Oscar Nominations 2013: Argo

I cannot confess to being Ben Affleck's biggest fan. I think he has been perfectly decent in many of the films he has starred in, but I was not keen on his writing debut with chum Matt Damon, Good Will Hunting. Now Affleck not only stars in a film, but for the first time, he has directed it too, and what a treat he has given us.

After the rise of Ayatollah Hosseini led to riots and violent rejections of all things Western in 1979, Iranian mobs in Tehran set upon the American embassy and eventually broke in taking everybody they can capture as hostages. Argo tells the true story of a CIA operation to evacuate, six staff who escaped the American embassy and who took refuge inside the Canadian Ambassador's house. Many plans were hatched but few provided a good chance of success, until Tony Mendez (Ben Affleck), an exfiltration expert, came up with a harebrained scheme to evacuate the escapees by going to Iran under the guise of filming a sci-fi movie.

What results is a thriller the plot of which seems almost unbelievable until you remember that, for the most part, it is true. Some of the embellishments should be mentioned, and they are without doubt where most of the film's criticism has come from. A number of those involved in the incident have been offended by their perceived roles and the rewriting of history. The British Ambassador at the time of the crisis has reacted angrily to not only being written out of the film, but being portrayed as unhelpful during the rescue. According to the ambassador, Sir John Graham, the American escapees stayed at the British Embassy for one night before moving to the Canadian Ambassador's residence. Perhaps the motives for avoiding this part of the story for a Hollywood film are obvious, maybe even necessary, but revising the history of an event is unforgivable.

Despite numerous historical inaccuracies, and there are plenty, they are not always obvious and unless the viewer is an expert, they do not remove from the experience of the film. It follows the template of a basic thriller, but the story is so utterly fascinating that it feels a little more fresh than that. It is filled with suspense, allegedly far more than actually existed, and by and large this makes the film all the more enjoyable. However, sometimes, this suspense has clearly been injected and feels needless and overdone. The final chase sequence is the moment that feels most orchestrated and apparently it has little base in reality. It was also unnecessary, and one feels that under the guidance of a more experienced director the film could have been dealt with a little more subtly. That being said, it could have been a whole lot more 'in your face' and it refrains from being the star spangled patriotic story that it so easily could have become.

A positive point must be made of the set, costume and overall atmosphere of the film that radiated a real feeling of the time. It looked and felt like the late 1970s, where so often in the past films set in the late twentieth century could have been set at any point in the last 40 years rather than being precise. This was something that Tinker, Tailor, Soldier, Spy did so well last year and Argo invites such comparison. Incidentally, Tinker, Tailor, Soldier, Spy is a more complete example of a thriller than Argo and yet it lead, to me at least, to one of the most criminal omissions by the Academy at last year's Oscars.

Argo is an enjoyable film and provides suspense and a strong sense of the time in which it is set. However, it is hard to overlook the historical omissions and revisions and once you know some of these truths, it becomes difficult to view the film through the same eyes. I look forward to watching Affleck's future projects now, especially if they remain this engaging, but I hope in the future he won't see it necessary to revise fact.

Oscar Nominations 2013: Lincoln

There has been much debate over the role Abraham Lincoln played in the abolition of slavery. Clearly he was central, but some have questioned his motives. The celebrated Emancipation Proclamation is said by some to have been a pragmatic move freeing up black men to serve in the Union forces during the civil war. There are others who claim that Lincoln had shown very little interest in abolishing slavery throughout the states until the proposal of the 13th Amendment. History lesson over.

With this in mind, I entered into watching this film with a degree of historical trepidation. I was worried that I would see a Lincoln full of grand patriotic fervour rather than an honest depiction. What I did see was a surprisingly understated representation of the man, complete with a few warts to add to his many commendable qualities. The impression left was that of a real politician and not the grand, larger than life figure represented by the seated statue on the National Mall in Washington D.C.

All that being said, this film is less about Lincoln and more about the final few months of the 13th Amendment's journey through the House of Representatives. Lincoln begins the film determined to abolish slavery before the end of the civil war, after which he would likely lose support for the proposal. Meanwhile, the South is losing the war and a delegation meet in Richmond, Virginia to discuss the conditions for surrender. Lincoln is running out of time. The result is at times like a long episode of the West Wing set in the 1860s, and I mean that positively. The film is filled with wrangles, deals and corruption in an effort to force this amendment through in time. Missing from this though is the West Wing's tendency to sentimentalise absolutely everything, and whilst some have criticised John Williams' score, I found it far more subtle than expected, missing that usual bombastic theme that can be so alienating.

