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For St. Patrick’s Day, today’s episode of Sounds of Cinema featured a look at Irish-related films. Here is a recap of the movies discussed on the show.
Little Nellie Kelly (1940) Little Nellie Kelly was adapted from a successful stage musical but most of the story and songs were rewritten for the motion picture. Judy Garland appears in two roles, first as Irish immigrant Nellie Noonan Kelly and later as her daughter.
The Quiet Man (1952)
John Wayne plays an American boxer who travels to his birthplace in Ireland. There he falls in love with a local woman played by Maureen O’Hara. The Quiet Man is distinguished as one of the few Hollywood films in which Gaelic is spoken.
Finian’s Rainbow (1968) Finian's Rainbow is a 1968 musical film adapted from the stage show and directed by Francis Ford Coppola and starring Fred Astaire and Petula Clark. The film tells the story of an Irishman and his daughter immigrating to the United States while pursued by a leprechaun. At the time of its release, Finian’s Rainbow had a mixed critical reception but it’s now regarded as an underrated title from the end of Hollywood’s musical era. The Coen Brothers have named Finian’s Rainbow as one of their favorite films.
Barry Lyndon (1975)
Stanley Kubrick was renowned for his obsessive attention to detail. His 1975 film, the story of an Irish commoner who marries his way into British aristocracy, is one of the best examples of that Kubrick’s filmography.
My Left Foot (1989) My Left Foot is the story of Irish writer and painter Christy Brown who was rendered quadriplegic by cerebral palsy but was able to create using the toes of one foot. The movie was adapted from Brown’s memoir and starred Daniel Day Lewis in the lead role.
The Crying Game (1992)
There is a whole genre of movies about the Troubles in Northern Ireland including Michael Collins, The Wind that Shakes the Barley, Jimmy’s Hall, Hunger, and ’71 among many others. 1992’s The Crying Game tells of a burgeoning friendship between a volunteer in the Irish Republican Army and a kidnapped British soldier. This was the breakout movie for Irish filmmaker Neil Jordan who went on to make Interview with the Vampire, The End of the Affair, and Greta.
Patriot Games (1992) Patriot Games is an adaptation of the book by Tom Clancy, in which Jack Ryan is targeted by a splinter group of the IRA. The movie has little to say about the politics of Northern Ireland, preferring to stick to the action and adventure, and it’s a darker movie than other adaptations of Clancy’s work. The soundtrack includes the theme from the film Harry’s Game (performed by Clannad) which was also about the Troubles.
Angela’s Ashes (1999) Angela’s Ashes was adapted from the Pulitzer Prize winning memoir by Frank McCourt. The story dramatizes McCourt’s childhood in Limrick, Ireland during the Great Depression. The movie has some terrific performances and an authentic feel for its time and place.
In America (2002)
Directed by distinguished Irish filmmaker Jim Sheridan, whose other films include My Left Foot and In the Name of the Father, 2002’s In America was the story of an Irish family relocating to the United States and scratching out a living in Manhattan.
Once (2007) Once is a musical love story that succeeds largely because of its soundtrack. Lead actors Glen Hansard and Markéta Irglová are professional musicians and they are credited with writing most of the music and perform it in the film. The songs are great; Once sports one of the best original soundtrack albums of recent years and the songs link to the characters and their love story.
Leap Year (2010) Leap Year was a 2010 romantic comedy starring Amy Adams. She plays a woman who wants her boyfriend to propose and Adams’ character decides to exploit the Irish tradition of Bachelor's Day in which women are allowed to propose marriage on February 29th. The movie got mostly negative reviews. Donald Clarke of The Irish Times wrote an especially scathing review that said Leap Year was evidence that “Hollywood is incapable of seeing the Irish as anything but IRA men or twinkly rural imbeciles.”
