Critics Jude Seymour and Matt Nania weigh in with their picks
By JUDE SEYMOUR
Scene Movie Critic
Ever since Steven Spielberg's "Saving Private Ryan" lost to John Madden's "Shakespeare in Love" for Best Picture, media pundits have speculated that it is in each distributor's best interest to hold their best "Award worthy" movie for a late-year release. The rationale behind this strategy is, with a December release, "Shakespeare" was more fresh in the minds of Academy voters compared to "Ryan," which had a July opening.
The choices below are all end of the year releases, reflecting this pattern of leaving an indelible impression on voter's minds. Some of these selections, however, did not get nominated by the Academy on Tuesday, but it is imperative to recognize their achievement in the past year.
Best Picture:
"Mulholland Drive"
The David Lynch TV pilot turned feature-length film was in a class by itself this year. No other single picture in 2001 did a better job of engaging the audience's intellectual capabilities while simultaneously providing a most entertaining trip through a world of dreams, obsessions and broken desires. "Drive" brought its detractors and supporters together to a common ground: Neither could stop discussing the movie's myriad turns, both in its narrative and its style. A hodgepodge of film noir, mystery, surrealism and dramatic motifs, "Drive" transfixed attention to the screen and demanded repeat viewings from the audience it captured.
Best Director:
David Lynch, "Mulholland Drive"
"Drive" is the pinnacle of Lynch's directing and writing career and the fulfillment of great potential only hinted at by his earlier works. His skewing of a seemingly innocuous Nancy Drew detective story reminds us of another great Lynch film, "Blue Velvet." Lynch marries his unique narrative composition with his offbeat directorial approach, playing with conventions that provide equal parts frustration and stimulation. He is the grand master of "Drive," responsible for the remarkable casting of unknowns and the collaboration with Angelo Badalamenti on the movie's eerie score. In 2001, no director respected his audience more and packed more quality into a film than Lynch. This made him an easy choice for Best Director.
Best Actor and Actress:
Tom Wilkinson and Sissy Spacek, "In The Bedroom"
Todd Field, the writer-director of "Bedroom," deserves credit for the extraordinary performances of Wilkinson and Spacek. Field loaded the script with fragile emotions and unresolved issues. The two actors breathe life into their characters, building on Field's words with pained facial gestures, discomforting body shuffles and wavering, delicate voices that reflect their character's emotional aches. Wilkinson and Spacek engage in an actor's battle, challenging each other to turn in their best performances by making their own performances so brilliant. "Bedroom's" audience receives the spoils of that challenge: two Oscar-worthy performances in one exceptional movie.
Best Supporting Actor:
Tony Shalhoub, "The Man Who Wasn't There"
An extraordinary supporting actor makes the primary actors look better while simultaneously stealing a tiny piece of the spotlight themselves. Shalhoub plays Freddy Riedenschneider, the fast-talking attorney for the laconic Ed Crane (Billy Bob Thornton) in "The Man Who Wasn't There." His whirlwind appearances add humor to darker moments of the film while his character builds on the audience's fascination with Crane. Crane is a slow thinker, and I delighted in his vexation over Ridenschneider's yapping. Shalhoub manages to leave an indelible mark on the film without railroading the unfolding narrative, making him the best candidate for the award this year.
Best Supporting Actress:
Maggie Smith, "Gosford Park"
Robert Altman's "Park" gives equal time to more than 20 different characters, yet one actor stands out. Smith plays Lady Trentham, a pill whose propriety exists alongside her testiness. Trentham's closed British society has become open to Americans, bringing out her acid tongue and her curiously funny witticisms. She steals moments not only with jokes, but also with the subtlety she brings to her character. Trentham journeys to Gosford Park not for the droll act of pheasant hunting, but because she fears Sir William will be revoking her allowance. Smith's handlings of Trentham's anxieties are the fruits of an established actor, leading to the creation of a truly unique character.
Contact Jude Seymour at jseymour@nd.edu.
All Scene Stories for Thursday, February 14, 2002
