The Last Emperor

 And this week's Friday night movie has been... The Last Emperor!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 60 (1987)

If the 1980s was the 'forgotten' decade of Best Picture Oscar winners then this must surely be the forgotten movie of the ten.
I will say this though: From the outset this has to be the most unique Best Picture Oscar winner: An all-Asian cast of no big names. A director who has hardly an Oscar favourite. An Asian story, told by Asian people in an Asian location. The sole Oscar winner in the cast playing a white man who disappears halfway through the movie. And an epic where the lead character is a passive one.

But much like it's fellow epics, this is staggering in its scale. The onsite footage of the Forgotten City as astonishing and the amount of extras used for particular scenes is unbelievable. Such visuals are worth the price of admission alone but what is of particular note is the narrative of a boy who is in command, for reasons he can't comprehend, over a region that has no purpose to exist. Thus the tragedy hits like a brick when our protagonist tries to assert some control over his life, well into adulthood, but is outdone at every turn. 

All in all, a triumph. So why is this forgotten? Buggered if I know.

And so, with that, we leave the 1980s behind. So what shall come next week....?

Platoon

And this week's Friday night movie has been... Platoon!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 59 (1986)

There seems to be a 'Big Four' of Vietnam War movies: Apocalypse Now, Full Metal Jacket, The Deer Hunter and this: Platoon. Of particular note is that the latter two have won the Academy Award for Best Picture. Which is quite a feat as the Vietnam was regarded as a very unpopular war. 

Compared to the other Big Four, Platoon has the unique advantage of being director by an actual Vietnam veteran. For this I don't doubt this movie's realism, nor do I doubt it's message on the brutality and futility on the conflict. More than any other movie, this is the view from the grunt's perspective, facing death, mayhem, conflicting COs, uncertainty as to what they're doing there and struggling to keep it all together.

Okay I admit it: I'm struggling to get the words together but perhaps that is a testament to this movie's power.
I mean, any film that opens with Barber's Adagio for Strings isn't messing around...

Amadeus

 And this week's Friday night movie has been... Amadeus!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 57 (1984)

Didn't have to look far for this one: It was sitting on the shelf with the rest of Kiera's DVDs.

I've heard some bad things about this movie - all of them related to the historical inaccuracies. But I, being the stickler for realism, am willing to forgive such matters. Why? Because this movie was utterly brilliant. I could commend the use of music (which is a no-brainer as this is about Mozart). I could praise the art direction and lavishness of the production. I could gush about the acting.
I could all of that but what I'll do instead is talk about the fact that this is a movie of two creative minds, the conflict between them and the creative process that wills something into being. It is fascinating to see two conflicting personalities and their work ethic along with the triumphs and failures that come with it. Indeed, the best part of the movie happens towards the end when these two personalities meet. 

Seems the Best Pictures of the eighties weren't as disappointing as I thought....

Alien: Romulus

This evening I went and saw Alien: Romulus.

Original image located here. Accessed 4th November 2024

So we have a new entrant to this franchise. A sceptic would think that this franchise has no purpose being a franchise, with a reasoning of longevity, the lessening of impact of the original, the dilution of the horror and lack of something new to say. So what can we take away from this latest instalment?

Yes it may be a rehash of the first one but that can be hardly surprising given the sizable impact the first one made. Yes there are reminders sprinkled throughout of other (and, cynically, better) Alien movies. 
But I can't hate this movie. It recognises the strengths of the franchise and works with them: The suspense, the world-building, the claustrophobia and knowing that it's what you don't see is terrifying. Get past the dull first half hour and the movie works a treat.

It does however raise the question of what is going to happen next with this franchise...

Terms of Endearment

 And this week's Friday night movie has been... Terms of Endearment!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 56 (1983)

And now I face another case of a movie with a fearsome reputation: Seems this is one of the undisputed weepies ever made. And it came from one of the people who got the Simpsons made: James L Brooks. Still I am willing to give it a shot...

So what I found is that this is a movie about a mother/daughter relationship. Granted such a scenario is completely out of my field of expertise but I was still able connect with this movie. Certainly the humour works and the emotional parts of it hit like a truck, as befitting this movie's reputation, but for me this movie works as an example of a parent/child relationship (particularly as I limp through middle age). That this movie goes against various trends is better still. 

It's a movie with red, raw heart.