Leprechaun Series (1993 – 2018) Leprechaun was a horror-comedy series starring Warwick Davis. In each installment, the murderous imp pursues people who have taken his gold and dispatches them in horrifically creative ways. The original Leprechaun was Jennifer Aniston’s first feature film credit. The movie inspired five sequels (including such immortal classics as Leprechaun 4: In Space and Leprechaun in the Hood) as well as a reboot.
The 91st annual Academy Awards will be broadcast tonight. Longtime listeners to Sounds of Cinema are probably aware that I’ve made my feelings about the ceremony quite clear in past editorials (see: 2009, 2012, and 2016). The Academy Awards is little more than a glitzy diversion, a stupid and meaningless fashion show masquerading as art appreciation. But the 2019 ceremony has suffered a series of public debacles that are worth commenting upon because they lay bare the way in which the Academy is failing cinema and the audience.
The origins of the present fiasco trace back to the middle of last year, before many Oscar nominees were even released. In August, the Academy of Motion Picture Arts and Sciences announced changes to the 2019 ceremony including the creation of a new category for “outstanding achievement in popular film” and the decision to award four of the categories during commercial breaks. The announcement drew criticism from within and without and the Academy’s board of governors eventually dropped both initiatives. These changes were a transparent play to boost the Oscar viewership which has been steadily dwindling over the past few years.
The Academy Awards does need an overhaul both in style and in substance but the way the Academy went about it was all wrong. Firstly, there is no reason to create a separate category for popular films. The Academy has historically nominated popular titles for best picture including Mary Poppins, The Exorcist, Jaws, Star Wars, Raiders of the Lost Ark, The Silence of the Lambs, The Lord of the Rings, and Mad Max: Fury Road. Creating a separate popular film category implies that these movies are not serious cinematic work. That’s wrong and that message would do harm to these films, to cinema, and to the Academy itself. Instead of encouraging the public to take movies seriously, the popular film award would do the opposite. It would further discourage the public from thinking critically about the entertainment they consume while continuing to silo films and audiences. It’s difficult enough to get the average moviegoer to see something besides the latest blockbuster and a separate popular film category would discourage viewers from seeing movies that would presumably take the Oscar’s top prize. The popular film category would actually worsen the Academy’s image as an out-of-touch institution.
Secondly, omitting craft awards from the Oscar telecast would be damaging to the Academy’s stated goal to “uphold excellence in the motion picture arts and sciences.” It’s notable that the awards that would have been omitted from the broadcast include cinematography and film editing—the essential crafts of cinema—as well as live-action short and make-up and hairstyling. The Academy initially said that the categories withheld from the broadcast would rotate every year but it is highly unlikely that awards with star nominees like best actor or best director would be relegated to the commercial breaks. Like the proposed popular film category, this move would impose a tier system on the awards. Truthfully, that preferential treatment among categories already exists but this new format would exacerbate it. The message to the crew members laboring below the line—the people who work just as hard and oftentimes harder than the acting talent—is that they don’t matter. And that message wouldn’t be lost on the television audience. Intended or not, the home viewers would internalize the idea that the contributions of editors and cinematographers are somehow irrelevant to the art of motion pictures. This is perhaps the most pernicious aspect of the Academy’s bid for populism. It actually risks damaging the audience’s appreciation and understanding of cinema.
There are changes the Academy could make to the ceremony. For one, they could get rid of the supporting actor and actress categories. These awards are a joke anyway. Leading performances regularly vie for a supporting actor nomination to better the chance of winning. Take The Favourite’s Olivia Colman who is nominated for best actress while her co-stars Emma Stone and Rachel Weisz are both up for the supporting actress award despite the fact that Stone and Weisz are the real leads of that movie and Colman is a supporting player. This happens all the time. Manipulating the system creates an impression of dishonesty on the part of the studios and undermines the Academy’s integrity. The organization ought to scrap the supporting actor categories (but keep the best actor and actress) and institute a new award for best overall cast.
