The Sound of Music

The Sound of Music, 1965
Directed by Robert Wise
Nominated for 10 Oscars, Won 5
Up Against: Darling, Doctor Zhivago, Ship of Fools, A Thousand Clowns

Set in the "last Golden Days" of the 1930's in Austria, Maria is a troublesome young woman, attempting to become a nun, but her fellow nuns aren't her biggest fans. She's too outspoken, adventurous and she sings too much. So the head nun, Mother Abbess, decides to assign Maria the task of becoming a governess to the 7 children of Georg Von Trapp, a Navy captain who is a single parent and has written to the abbey for someone to look after his children. Maria is hesitant at first but decides to go since this must be the Lord's will. What she finds there breaks her heart. The children are treated as though they are on a naval ship, called by whistles, are on strict schedules with no time to play. Meanwhile, the children have been through several governess's, having played pranks on them all, trying to get their fathers attention. But Maria is determined to give the children what they never get from their father, laughter, fun and playtime, while Captain Von Trapp goes away to Vienna to meet a lady he's courting. And during that time, and when the Captain returns, everything changes. 

The Sound of Music is one of the most iconic and beloved musicals of all-time. It was a box-office smash when it was released and replaced Gone With the Wind as the highest grossing film. Adjusting to prices now, it is the 3rd highest grossing film of all time, right behind Gone with the Wind and Star Wars. While the Sound of Music had been a Broadway Musical before a film, the film added much popularity to the musical, and helped make Julie Andrews a huge star. 

Like Oliver!, this is a film I grew up on. And again, like Oliver!, we never really watched the whole thing, because it was so long, and both got so serious at the end that it bored me when I was younger. But The Sound of Music is a movie I couldn't say too many negative things about. Sure, it's not a brilliant, deep, or even accurate story. But it has so many iconic songs, and scenes, and it really is a nice family movie. And I'm definitely not adverse to family movies (much less ones that become classics) winning Best Picture. 

This film is a very beautiful film. The Austrian scenery is gorgeous, the set design and costumes are lovely, and overall it is a beautiful looking film. The child actors are really very good, and adorably cute. Julie Andrews was fantastic as Maria, and Christopher Plummer was great as Captain Von Trapp. 

Overall, this is a film I'll continue to like very much. Its a nice movie, with a nice ending. Predictable, yes, but an adorable film with great music altogether. 

Acting- 8/10
Directing- 7/10
Screenplay- 7/10
Music - 9/10
"The look"- 8/10
Entertaining- 8/10
Emotional Connection- 7/10
Rewatchability- 8/10
Did I like It?- 8/10
"Total Package"**- 7.5/10  

 Total: 77.5/100

Alternate Best Supporting Actor 1999: Results

6. Laurence Fishburne in The Matrix- Fishburne is mysterious in his first scene, and a fine mentor in the rest of the film.

5. Alan Rickman in Galaxy Quest- Rickman gives a very entertaining deadpan performance that absolutely delivers. 

4. John Malkovich in Being John Malkovich- Malkovich playing Malkovich is truly something enjoyable to watch as he portrays brilliantly every moment of Malkovich no matter who happens to be in his head.

3. Christopher Plummer in The Insider- Christopher Plummer gives a strong performance as Mike Wallace portraying the differences between the performer and the man in the case of a television journalist.

2. Philip Baker Hall in Magnolia- Hall gives a powerful performance as a dying regretful man that stands well among the greatness of his film. 

1. Sam Rockwell in Galaxy Quest-Well no one predicted Rockwell would win so no one wins! Just Kidding. Good Prediction koook160 (Robert MacFarlane). Sam Rockwell actually was easily chosen by me as I loved every moment and every facet of his performance. He makes the most as the former red shirt, who does not want to go as quickly as his character. He is absolutely hilarious in every scene, but even manages to be honestly believable in the fears of his character as well.