Gandhi

And this week's Friday night movie has been... Gandhi!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 55 (1982)

Now this was a movie I was keen on watching: When I was in high school I read about Mahatma Gandhi and was struck by how a humble man changed the world and won independence for India from the British through non-violent methods. It was an inspiring story and I hoped to do something world-changing in my own right.....

One would think that the story of Gandhi would be well-suited for an epic movie. And Richard Attenborough thought so too, trying multiple times to get this film made over two decades. 
The end result? Attenborough went all out crafting a three hour epic, utilising thousands of extras and clearly not settling for anything less. But hey, dream projects tend to attract the most effort.
However in spite of all the historical inaccuracies and Attenborough's approach to filmmaking, this is all Ben Kingsley's show, delivering a performance that is quietly charismatic, genuine in it's approach and effectively resurrecting Mahatma himself. 

Deadpool and Wolverine

 Recently I went and saw Deadpool and Wolverine.

Original image located here. Accessed 4th November 2024

With Disney purchasing Fox, it's a no-brainer that Deadpool will be integrated into the MCU. It is equally a no-brainer that this means that the makers of the Deadpool movies will have access to some bigger toys to play with.

As for the movie itself, it's the same joke told yet again but strangely enough it has yet to grow stale. Part of the appeal for this movie is that this is pretty much an endpoint for the Fox-era of the MCU. As such, there are numerous nods to it and they work a treat.
But the real ace in the hole is of course Wolverine. Hugh Jackman slips back into the role like he never left and both Wolverine and Deadpool are fun to watch with these two personalities bouncing off one another. 

Once again, much like it's predecessors, there is a real love and real care put into this movie. That said movie is about a complete jerk is the icing on the cake.

Ordinary People

  And this week's Friday night movie has been... Ordinary People!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 53 (1980)

And now we enter the eighties.
I can't say I was looking forward to this decade as it seems to have gone down in history as one of, if not the weakest decade of Oscar Best Picture winners. Granted it is sandwiched between two heavyweight decades, the 1970s and 1990s, but between them, they have plenty of standouts - the 1980s not so much. Furthermore, it appears that if there have been complaints about the disconnect between what was popular at the box office and what was popular with the Academy voters then the 1980s may have been the starting point of it (a problem that still persists to this day).
Still I did this year long undertaking to see movies I wouldn't have normally seen and am willing to be surprised so best foot forward...

So we have Ordinary People: A film that was Robert Redford's directorial debut and which, famously, beat out Raging Bull for Best Picture. But I will argue that time has been kind to this movie for it's representation of mental illness. In recent years, mental health has become a talking point like never before and such concerns do echo those raised in this movie. Redford shows a capable hand with his directing and shows his subjects in a manner that is sympathetic & far removed from soap opera melodrama. Great acting all round too, especially from the late great Donald Sutherland.

Perhaps it is fitting that this should follow Kramer vs Kramer as both films show a collapse of the traditional family unit. Seems the era of New Hollywood wasn't prepared to leave just yet...

Kramer vs Kramer

 And this week's Friday night movie has been... Kramer vs Kramer!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 52 (1979)

Actually forget what I said about The Sting: This has a more compelling case for being the 'forgotten' movie of 70s Best Picture winners. So while everyone props up the other eight, The Sting and Kramer vs Kramer are left fighting over the table scraps.

Still, this movie has plenty going for it: Firstly it is showing a divorce in process which is already a ballsy move.
Secondly, we are seeing a lousy dad slowly improving himself to become a better dad.
And thirdly there is a degree of nuance that would be foreign to modern audiences: Both the mother and father are treated well and not made out to be the bad guy. 
Its certainly a bold move to show divorce on screen and how it effects the people involved, socially and psychologically. Certainly it seems that a lot of people can relate to the situations being put forth on the screen - so if the film has resonated in such a manner, it must be doing something right.

It seems to me that other people are annoyed that this won Best Picture over Apocalypse Now. But to me, there's something to be said for the long, bombastic film losing out to smaller film. 

And with that, we leave the 1970s, it's cynicism and the era of New Hollywood behind. Ahead lies.... *checks schedule*....Hoo boy....

