The Hyperion Chronicles

the Hyperion Chronicles
“Let’s all leave Constance alone”

#282 Something Oscar This Way Comes

Prologue: In Defense of Movies

Some have written to ask (or bitterly complain) why I have been writing so much about movies. “Who cares?” asks one. “Does it really matter? Queries another. Well, it may not matter to you, but it does matter. Movies are not, by definition, the highest form of art we have. There are certainly many terrible movies made—every year—and believe me I know, because I’ve seen more than a few of them. But a movie done right has the chance to impact us in a way that no other form of art can. It can combine the intimacy of a play, with the heart-felt emotions of each actor’s character flying at us. There is the opportunity for great narrative, like the best books we’ve ever curled up with on a cold winter’s night. The music score can (and often is) composed specifically, like a well-honed symphony, truly integral to our experience. And with modern cinematography, we sometimes get to see the imagination of the soul, like the best painters and best photographers are spilling all over their canvas a mélange of color and breathtaking beauty. I know not everyone enjoys movies or talking about them, but I think sometimes, amidst the clutter of our lives, and all of the terrible choices out there, we take for granted the potential for truly awe-inspiring works of art.

In any event, those of you who are bored have not much longer to wait. All the movie articles the last few months come down to this one, the big one, with Hyperion’s annual Oscar column. Just like in 10 out of the last 12 years, this year’s big prize isn’t really in doubt. However, just because Oscar voters have decided which is best doesn’t mean I’ve given MY seal of approval. Following up from Monday, today we look at the Best Picture nominees, and decide which one truly is the best.

SEABICSUIT
For those of you who read my review, you know I’m baffled why a film of this quality would be nominated for Best Picture. I liked the movie—in spite of myself—but it’s certainly not a masterpiece. The horse racing action is spectacular and probably the best part of the picture, and the actors, though mostly miscast or misused, are appealing as well. There is not anything to hate here, and this would be a fine film for the entire family, but Seabiscuit is dwarfed by the other entries.

MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
This is a great film, for what it is: an exciting adrenaline-filled sea battle with a “you-are-there” feel. However, a few unfleshed-out subplots aside, that’s all it is, and that’s why I would not have nominated this for Best Picture. With the scope of the production—building an actual ship and filming in the water—I can see why Master and Commander garnered 10 nominations, but to me it’s missing too many elements of a true epic.

The other three films I don’t really have a problem with their nominations for Best Picture. This might be a good time to give my Top 10 List for movies of last year. I didn’t see every movie, but I saw quite a few of them. Feel free to write and argue with my choices, but know that if you haven’t seen the movies on my list, you can’t tell me they don’t deserve to be there. If you have, then we disagree.

In Alphabetical Order:
Hyperion’s Top 10 Movies released in 2003

AMERICAN SPLENDOR
CITY OF GOD
LORD OF THE RINGS: THE RETURN OF THE KING
LOST IN TRANSLATION
LOVE ACTUALLY
THE MATRIX RELOADED
MONSTER
MYSTIC RIVER
THIRTEEN
WHALE RIDER

Okay, back to the nominees

LOST IN TRANSLATION
This is a difficult movie to rate, because it definitely will not appeal to everybody. As I wrote in my review, if you cannot relate to some of the specifics these characters go through, I don’t know whether you’re going to be into this movie or find it boring. On that basis, I might have left if off my Best Picture list. But I can’t help being secretly happy Lost in Translation made the cut, because I found it to be such a delight. It’s funny but at times also very sad, and I grooved with that. The two characters felt precious and real to me, and I was right there with them as they tried to see through the fog. Lost in Translation is the anti-epic, a small film content not to need battles, chase scenes, or even conventional romance. That suits me just fine.

MYSTIC RIVER
This is one of the three best films of the year, and a powerful one at that. The acting alone is worth going to see this film. The story is of three boys who experience tragedy at a young age, and how they (and by extension we) never really get over what happens to them. Mystic River is a murder mystery, but that’s subordinate to the arc of discovery each character goes through about himself, his world, and his place in it. The supporting cast is incredible, the location and scenes never feel pushed in your face, and the surprises, though subtle by Hollywood standards, are all the more chilling. This is a fine piece of filmmaking, and an all around great nominee.

LORD OF THE RINGS: THE RETURN OF THE KING
When I first saw this film (actually, probably before I saw it), I thought it would be a slam dunk for Best Picture. After seeing Mystic River and especially City of God, I was no longer as sure. However, after careful consideration, this would be my choice for the Oscar. An epic by definition is larger than life, and I think more is therefore expected of it; the stakes are higher, if you will. On this front, Return of the King definitely delivers. The last part of the Lord of the Rings trilogy we’ve come to love the last couple of years, Return of the King delivers the thrills and chills, and the highs and lows to an even more impressive degree. The special effects are, I think, better than anything ever done and the action and adventure is flawless. However, it is not the epic-storytelling that puts Return of the King over the top for me. It is the intimate portraits of these characters we’ve come to know, and love (or hate), but always care about. It is stupefying to me that such a gigantically-scaled movie could take the time to share the value of friendship, fellowship, and fidelity as well as Peter Jackson has done here. The emotional conclusions to this nine hour journey don’t feel wasted (like so many films tend to do), and I’m glad that there is a world—even if it technically isn’t real—where cynicism and irony don’t rule the day. Obviously Return of the King is going to get Best Picture partly because the first two installments were snubbed, but on its own, it deserves it all the same.

The Road goes ever on…

Hyperion
February 25, 2004

Motto and Title explanation
The title comes from a Ray Bradbury short story, “Something Wicked this way Comes.” The motto is taken from another short story of his, “Let’s all kill Constance.”