Overall Rank:

1. Sam Rockwell in Galaxy Quest
2. Tom Cruise Magnolia
3. Philip Baker Hall in Magnolia
4. Christopher Plummer in The Insider
5. John Malkovich in Being John Malkovich
6. Alan Rickman in Galaxy Quest
7. John C. Reilly in Magnolia 
8. Jude Law in The Talented Mr. Ripley
9. Philip Seymour Hoffman in Magnolia 
10. Michael Clarke Duncan in The Green Mile
11. William H. Macy in Magnolia
12. Gary Cole in Office Space
13. Michael Jeter in The Green Mile
14. Harry Dean Stanton in The Straight Story
15. Sam Rockwell in The Green Mile
16. Jason Robards in Magnolia 
17. Doug Hutchison in The Green Mile
18. Philip Seymour Hoffman in The Talented Mr. Ripley
19. Hugo Weaving in The Matrix
20. Jeremy Blackman in Magnolia
21. William Sadler in The Green Mile 
22. Tony Shalhoub in Galaxy Quest
23. Donnie Wahlberg in The Sixth Sense 
24. Chris Cooper in American Beauty
25. Stephen Root in Office Space
26. James Coburn in Payback 
27. Greg Kinnear in Mystery Men
28. Enrico Colantino in Galaxy Quest
29. Tom Waits in Mystery Men
30. Orson Bean in Being John Malkovich
31. James Cromwell in The Green Mile 
32. Geoffrey Rush in Mystery Men
33. Daryl Mitchell in Galaxy Quest
34. Wes Studi in Mystery Men 
35. Laurence Fishburne in The Matrix
36. Philip Baker Hall in The Talented Mr. Ripley 
37. Chris Cooper in October Sky
38. Paul Giamatti in Man on the Moon
39. Kris Kristofferson in Payback 
40. David Herman in Office Space
41. William Devane in Payback
42. Barry Pepper in The Green Mile
43. Michael Gambon in The Insider
44. Danny Devito in Man on the Moon
45. David Morse in The Green Mile
46. Philip Baker Hall in The Insider
47. Joe Pantoliano in The Matrix
48. Dan Hedaya in The Hurricane
49. Delroy Lindo in The Cider House Rules
50. Ajay Naidu in Office Space
51. Anthony Ray Parker in The Matrix
52. Michael Caine in The Cider House Rules
53. Wes Bentley in American Beauty

Next Year: 1974 Supporting

Alternate Best Supporting Actor 1999: Christopher Plummer in The Insider

Christopher Plummer did not receive an Oscar nomination for portraying Mike Wallace in The Insider.

Christopher Pummer despite winning and being nominated for several critical awards for his performance in this film. The academy though apparently did not find Plummer was someone who needed to be awarded for another ten years. This made particularly strange in that the film was nominated for best picture, so it is not that he was not on their radar. I suppose the veteran spot was merely taken by Michael Caine's wholly undeserving work in The Cider House Rules.

Christopher Plummer portraying 60 minutes interviewer Mike Wallace who works with Lowell Bergman (Al Pacino) to bring hard hitting news stories like that of a tobacco company whistle blower Jeffrey Wigand (Russell Crowe). Plummer really does not necessarily try to imitate Mike Wallace in his performance exactly, instead he more effectively becomes the role that Mike Wallace should be. Plummer has quite a well handled voice, and presence he puts on into his scenes in the film particularly when Wallace is in the process of interviewing someone.

Interestingly Plummer shows Wallace to actually put on a bit of a show when he is in action as an interviewer. It is not that it is a facade, but Plummer makes it abundantly clear that Wallace does in a way give a performance when he interviews someone. Plummer has a particularly strong method in the interview scenes as he creates a certain warmth within Wallace that would pull you into listening to him, yet underneath the warmth there is a great deal of sharpness as well that portrays well the way Wallace gets to the fact of the matter.

Christopher Plummer actually rather well even pulls in the performer of Wallace in other moments presenting the idea that Wallace's on screen persona comes in at times even off screen when it is required. Plummer handles this especially well, and it feels entirely natural since Plummer only does it when it fits the moment. For example when Wallace greets someone in public, or quite brilliantly when Wallace becomes the great newsman he claims to be near the end of the film, when he tells his boss he is going to do the right thing after all.

