark Knight Rises (Christopher Nolan)
Django Unchained (Quentin Tarantino)
Les Misérables (Tom Hooper)
The Life of Pi (Ang Lee)
Lincoln (Steven Spielberg)
Moonrise Kingdom (Wes Anderson)
The Silver Linings Playbook (David O. Russell)
Zero Dark Thirty (Kathryn Bigelow)
There are two major surprises for mine, one an inclusion and one an exclusion. The Dark Knight Rises making the list was a bit of a shock. It was undoubtedly one of the most anticipated and most ambitious films of the year, but it didn’t quite reach the heights a lot of people were hoping for and has been absent from most of the other top tens that I’ve seen.
The big absence is Paul Thomas Anderson’s The Master. An intensely interesting film, whose links to Scientology guaranteed a level of controversy and exposure a film of this kind would not otherwise have received, The Master has been a bit of a critical darling. It won gongs at the Venice Film Festival (Best Director for Anderson and shared Best Actor between Juaquin Phoenix and Philip Seymour Hoffman) and is talked about as a big time Oscar contender, and has appeared in a lot of top ten lists already, including topping that of the prestigious British film journal Sight and Sound. So it’s failure to rate a mention from the AFI is notable.
The other thing about this list that is exciting for myself and other movie lovers on this side of the world is that so many of these films haven’t come out yet. With Django Unchained, Les Misérables, The Life of Pi, Lincoln, The Silver Linings Playbook and Zero Dark Thirty all due to hit screens in the next couple of months, we have a quality summer of movies to look forward to.
Director: Christopher Nolan
Starring: Christian Bale, Tom Hardy, Gary Oldman, Anne Hathaway, Marion Cotillard, Michael Caine, Joseph Gordon-Levitt, Morgan Freeman
With the exception of perhaps Ridley Scott’s Prometheus, no film released this year has had to contend with the immense weight of expectation that met The Dark Knight Rises, the final film in Christopher Nolan’s brilliant Dark Knight Trilogy, when it hit theatres in July. Nolan’s films had re-written the rules of comic-book movie-making, combining box office success with critical reverence.
The Dark Knight Rises sees Bruce Wayne living in self-imposed exile after the events of The Dark Knight. When the terrorist Bane releases thousands of Gotham’s most dangerous criminals from Blackgate Prison, and succeeds in prompting a class war which brings the city to its knees – all the while obscuring his even more devastating plan – it becomes apparent that Gotham has no other hope, and Wayne is forced to once again don the Bat-suit.
When the first film in the trilogy, Batman Begins, was released, much was said about this being a ‘darker’ approach to Batman. But the darkness wasn’t really anything new. Tim Burton’s films, Batman (1989) and Batman Returns (1992) had been dark. Frank Miller’s comic The Dark Knight Returns and Batman: Year One had been dark. Batman had always been a character who suited a dark, gothic interpretation. Rather, what made Nolan’s take on the Batman mythology different was his intent to ground it in the real world, asking the question “How would this work in real life?” This emphasis on grounding the action in the real world then allowed for the film to engage with real world issues.
While other comic book adaptations like The Avengers and Iron Man have been incredibly successful, their pure escapism lacks the real-world relevance of Nolan’s Dark Knight Trilogy. Batman Begins and The Dark Knight were both very much products of the War on Terror. The Dark Knight Rises draws on the Arab Spring and the Occupy Wall Street movement to deal with themes of revolution, capitalism and economic imbalance (as Nolan said in an interview, “You can’t really deal with Bruce Wayne without eventually acknowledging the massive wealth he’s a part of”).
Likewise, this grounding of the Batman story in a real world means that in Nolan’s films we see explorations of the consequences of Bruce Wayne’s decisions and actions. The Dark Knight Rises is a film about consequences – physical, emotional, psychological.
Each of Nolan’s three Batman films have been generically quite different. Batman Begins had a very mythological feel to it, with Bruce Wayne travelling to the farthest ends of the earth to learn his craft from a mysterious cult. The Dark Knight largely abandoned that mythological sensibility, and instead became an urban crime thriller (Nolan often compared the picture to Michael Mann’s Heat (1995)). The Dark Knight Rises again changes direction. This time Nolan is taking us into the world of the historical epic.
Whether or not you think that The Dark Knight Rises succeeds in what it is attempting, you can’t help but admire the ambition of the film. Nolan is attempting to tell a historical epic (not the persistant allusions to Dickens’ A Tale of Two Cities and the French Revolution) on an epic scale, resulting in filmmaking on a scale that has not been seen in Hollywood for a long, long time. The scale of the picture is immense, with this size emphasised by the fact that so much of it was shot in IMAX format. The magnitude of some of the set pieces, literally employing a cast of thousands, harks back to the epics of classical Hollywood and a style of filmmaking we just don’t see in the CGI era.
The Dark Knight Rises does not quite reach the lofty heights of its prequel, but then very few films have. It is, none the less, a very good film and a satisfying end to a very impressive trilogy. It is pleasing to see a filmmaker with the conviction to take a very popular film franchise and bring it to a close rather than giving in to the temptation to drag it out. In closing the story of Bruce Wayne with The Dark Knight Rises, Nolan has retained the integrity of what will undoubtedly be remembered as one of the key film franchises of the early 21st century.
Rating – ★★★★
Review by Duncan McLean