The best director award could also be eliminated. Unlike actors, writers, or any of the craftspeople, the director’s job is much more difficult for voters to evaluate. Consider Bryan Singer whose was fired off of Bohemian Rhapsody during its production. Bohemian Rhapsody was a financial success and it was nominated for several awards but there is little or no evidence of the behind-the-scenes chaos in the film itself. Just eliminate the best director category and include the filmmaker among those receiving the nomination for best picture (which is often the case anyway since many directors are also credited as producers).
There are also “populist” categories that could be added. Consider an award for “Best Trailer.” This would have the wide appeal that the Academy seeks and at the very least the home audience might actually see the nominees. Another category with mass appeal would be “Best Set Piece.” Nominees could include action or fight sequences as well as musical performances. Categories like these could allow for more mainstream films to achieve nominations, thereby appealing to the center, and do so while celebrating cinematic craftsmanship.
The Academy’s bid for populism stems from a struggle with its identity. The Oscar ceremony has changed very little since the first television broadcast in 1953 and the award show is a relic of Old Hollywood when film stars were mysterious and distant. Categories have come and gone over the years but then as now the Academy Awards is a gala event in which well-heeled celebrities dressed in tuxedos and nightgowns pat each other on the back while ostensibly celebrating the cinematic arts. It is an inherently exclusive and elitist event. But the Academy’s producers and the network that broadcasts it want to reach the Super Bowl audience. In purely commercial terms, the product is being marketed to the wrong consumer. The proposed changes to the Oscars attempted to remedy that but to potentially detrimental effect. But realizing that disconnect and correcting it might revitalize this institution.
Film appreciation is alive and well and is in fact is thriving online where commentators and fans create and share thoughtful articles and insightful videos about popular films as well as cult and classic cinema. The creators of that content and the viewers who consume it are the audience the Academy should seek. In order to connect with them, the format of the show has to change. The stuffy Old Hollywood dinner party format has to go in favor of a more pre-produced show. Pivot from celebrities and glamour to the craft of filmmaking. Make cinema the real star of the show and play to the audience’s love of it.
In this respect, the Academy could take a clue from sports. Something that professional sports leagues and their media outlets have done so well is turning athletic events into part of a narrative. Programs like HBO’s Real Sports with Bryant Gumbel and ESPN’s SportsCenter have combined personal stories of athletes with knowledgeable analysis of the game and a complex understanding of the business. That format has proven successful in sports and it would translate well to entertainment.
In its present format, the Academy Awards—as well as the rest of the Hollywood awards circuit—is a glamourous facade whose structure is crumbling. But it doesn’t have to be that way. With a top to bottom reimagining of what the Oscars could be, an award show like this could entertain and educate and really celebrate the art of cinema in a way that doesn’t insult our intelligence or cravenly appeal to the lowest common denominator. But at present the Academy is pursuing an audience that just isn’t there and it risks devaluing the very art form it is supposed to celebrate.
Today's episode of Sounds of Cinema revealed my picks of the ten
best and worst films of 2018. You can find more, including rationales
for each title and lists of honorable mentions and trends of 2018, here.
The Sounds of Cinema episode for Sunday, January 20th will look back at
the films of 2018 and count down my picks of the best and worst releases of the past year. Sounds of Cinema airs every Sunday morning at 9am on 89.5 KQAL FM in Winona, Minnesota and at 11am on 89.7 KMSU FM in Mankato, Minnesota. You can hear the show over the air and live streaming from each station's website or by using the TuneIn app on your mobile device.
The year comes to an end this evening and right now Hollywood is pushing many of their prestige films in the run up to the industry’s various award ceremonies. Sounds of Cinema will feature its own countdown of the best and worst films of the past year in a forthcoming episode. But for now, here is a look at some of the underappreciated titles of 2018.
American Animals
This mix of documentary and drama was the true story of a heist gone bad. The mix of dramatic recreation and documentary testimonials opens new perspectives on the events and to limits of each genre.