When Wallace is not on Plummer paints a different portrait of the man. What really becomes missing in his portrayal is the warmth of the interview scenes, and Plummer actually portrays him in what is a more down to earth, and flawed manner. Plummer does not strive from the flaws, although importantly he does make it clear that Wallace is an intelligent man, and the sharpness of his style is still apparent although in a far less charming fashion.

An important aspect of the film is that Wallace does not keep with Bergman all the way, when legal threats mount from telling Wigand's story. Plummer believably shows that Wallace does not really want to screw Wigand over, but rather he plays it as Wallace simply taking the easy way out. There is some redemption for Wallace as he does eventually try to show his protest through an interview even though even that is squashed, although Wallace does not take this lightly. Plummer makes the scene where he tells his distaste to the corporate weasels especially passionately and powerfully, making the scene a highlight of his performance and the film.

Technically speaking this performance is not one that is given a great deal of time within the film as the film is not the story of Mike Wallace after all. Plummer though makes the role his own, by firstly not just being some sort of imitation but in a far more striking fashion by giving his own take on the character. Secondly though whenever Plummer is on screen he does his best to give a compelling portrayal of the journalist that succeeds in pulling Wallace out of being just part of the background as he very easily could have been. If Plummer had to win an Oscar it most certainly should have been for this performance, since with this performance it would have been a deserving win.

Alternate Best Supporting Actor 1999

And the Nominees Were Not:

Alan Rickman in Galaxy Quest

John Malkovich in Being John Malkovich

Christopher Plummer in The Insider

Philip Baker Hall in Magnolia

Laurence Fishburne in The Matrix

Best Supporting Actor 2011: Results

5. Jonah Hill in Moneyball- Jonah Hill's performance is functional enough, but it never really stands out as anything that needed to be awarded.

4. Nick Nolte in Warrior- Nolte tries hard and gives a descent performance, but as with all of his performances, he never completely realizes the potential of his part.

3. Christopher Plummer in Beginners- Plummer's performance almost seems misused in the course of the film muting his emotional impact, when Plummer is on screen though he gives an effective enough of a performance.

2. Max von Sydow in Extremely Loud and Incredibly Close- Although he is in a very bad film, and must support an awful actor in the lead, Sydow's performance is the best part of the film creating a moving and mysterious portrait of a man who refuses to speak due to his past.

1. Kenneth Branagh in My Week With Marilyn- Branagh tops this weak year, although there were plenty of not nominated supporting performances. Interesting enough the order of the nominees is almost the reverse order of how I would rank the films the nominees, something that rarely happens I must say. Branagh stands as my choice with his good but not perfect impersonation of Laurence Olivier. What really gives him the win though is his ability to actually turn Olivier into a compelling character despite the sever limitations of the script, as well as have the potential problem of getting caught trying to make just an impression.

Deserving Performances:
Albert Brooks in Drive
Bryan Cranston in Drive
Mark Strong in Tinker Tailor Soldier Spy
Brad Pitt in The Tree of Life

Best Supporting Actor 2011: Christopher Plummer in Beginners

Christopher Plummer won his Oscar from his second Oscar nomination for portraying Hal Fields in Beginners.

Beginners tells of Oliver (Ewan McGregor) who deals with his current relationship with woman, and remembering his deceased mother, and father the latter who came out as gay after the death of his wife.

Christopher Plummer has been described often as overdue surrounding his awards potential for this Oscar year, although I personally would call that a bit of an overstatement. He was only nominated once before for his unremarkable work in The Last Station, and really how many performances has he been snubbed for. He certainly was not for the Sound of Music, in fact besides that his earlier work is rarely ever mentioned. His only performance anyone really considers to be is his fine work in the Insider, but even that performance does not come up with the greatest performances not nominated for an Oscar.

