{"id":12725,"date":"2020-02-07T21:57:54","date_gmt":"2020-02-08T01:57:54","guid":{"rendered":"http:\/\/irishexaminerusa.com\/wp\/?p=12725"},"modified":"2020-02-07T21:59:06","modified_gmt":"2020-02-08T01:59:06","slug":"oscar-worries-or-not-in-this-day-and-age","status":"publish","type":"post","link":"https:\/\/irishexaminerusa.com\/wp\/?p=12725","title":{"rendered":"Oscar Worries or Not In This Day And Age"},"content":{"rendered":"

\"\"<\/p>\n

The 92nd Academy Awards Ceremony
\nDolby Theatre
\nLos Angeles
\nFeb. 9th 2020
\nairs live on ABC starting at 8 pm<\/p>\n

Yes, I have been anguishing over the upcoming Oscars far more than I should in light of all the other news: bad apps, impeachment blues, state of the union traumas, but the Oscars have been occupying lots of space in my old brain pan. I ask why\u2026 Why are movies any more relevant than they have or haven\u2019t been?<\/p>\n

Maybe it\u2019s because this year, I\u2019ve been particularly diligent and managed to at least see all the best picture nominees. Here they are: Parasite<\/strong><\/em>, 1917<\/strong><\/em>, Joker<\/strong><\/em>, Once Upon a Time\u2026in Hollywood<\/strong><\/em>, Little Women<\/strong><\/em>, Jojo Rabbit<\/strong><\/em>, Marriage Story<\/strong><\/em>, Ford v Ferrari<\/strong><\/em> and The Irishman<\/strong><\/em>. Nearly all the other categories in various production jobs draw on most of these films. I also managed to catch many of the doc nominees and international pictures.<\/p>\n

These nominations stir the passion in me for cinema; as much as I love television and watch lots of it, there\u2019s something about the compactness of a film \u2014 and seeing it on a big screen \u2014 that stirs the juices. Of those Best Picture nominees, Todd Phillips\u2019 Joker<\/em> \u2014 offering a transformative origin story about Batman\u2019s biggest foe \u2014 scored 11 Oscar nominations, including best director and actor for Joaquin Phoenix.<\/p>\n

Following close behind with 10 nods each are Martin Scorsese\u2019s three-hour + long The Irishman<\/em> (the third in his mob chronicle) Quentin Tarantino\u2019s \u201960s paean Once Upon a Time in Hollywood<\/em> (and LA ode) and Sam Mendes\u2019 1917<\/em> \u2014 a war drama that puts audiences running along side two soldiers in several unbroken takes). All three offer unique approaches to story telling and employed specialized production techniques to make it possible.<\/p>\n

Four of the films were backed by Netflix, furthering the streaming service\u2019s effort to change the production and distributions models that have driven the industry.<\/p>\n

The others in the Best Picture lineup \u2014 Ford v Ferrari<\/em>, \u201cJojo Rabbit,\u201d \u201cLittle Women,\u201d \u201cMarriage Story\u201d and \u201cParasite\u201d compete on very contrasting terms. Although there are a few cultural advances in this year nominees, female filmmakers were shut out of the best director race but they made film that deserved to be there. Along with \u201cJoker\u2019s\u201d Phillips, the nominees include Scorsese for \u201cThe Irishman,\u201d Mendes for \u201c1917,\u201d Tarantino for \u201cOnce Upon a Time in Hollywood\u201d and Bong Joon Ho for \u201cParasite.\u201d<\/p>\n

Both \u201cFord v Ferrari\u201d and \u201cLittle Women\u201d stirred the care factor for telling of success against adversity. With the former, testosterone rules as two men toil to prove their greater worth. In the later, four sisters struggle to be better people and prove that some women can find ways to survive without needing to depend on men.<\/p>\n

\"\"While both Little Women<\/em> and Marriage Story<\/em> address the beginnings and ends in domestic situations, director Greta Gerwig\u2019s rethink of this classic series was touching and ultimately up-tempo \u2014 a feel-good film worthy of its nomination. The well written Marriage Story<\/em> was infused with characters with cleverly defined quirks in this divorce tale \u2014 it\u2019s just matters whether you can care about the clash of two self-involved artists\u2019 lives and their discontents.<\/p>\n

Violence and death rules in Joker<\/em>, The<\/em> Irishman<\/em>, 1917<\/em>, Once Upon a Time in Hollywood<\/em> and Parasite<\/em>. Peculiarity defines both JoJo Rabbit<\/em> and Parasite<\/em> for very different reasons.<\/p>\n

In the end, it depends what you feel drive a worthy film. For joyfulness no other picture provides as much as Little Women<\/em>. For a fresh take on a very dark subject, JoJo Rabbit<\/em> (based on a novel as well), proved that it takes a Jewish Maori New Zealander to put Hitler into a comedy. And for unique twists and turns, Parasite makes for a brilliant comic drama.<\/p>\n

Not all these films are the best mustered by these veteran directors but some come close. Ford v<\/em> is nearly as good as James Mangold has created and 1917 is quite a triumph for a guy who made quite the debut with American Beauty. For me, Once Upon a Time\u2026in Hollywood<\/em> provides some the best and not so from master stylist Tarantino.<\/p>\n

So what\u2019s the outcome for me? I think 1917<\/em> will win; my sentimental favorite is Jo Jo Rabbit<\/em>. But if I had to recommend any of the films among all the nominees, I suggest you see Poland\u2019s international feature pick, Corpus<\/em> Christi<\/em>, and Best Feature Doc contender For Sama<\/em>. Both offer such insights that it should stimulate anyone to see a film in the theater.<\/p>\n

Share this:<\/h3>