Blockers Blockers was the tale of a group of high school girls who make a pact to lose their virginity on prom night and how their parents try to stop them. The film is a fun mix of raunchy comedy and good hearted drama.
Blindspotting
One of several Black Lives Matter movies released in 2018, Blindspotting was the story of an African American felon (Daveed Diggs) with days to go on his probation when he witnesses a police officer shoot an unarmed citizen. Despite its wobbly ending, Blindspotting was a complex portrait of personal and cultural identity.
Border Border is a wonderfully weird Swedish fantasy picture. It’s best viewed cold but fantasy fans who are looking for something beyond superheroes should seek it out.
Cargo
A novel zombie film starring Martin Freeman, Cargo takes the genre in new directions and offers emotional resonance that’s unusual for a horror film.
Chappaquiddick
2018 has been the year of the political film but while everyone is talking about Vice and Blackkklansman one of the best and most provocative political releases of the year was Chappaquiddick, a drama about US Senator Ted Kennedy’s infamous 1969 car accident that killed Mary Jo Kopechne. It has a complexity and intelligence that exceeds many of the other political films of 2018.
Lean on Pete
One of several “boy and his animal” movies of 2018, Lean on Pete is a terrific character piece about a teenage runaway. The story consistently takes the audience in unexpected directions.
Paterno
The HBO drama was the latest collaboration between filmmaker Barry Levinson and actor Al Pacino. The film dramatizes the end of Joe Paterno’s career as Penn State’s football coach following revelations of child abuse by his former assistant coach.
Searching Searching took the cross-platform found-footage genre to the next level in a gripping tale of a lost teenager.
A Simple Favor
Paul Feig’s adaptation of Darcey Bell’s novel was a stylish and fun mystery. Anna Kendrick and Blake Lively were terrific together.
Tag
Loosely based on a true story, Tag was a comedy of middle aged men who continue a childhood tradition. Although parts of it are calculated (and a few jokes are miscalculated) the film has an enjoyable sweetness and it's a refreshingly good-hearted take on masculinity.
Upgrade Upgrade isn’t exactly original. The movie repurposes a lot of familiar sci-fi tropes but it does so in a way that is fun and fresh.
Widows Widows was well received by critics but it was underseen by audiences. The film was an exciting thriller with some great performances. It’s the kind of film that would have been an Oscar contender a few decades ago, before the Academy Awards became preoccupied with political statements.
You Were Never Really Here
Lynne Ramsay’s latest work isn’t what you might call a “feel-good movie” but it is a relentlessly bleak thriller about a hired gun (Joaquin Phoenix) who earns his living tracking down missing and kidnaped children.
Today’s episode of Sounds of Cinema featured a look at movies that rock. Here is a recap of the films discussed on the show.
Jailhouse Rock (1957)
Elvis Presley’s third feature for MGM was one of his biggest box office hits. The movie was considered scandalous in its day, as Presley’s character was a murderer recently released from prison. At the time of its release, Jailhouse Rock got mixed reviews but the sequence of Presley performing the title song is now regarded as on the most important musical moments in Hollywood history and Jailhouse Rock has been added to the Library of Congress’ National Film Registry.
The Rocky Horror Picture Show (1975) The Rocky Horror Picture show began as a stage show that was adapted into a feature film. At the time of its release in 1975 the movie was a financial failure but it became one of the essential cult titles. The Rocky Horror Picture still plays at late night showings where the audience speaks back and interacts with the film and live performers sometimes act out in front of the screen.
The Blues Brothers (1980) The Blues Brothers was the first feature film to be spun off of a Saturday Night Live skit. The titular characters were played by John Belushi and Dan Aykroyd and the movie featured cameos by James Brown, Aretha Franklin, and Cab Calloway among others. According to a retrospective in Vanity Fair, the owner of Mann Theaters (one of the biggest chains in the nation at that time) refused to book The Blues Brothers in suburban show houses because he insisted that white audiences would not want to see a movie with black musicians. The Blues Brothers played in about 600 theaters, about half the size of a typical wide release. Despite the hiccups, The Blues Brothers was a hit and became one of the most popular movie musicals.