This is not to say Plummer isn't a fine character actor, and a great narrator, but he is not Peter O'Toole when it comes to being overdue. In the end though the Oscar should go to the actual best performance, so how is he actually in Beginners. Plummer certainly has an especially Oscar baiting role here portraying a man who comes out as gay as well as you see through the course of the film dying from cancer, as well as it is very much against Plummer's usual type. This as well does not mean this is a good or bad performance, but it most certainly is a very different type of role for Plummer.

Plummer's has the initial challenge in this role for portraying a gay man which can easily be trouble for any actor, since overacting can certainly be the first option taken. Plummer actually handles his character very well in this respect since he doesn't devolve into obvious mannerisms. That is not to say he does not use mannerisms, but Plummer actually shows that his character of Hal actually tries to sort of create these mannerisms to join in with the gay community. Plummer is actually pretty good in showing a subtle awkwardness Hal has in trying to become part of this group.

Plummer certainly establishes his character well, but I must say the way the film is setup hinders the strength of his performance. It never simply tell his story, but rather the way McGregor's character reacts to him. Plummer does not even get his part of the film all at once but rather drifts in and out of that tale that really mutes emotional impact of the performance. We only are elements of the man, and the full portrait is not establishes as well as it really could have been.

Due to the way Hal is used in the film much of Plummer's performance is unfortunately a repetitive. We see him with his sort of mannerisms as well as a genuine joy that isn't as moving as it could be due the film's editing. We also see plenty of moments of him being tired, and sickly looking, these expressions and reactions are also repeated throughout the film. They are well enough portrayed by Plummer once again, but done in a fashion that never becomes much more than that.

Christopher Plummer performance also rides on two key relationships in the film. One with Hal's boyfriend played rather oddly by Goran Visnjic. This relationship never quite works because of bizarre nature of Visnjic's performance. Plummer tries to make something out of it, but again it never amounts to much. His other pivotal relationship stands with Ewan McGregor's as his son. This is also limited by the film more than it should be, but their few pivotal moments together are Plummer's standout moments in his performance.

Plummer portrays these moments well as he does not make it into an overly warm performance as although they have a good enough relationship, they are not that close. The two actors create just the right amount of distance between each other to make a believable relationship that also establishes their history, since McGregor's Oliver was suppose to have been closer to his mother than his father. Plummer is quite strong though in a single scene where he tells about Hal's the difficult relationship to his wife. It is a moving moment where Plummer shows the pain from Hal's situation very well, and he almost creates this into a great moment, if even this moment seems a little cut short.

This stands as a good performance surely, but not quite a great one. It lacks enough moments where Plummer really stands out with a truly emotionally powerful moment. He has a few strong moments, but overall the effect of his performance is less than it should have been. Plummer is fine throughout of course, but the performance is used in a repetitive fashion that makes even his stronger moments seem less than could have been. Plummer is of course never bad, and does realize Hal's character quite well, but there is not the drive that really brings right into his character's life.

Best Supporting Actor 2011

And the Nominees Are:

Max Von Sydow in Extremely Loud and Incredibly Close

Kenneth Branagh in My Week With Marilyn

Christopher Plummer in Beginners

Jonah Hill in Moneyball

Nick Nolte in Warrior

THE GIRL WITH THE DRAGON TATTOO

THE GIRL WITH THE DRAGON TATTOO
Written by Steve Zaillian
Directed by David Fincher
Starring Rooney Mara, Daniel Craig, Christopher Plummer and Stellan Skarsgard


Armansky: I’m concerned you won’t like her. She’s different.
Frode: In what way?
Armansky: In every way.

I always say that film criticism is an inherently subjective practice and reviewing David Fincher’s remake of THE GIRL WITH THE DRAGON TATTOO is the perfect example to prove this. It has only been a year and a half since I first saw the original Swedish version of this film. It was known even then that Fincher’s version was in development and it was obvious that the only reason it was being made was to cater to a wider American audience. To be fair, the subject nature of the film is way too dark for it to ever really play that wide but, as the first film only raked in about $10 million in North American box office receipts, and given the popularity of the late Steig Larsson’s novel of the same name, there stands to be a great number of people interested in Fincher’s version. And so, while some will find the new version exhilarating, anyone who has seen Niels Arden Oplev’s original may feel a distinct lack of purpose.

