This week’s Oscar nominations have created much discussion in the blogsphere and social networking brigade. I’m not looking to add to that conversation with this post. But I am pleased that I have now seen all of the Best Picture nominees for 2014.
Selma has built up quick and impressive word of mouth since its wide release began last Friday, and that was why I went to see it last Tuesday night. The film takes a detailed look at events surrounding the mid-1960’s segment of the Civil Rights Movement, focusing on Dr. Martin Luther King Jr.’s leadership role in the saga of events in the Deep South, which eventually led to a march from Selma to Montgomery, Alabama, in 1965.
The film is exquisitely well-cast in its central ensemble of committed African-American actors portraying real people. Those that stood out for me included David Oyelwo as King, Carmen Ejogo as Coretta Scott King, and the extensive range of supporting actors around them; it was particularly cool to see former Bay Area actor Colman Domingo appear in a prominent role. I felt less agreeable about the Caucasian casting choices, such as Tom Wilkinson as Lyndon Johnson – surely there was a Texan or Southern actor who might have been more suitable? Or even someone like Bryan Cranston, expanding upon his recent stage success as the same person? Fellow British actor Tim Roth as George Wallace also seemed to be overemphasizing certain aspects of his portrayal.
Director Ava DuVernay uses a lyrical simplicity to convey the storyline of events, with many shots focusing just on the character in action, and little use of supporting objects and visual distractions. I would have preferred a few key dramatic moments to go without the musical accompaniment she chose, but I can understand why they are there. I’m undecided about her implied allegories towards recent national events, but I agree that there is more work to be done.
My Rating: ***
Clint Eastwood’s American Sniper has smashed box office records this weekend, but I would not have gone to see it if it hadn’t received a Best Picture nomination.
The film tells the story of Chris Kyle, a Texan who became known as the most successful sniper ever for the US, with “more than 150 confirmed kills in his career” according to multiple sources. Sadly, four years after ending his Army career to be with his family in Texas, Kyle was killed in February 2013, allegedly by a fellow war veteran he was attempting to help cope with PTSD.
Bradley Cooper stars as Kyle and continues an impressive run of recent acclaimed performances. Much attention has been paid to his “bulking up” for the role, but I found his use of character subtleties to be much more interesting. As Kyle, he displays an easy comfort with the role of command and methodical attention to detail in his lethal missions. But when he comes back to the USA, home of his wife (played by Sienna Miller) and growing family, Kyle doesn’t know what to make of the calm setting, literally worlds away from his war-torn “workplace”, and becomes distractedly distant. Cooper conveys this unease especially adroitly in these home-based scenes, which run the range from poignant to troubling.
I would have liked the film much more if it paid sharper focus to that tension in Kyle’s life between his role as a war hero and role as a family man. As it is expressed in the finish film, there is too much attention paid to the mechanics of the war, and it feels like a war movie, not one that is adapted from Kyle’s actual memoir. Cooper is left to convey the psychological and physiological tension over the course of several effective but brief scenes, while long stretches of the film focus broadly on the war mechanics. That’s not to say that they aren’t well-made (they are, of course, with Eastwood at the helm) but it lends the movie a different aftertaste than what might have been. I have to wonder what the story would have been like if original director David O. Russell had stayed at the helm (Three Kings 2.0?) or in the eyes of a female director, as seen in Kimberly Peirce’s underrated Stop-Loss back in 2008.
Sienna Miller deserves special mention for reaching new dramatic ground with her performance. The actress, who was better known for being tabloid fodder 5-10 years ago, has matured into a confident and assured performer. I’m sure that a close personal connection with the real life Mrs. Kyle helped her to draw the emotional truth of the role. I also look forward to seeing what Miller does next with a broader role, whether on film or on stage.
My Rating: **