The Deer Hunter

And this week's Friday night movie has been... The Deer Hunter!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 51 (1978)

I was dreading watching this movie. Largely for two reasons:
Firstly, this movie is notorious for being the progenitor of 'Oscar Bait'. For those who don't know this movie, upon release, was deemed a hard sell due to it's depressing nature and it's length. Producer Allan Carr decided that if the movie was nominated for Best Picture, then people will go and see it. So the movie received a nomination after achieving the bare minimum requirement - along with Carr's own heavy campaigning for the movie. And it worked - The movie won Best Picture and, in turn, has inspired similar campaigns in it's wake.
And secondly, this is the movie that gave director Michael Cimino success - which he followed up with Heaven's Gate. This one was a notorious flop, with a oversized budget and seemingly never-ending production cycle. And it was enough to bring about the end of the New Hollywood era. I personally have never seen Heaven's Gate but my dad did - and he hated it, regaling me with stories of pointless scenes that dragged on. 
Thing is though, these two obstacles are ultimately outside factors: They don't say much about The Deer Hunter itself so there is still grounds for me to assess this movie on it's own terms.

What is striking is that there are three parts to this movie. The first introduces the protagonists and their bonds. The second catapults into the Vietnam War and gives us the infamous Russian Roulette scene. And the third examines the fallout of our protagonists retuning home and struggling in various forms. 
Really this movie left me with a lot of mixed feelings: On one hand there are some sequences that drag out and seem pointless. But on the other hand, there are some intense scenes (like the war portion) and some moments of sensitivity - both of which prove that Cimino knows what he's doing and the cast are delivering some career best performances. 
Some strong ideas to be sure but sadly bogged down with some baffling meandering.

Still, I will give props that the Academy awarded Best Picture to a movie about the Vietnam War - long regarded as 'the unpopular war'. Seems they were going against the grain but, as it would turn out, it's not the last time the Vietnam War would walk hand in hand with the Best Picture Oscar...

Rocky

  And this week's Friday night movie has been... Rocky!

Original image located here. Accessed 12th July 2024

Best Picture Oscar winner no.: 49 (1976)

It's the ultimate underdog story: A guy who has lost his way is presented with a opportunity at redemption and he approaches it with hard work and dedication. Really, how could this not win the Best Picture Oscar?

Despite my distaste for sports movies, I did enjoy this one in that is well shot, it is filtered through the lens of seventies cynicism/realism, the outcome isn't obvious and it is genuinely inspiring. It also helps to have one of the most unforgettable movie themes supporting it.
But what did surprise me is that there is some degree of goofiness at work here, with Rocky's tendency to talk about random stuff and to anyone in a nonstop fashion (this goofiness, apparently, will be amplified in the sequels). 

Still this movie is, for the lack of a better choice of words, a knockout.

The Sting

 And this week's Friday night movie has been... The Sting!

Original image located here. Accessed 5th July 2024

Best Picture Oscar winner no.: 46 (1973)

Given the 1970s are regarded as one of, if not the, strongest decades of Best Picture winners, it does raise an interesting question: Which of the ten winners is the weakest? 
Such a question is by no means a slight against the movie in question. It just sits besides some titans that would easily overshadow it. So would The Sting be the weak point of the 70s? 

Well I will admit it certainly stands on it's own. Whereas 70s cinemagoers embraced the New Hollywood movement and cynicism, The Sting is a deliberate throwback to the 1930s style of film-making. And it's not just in the aesthetic: the structure and direction is undeniably lifted from an earlier, long-gone era of film-making. If anything this seems to be a flipside to The French Connection: if that movie embodies the realism and cynicism of New Hollywood, then The Sting seems oddly resistant to them.  
But that is by no means a bad thing: This is a solid crime caper based around building up a con-game to take down a crime boss. Certainly the narrative is bogged down by multiple double-crosses but I do admire the effort gone into making this movie. After all, it has the most compelling poker game I have ever seen on celluloid. 

The French Connection

 And this week's Friday night movie has been... The French Connection!

Original image located here. Accessed 28th June 2024

Best Picture Oscar winner no.: 44 (1971)

Hey, did you now that the director of The Exorcist made other movies? And he has a Best Director Oscar to his name?!

Okay, sarcasm aside, this is very much a product of it's time: the era of New Hollywood was underway and the Academy voters has discovered cynicism. And here we do indeed have a more realistic approach to film-making and film-makers more than willing to take risks. 

And it works. There's so many highlights I don't know where to start: Gene Hackman on fire. An opening scene that has our protagonist dressed as Santa Claus chasing down and beating up a guy. A detective protagonist that is less Dirty Harry and more Captain Ahab. An intense car chase that was famously illegally shot. Some truly stunning location photography. The template for countless police procedural movies to follow. And an ending that hits like a truck.

Speaking of which, is this the bleakest movie to win the Best Picture Oscar? One would think so but that's what makes it a unique entry compared to it's brethren. And all the better for it.