I have not read any of the popular novels but as both film versions are more or less identical in plot execution, I can only assume that the structure of the novel is my first issue with THE GIRL WITH THE DRAGON TATTOO. Without the shock value to cover it up, the introduction to Lisbeth Salander (Rooney Mara) comes across as a character punishment and misguided distraction more so than anything else. While Mickael Blomkvist (Daniel Craig) embarks on the film’s actual plot - deciphering a family murder mystery dating back 40 years - for the first hour or so of the film, Lisbeth is being presented separately as a dark, dangerous girl. Her gothic look is seen to all who encounter her as a sign of weakness that allows them to use and abuse her. Lisbeth can take care of herself just fine but she has been through a ton of horrifying experiences that have made her into this clearly disturbed creature. She is a fascinating character, and the fantastic Mara is incredibly devoted to the part, but the painful effort to portray her as “other” makes it feel as though Fincher also sees her the same way. It makes me wonder if Larsson ever liked her even.

Fincher’s THE GIRL WITH THE DRAGON TATTOO is certainly stylish but it never rose to a level that justified its need to exist for me. In fact, the more polished look seemed at times less authentic in comparison with the more rough aesthetic of the original. That being said, the mystery at the root of the film is a good one and if you’re coming to the film blind, it will certainly shock you. I commend Fincher for making every effort possible, even shooting the film in Sweden and casting a number of Swedish actors in smaller roles, but in his attempt to honour the original, he finished by recreating instead of actually creating something all his own.

490. The Girl with the Dragon Tattoo

490. (08 Dec) The Girl with the Dragon Tattoo (2011, David Fincher)* 74

Best Supporting Actor 2009: Results

5. Christopher Plummer in The Last Station- Plummer although certainly competent never manages to make anything special out of Tolstoy.

4. Stanley Tucci in The Lovely Bones- Tucci mostly just tries to be creepy which he does do well enough. His performance though lacks the visceral power a performance like this should have.

3. Matt Damon in Invictus- This might seem like a surprise position but out of the bottom three Damon does succeed the most in his particular role. He brings the passion and spirit that the story needs.

2. Woody Harrelson in The Messenger- Harrlson gives an intense and powerful emotional performance when he is in uniform, but when out of it he relies  a little bit too much on his usual style.

1. Christoph Waltz in Inglourious Basterds- Waltz simply gives a great memorable villainous performance that manages to be both humorous and chilling, and succeeds with every single challenge found in the role.

Deserving Performances:
Michael Fassbender in Inglourious Basterds

483. Beginners

483. (04 Dec) Beginners (2011, Mike Mills) 66



The structure of Beginners gets a little too cutesy at times, but it's also rather dreamlike. Dramatic events are exaggerated, as are the romantic ones, as if remembered too tragically or fondly. That makes it easy to invest yourself in the film even if there's some deck-stacking in play. Anything with an adorable, subtitled dog is obviously aiming to crowd please. But I was nevertheless drawn in by Ewan McGregor and Melanie Laurent's adorable romance. Christopher Plummer's performance is warm and well-crafted. He's a deserving Oscar frontrunner considering this year's Supporting Actor category will otherwise look abysmal.

Best Supporting Actor 2009: Christopher Plummer in The Last Station

Christopher Plummer received his first Oscar nomination for portraying Leo Tolstoy in The Last Station.

The Last depicts the last year of Tolstoy's life and his conflict with his wife over who he chooses to leave his work and his possessions to.

Christopher Plummer although had a long career he was never nominated until portraying Tolstoy in this film. Tolstoy although should seem like a larger than life sort of role neither the film nor Plummer really play him as such. The film basically shows him to be almost a pawn in the middle between his followers lead by Chertkov (Paul Giamatti) and his wife Sophia (Helen Mirren). Plummer at the same time does not have any sort of overwhelming presence in the film.