Sid & Nancy (1986) Sid & Nancy featured Gary Oldman as Sid Vicious, the former bassist of The Sex Pistols, and focused on his relationship with Nancy Spungen, played by Chloe Webb. The movie captured the chaos and ugliness of the punk rock scene of the 1970s and provided an unsparing depiction of drug abuse.
Wayne’s World (1992)
The song “Bohemian Rhapsody” was one of Queen’s biggest hits but its popularity was given a boost in the 1990s with its appearance in Wayne’s World. That movie was the most successful adaptation of a Saturday Night Live skit and Wayne’s World included cameos by Meatloaf and Alice Cooper. As part of the promotion for Wayne’s World, the music video for “Bohemian Rhapsody” was recut to include scenes from the film. Not incidentally, Mike Myers has a cameo in the film Bohemian Rhapsody as an EMI record executive.
Across the Universe (2007) Across the Universe was a musical that used the songs of the Beatles to tell its story of youth working their way through the social upheaval of the late 1960s. The story is a bit generic ’60s but the musical numbers were interesting and director Julie Taymor brought her characteristic visual flair to the project.
Scott Pilgrim vs the World (2010) Scott Pilgrim vs the World was directed by Edgar Wright and, along from Baby Driver, this is the best example of Wright’s use of music. The film interweaves the songs into the action, sometimes underscoring the drama and at other times glibly poking fun at the characters.
The Runaways (2010) The Runaways was a biographical film about the band of the same name. Kristin Stewart was cast as Joan Jett and Dakota Fanning played Cherie Currie with Michael Shannon as band manager Kim Fowley. The movie had terrific energy and authentic period detail.
Rock of Ages (2012)
Based on the stage show, an Oklahoma girl arrives in Hollywood looking to break into the entertainment industry. Rock of Ages isn’t a great film. It suffers from a pair of uninteresting leads played by Julianne Hough and Diego Boneta but those who love 1980s hair metal ought to enjoy it. The film has a great supporting performance by Tom Cruise as rock star Stacee Jaxx.
Bohemian Rhapsody (2018)
Named after their signature song, Bohemian Rhapsody is a biographical feature film about the rock band Queen. The movie largely succeeds because of its cast. Rami Malek plays Freddie Mercury and he captures Mercury’s charisma and stage presence. But just as impressive as the bravado are the ways Malek brings humanity and some complexity to a larger-than-life rock and roll icon. This film also has some exceptional musical performances, namely a recreation of the band’s performance at the 1985 Live Aid benefit concert. It is a breathtakingly shot, acted, and edited musical sequence that is a fitting tribute to Mercury and to Queen.
Mamma Mia! Here We Go Again (2018) Mamma Mia! is a jukebox musical. Driven by the disco music of Abba, this story was always intended to be a lighthearted, feel good show. The sequel continues that quality and it delivers more of what audiences enjoyed in the stage musical and its 2008 feature film adaptation. The story is thin. Here We Go Again is mostly an excuse to string together a series of musical numbers and the movie does that well but the Mamma Mia! sequel has no drama and virtually no stakes. But it does deliver lighthearted musical fun that fans of the original picture should enjoy.
A Star is Born (2018)
2018’s A Star is Born is the fifth iteration of this story following George Cukor’s 1932 picture What Price Hollywood? and subsequent feature film remakes in 1937, 1954, and 1976. The 2018 version stars Bradley Cooper (who also directs) as a rock and roller fueled by booze and drugs and Lady Gaga as a waitress who becomes a pop music sensation. 2018’s A Star is Born is arguably the best version of this story. It may not reinvent the show business narrative but it retells this story with intelligence and depth as well as an impressive visual style. Bradley Cooper and Lady Gaga are terrific and Cooper makes this one of the most impressive directorial debuts in recent memory.