Tolstoy should really seem like more than the way Plummer portrays him. After all Tolstoy apparently created such a group of followers who were very much devoted to him, but Plummer lacks the charisma one should expect from such a figure. There just is not any special way Plummer portrays the character to really make Tolstoy seem substantial and really he should have found some way to do this, but he never does anything to achieve this.

This is not to say Plummer is bad, he certainly show the emotions Tolstoy is going through over the course of the film from his anger to the film, to his amusement over his new protege, or his sort of depression at the end of the film when he finally chooses to follow his own path. Plummer has his small facial reactions his more jovial moments, and his yelling scenes with Mirren that I suppose are suitable enough but always seem far too by the books for Tolstoy.

The whole performance by Plummer just feels a much too standard performance, and it never does anything with Tolstoy that makes his performance as Tolstoy distinct. The way he plays Tolstoy it feels like Tolstoy could be any old man. It just seems a like a missed opportunity by Plummer, although it is not a bad performance really, it just seems like a far too standard of a performance when it could have been something  memorable.

Best Supporting Actor 2009

And the Nominees Were:

Woody Harrelson in The Messenger 

Matt Damon in Invictus

Christoph Waltz in Inglorious Basterds

Christopher Plummer in The Last Station

Stanley Tucci in The Lovely Bones

BEGINNERS

Written and Directed by Mike Mills

Starring Ewan McGregor, Christopher Plummer and Melanie Laurent

Oliver: Our good fortune allowed us to feel a sadness our parents didn't have time for.

We might bounce along through life thinking that we have certain things figured out, only life has an amusing way of reminding us that we are constantly starting from scratch. Mike Mills’ second film, BEGINNERS, explores this bewildering facet of life with great brilliance and charm. Vaguely based on his own relationship with his father, Mills examines love in its many forms and applies what he has learned to the patterns in his own life. Ewan McGregor plays Oliver, a version of the director on screen, and exhibits a firm emotional understanding of the journey he is set upon when his 75-year-old father, Hal (Christopher Plummer), comes out of the closet. It is as though Hal is reborn and seeing his life for the first time, a sentiment that exudes from Plummer with great sensitivity and depth. Playing witness to this in turn informs Oliver's new relationship with Anna (Melanie Laurent). BEGINNERS may be a very personal story but its message of acceptance and closeness is universal, making it entirely irresistible.

Black Sheep interviews Mike Mills

From Scratch

An interview with Mike Mills

Ordinarily, by the time a filmmaker is sitting in front of me for an interview, the film they are promoting is a distant memory in their mind. They finished it months beforehand and whatever issues went into making it have been dealt with in the process. Sitting down to speak with Mike Mills about his second feature film, BEGINNERS, is different. In talking about his film, he must inevitably discuss some of the more intimate moments of his life.

“I opened the door,” Mills tells me when I apologize in advance if anything gets too personal. The truth is, he sorta did. BEGINNERS recounts what it was like for Mills after his mother passed away and his father came out of the closet at 75 years old, only to be diagnosed shortly thereafter with terminal cancer himself. The relationship he formed with his father in the final years of his life informed Mills on all kinds of love and showed him the walls he had put up in his own life to protect himself from getting hurt.

“I started to write before he died,” Mills confides. “One night, we started getting into these intense conversations about relationships. He was way more engaging, emotionally available and he also challenged me about why I never stayed with anyone. I really appreciated how unpolite he got with me.” I’m sure spending his entire life married and in the closet gave him a fairly unique perspective on the subject. “In many ways, the film is a continuation of our talks about love, across the orientation divide and the generation divide.”

As personal as BEGINNERS is, Mills believes that this only broadens its universal appeal. “I don’t believe in generalizing as a way to make things more accessible,” Mills asserts. “I believe that by making things really concrete and specific, they become more relatable. It’s like they’re real, like they have more nooks and crannies.” Mills isn’t kidding about getting particular with the details either; actual family photographs and heirlooms were used in the film’s sets.

This would mean that Ewan McGregor would be playing the role based on Mills. “I really don’t like thinking of it that way,” Mills says of the idea. “I feel like I stole from myself by any means necessary but I’m not interested in making a portrait of myself. I never looked at Ewan and thought, ‘There I am.’” The reason for this is likely twofold. The first is that Mills sees the character of Oliver (McGregor) as just a part of him that he ran with; the second is because they really look nothing alike.

And his detachment didn’t stop there either. “Even with Christopher [Plummer] playing my dad, you would imagine it would be hard sometimes but it never was,” Mills claims. This might be just a testament to how strong Plummer is in the film. His curiosity and enthusiasm are terribly endearing, which in itself also affirms Mills’ great strength as a director and his dedication to the story. “If it was bad or fake or false as a film but true to my life, who would care?”

I’m sure his parents would have cared. BEGINNERS is a touching love letter to his mother and father, told with a deep yearning to understand who they were and what they knew of love together. For Mills, this quest is ongoing. “I don’t really believe in closure. Losing your parents is so much bigger than making a movie.” This is not to say progress wasn’t made either; Mills is hardly downtrodden when speaking with me. “I really enjoyed communing with my dad and writing from their perspective. They were really interesting people just past being my parents.”

So interesting in fact that Mills’ dad would actually inspire the title for the film. “My dad was so hungry; he was just getting started; he just couldn’t get enough,” Mills describes with fondness. “He was so happy and so not dying. He was just beginning. I learned a ton from watching him. We should really try to be ourselves. It sounds trite but its pretty profound.”

And with that, it is time for Mills to begin again.

UPDATED September 1 Oscar predictions

It's about that time again.  In the weeks since my initial, first of the year predictions, not all that much has changed but a few hits and misses have been identified.  In particular, Tate Taylor's racial drama The Help was helped by decent reviews and a surprisingly stellar box office.  Given the Academy's "feel good" nature of late, this is the first certified Best Picture nominee of the year, and with it the one-two performances of Viola Davis and Octavia Spencer (however, the category whereabouts of Miss Davis has yet to be identified, but many are speculating Lead, though this type of role typically lands a win in Supporting).

Others interesting notes, Roman Polanski's Carnage, George Clooney's political drama The Ides of March, and David Cronenberg's S&M-laced A Dangerous Method have made an interesting splash at the Venice Film Festival, but none have registered quite the level of enthusiasm granted towards Black Swan last year.  In the meantime, I've personally begun to turn more speculative towards Clint Eastwood's too-good-to-be-true J. Edgar.  Clint hasn't been hitting on all cylinders since he made a surprise splash into the 2006 Best Picture race with Letters from Iwo Jima.  That is one I'll wait for the payoff to predict.  Techs coming soon.

BEST PICTURE

The Artist

*The Descendants

Extremely Loud and Incredibly Close
The Help

The Ides of March
*J. Edgar

Midnight in Paris

*My Week with Marilyn

Tinker, Tailor, Solider, Spy
War Horse
(* indicates those I'm predicting only in an overflow capacity)

BEST DIRECTOR

Michael Hazanavicius, The Artist
David Cronenberg, A Dangerous Method

Stephen Daldry, Extremely Loud and Incredibly Close

Woody Allen, Midnight in Paris

Steven Spielberg, War Horse
(Eastwood out, Allen in)

BEST ACTOR IN A LEADING ROLE

George Clooney, The Descendants

Leonardo DiCaprio, J. Edgar

Jean DuJardin, The Artist

Michael Fassbender, A Dangerous Method

Gary Oldman, Tinker, Tailor, Soldier, Spy
(Unchanged)

BEST ACTRESS IN A LEADING ROLE

Glenn Close, Albert Nobbs

Viola Davis, The Help

Elizabeth Olsen, Martha Marcy May Marlene

Meryl Streep, The Iron Lady

Michelle Williams, My Week with Marilyn
(Felicity Jones out, David in)

BEST ACTOR IN A SUPPORTING ROLE

Kenneth Branagh, My Week with Marilyn

Albert Brooks, Drive

Viggo Mortensen, A Dangerous Method

Christopher Plummer, Beginners
Christoph Waltz, Carnage
(Seymour Hoffman out, Waltz in)

BEST ACTRESS IN A SUPPORTING ROLE

Zoe Caldwell, Extremely Loud and Incredibly Close

Vanessa Redgrave, Coriolanus
Octavia Spencer, The Help

Marisa Tomei, The Ides of March

Shailene Woodley, The Descendants
(Tomei out, Spencer in; Redgrave new projected winner)

Black Sheep interviews Mike Mills

From Scratch

An interview with Mike Mills

Ordinarily, by the time a filmmaker is sitting in front of me for an interview, the film they are promoting is a distant memory in their mind. They finished it months beforehand and whatever issues went into making it have been dealt with in the process. Sitting down to speak with Mike Mills about his second feature film, BEGINNERS, is different. In talking about his film, he must inevitably discuss some of the more intimate moments of his life.

“I opened the door,” Mills tells me when I apologize in advance if anything gets too personal. The truth is, he sorta did. BEGINNERS recounts what it was like for Mills after his mother passed away and his father came out of the closet at 75 years old, only to be diagnosed shortly thereafter with terminal cancer himself. The relationship he formed with his father in the final years of his life informed Mills on all kinds of love and showed him the walls he had put up in his own life to protect himself from getting hurt.

“I started to write before he died,” Mills confides. “One night, we started getting into these intense conversations about relationships. He was way more engaging, emotionally available and he also challenged me about why I never stayed with anyone. I really appreciated how unpolite he got with me.” I’m sure spending his entire life married and in the closet gave him a fairly unique perspective on the subject. “In many ways, the film is a continuation of our talks about love, across the orientation divide and the generation divide."

As personal as BEGINNERS is, Mills believes that this only broadens its universal appeal. “I don’t believe in generalizing as a way to make things more accessible,” Mills asserts. “I believe that by making things really concrete and specific, they become more relatable. It’s like they’re real, like they have more nooks and crannies.” Mills isn’t kidding about getting particular with the details either; actual family photographs and heirlooms were used in the film’s sets.

This would mean that Ewan McGregor would be playing the role based on Mills. “I really don’t like thinking of it that way,” Mills says of the idea. “I feel like I stole from myself by any means necessary but I’m not interested in making a portrait of myself. I never looked at Ewan and thought, ‘There I am.’” The reason for this is likely twofold. The first is that Mills sees the character of Oliver (McGregor) as just a part of him that he ran with; the second is because they really look nothing alike.

And his detachment didn’t stop there either. “Even with Christopher [Plummer] playing my dad, you would imagine it would be hard sometimes but it never was,” Mills claims. This might be just a testament to how strong Plummer is in the film. His curiosity and enthusiasm are terribly endearing, which in itself also affirms Mills’ great strength as a director and his dedication to the story. “If it was bad or fake or false as a film but true to my life, who would care?”

I’m sure his parents would have cared. BEGINNERS is a touching love letter to his mother and father, told with a deep yearning to understand who they were and what they knew of love together. For Mills, this quest is ongoing. “I don’t really believe in closure. Losing your parents is so much bigger than making a movie.” This is not to say progress wasn’t made either; Mills is hardly downtrodden when speaking with me. “I really enjoyed communing with my dad and writing from their perspective. They were really interesting people just past being my parents.”

So interesting in fact that Mills’ dad would actually inspire the title for the film. “My dad was so hungry; he was just getting started; he just couldn’t get enough,” Mills describes with fondness. “He was so happy and so not dying. He was just beginning. I learned a ton from watching him. We should really try to be ourselves. It sounds trite but its pretty profound.”

And with that, it is time for Mills to begin again.