One is of course instantly fascinated by Daniel Day Lewis' performance. The man has form, walking away with the Oscar for best actor a few years back for his mesmerising and intense performance in There Will Be Blood. Off the back of that, one would expect a similarly intense performance as Lincoln, but Day Lewis is far more talented than that. He downplays Lincoln and creates a softly spoken, mild mannered, but charismatic figure complete with his own hobble.

It is also worth mentioning Tommy Lee Jones' performance as the radical Republican Thaddeus Stevens who works closely with the president in gaining the support of conservatives and agrarian minded Democrats. His character is preparing to give up the political game but he is determined to make the abolition of slavery his final deed. Lee Jones plays his character passionately and does a fine job of portraying this throughout the film.

There is no doubt that this film is a hard watch, especially for those who have little interest in the story. I am not sure whether the success of this film should be measured on its ability to entertain a broad audience, but it is to the film's credit that it does not shy away from using technical and historic language. Some of my favourite moments come when the Republican goons visit a number of Representatives in an effort to get their support using any tool at their disposal. This reminds me of the best political dramas and provides the film with some of its best entertainment, building the suspense and forcing the audience to ask whether they will achieve the level of support required, despite knowing the outcome. On the topic of knowing the outcome, the end of the film is dealt with very well and rather originally, but I shan't spoil it for those who are unaware of Abraham Lincoln's fate, although I suspect anyone in such a position will not be rushing out to watch this film.

This film is compelling, strengthened by some very strong performances and stands as an epic. I suspect it will scoop a number of awards at this year's Oscars, especially considering its theme and the country where the majority of voters live. Furthermore, the film is far more subtle than I was expecting from Spielberg, who has made 'big' Hollywood films in the past. It is perhaps not going to be everyone's idea of an entertaining evening out, but it is intelligent and apparently historically accurate, therefore informative. It may be worth seeing just for Daniel Day Lewis' performance , but if the politics interest you, then it is a must see film.

Oscar Nominations 2013: Beasts of the Southern Wild

It's not often that the Academy pick films that are so original that they are unclassifiable by genre and are quite unlike anything that has ever preceded them. It usually requires a number of ground breaking directors to make a number of films in a particular style before the Academy even begins to consider them. However, Beasts of the Southern Wild is a film so original that I am amazed the Oscars' electorate have chosen to include it in the best film category, but this is very much to their credit.

The film tells the story of six year old Hush Puppy (Quvenzhané Wallis) and her father Wink (Dwight Henry) as they, along with their Bayou community set in the Mississippi delta known as the Bathtub, await the oncoming Hurricane Katrina. Meanwhile, Hush Puppy worries for her father whose health is deteriorating quickly.

The first thing to note is the beauty of the film, the colour, the light, and the landscapes. This is of course contrasted by the grim and hard poverty that it is also depicted. The two are juxtaposed and add to the feeling that the film is being seen through the rose tinted eyes of a six year old who knows nothing of a better world. But the storm soon comes and almost literally turns her world upside down forcing the girl into a state of fear but also fierce courage.

This film could easily be mistaken as a political film commenting on environmental matters or the nature of the victims. Those who met with the full brutality of Katrina were often those who were already facing the hardest battles in life. However, this is not a political film and any messages of that nature one wishes to extract soon become too obscure. In reality, this is a film about human emotion and the view of a fearsome world through the eyes of a young girl.

Hush Puppy's relationship with her drunken, ill tempered father is key and despite his neglect and temperamental nature, Hush Puppy shows dedication in attempting to heal her father with the blind loyalty only a child could possess. Throughout all this Hush Puppy's mother is conspicuous by her absence, which remains somewhat of a mystery throughout the film. But, Hush Puppy is determined to see her mother again and she remains by her side spiritually throughout the tale.

It is Hush Puppy's imagination that guides us through the story, and at times one is left unsure as to what is real and what is a figment of her imagination. This has drawn many to make comparisons with the sublime Pan's Labyrinth, a film not totally dissimilar in its themes of escapism and the conquering of fear by a child caught in the midst of an incredibly desperate situation. The idea of fear is represented throughout Beasts of the Southern Wild by the marauding aurochs from the stories she is told by a Bathtub woman. It is this child's bravery, courage and transcendence of fear that makes this an emotional story. She does this for her own survival and that of her father, despite his tempestuous nature.

This film is magical, dark, and above all, profoundly original. However, it is challenging and perhaps the heartfelt emotions at the centre of it could be missed by some looking to read some grander message. Quvenzhané Wallis deserves all the nominations she has received for her incredibly mature and assured performance. I doubt this film will win the best film award, but its nomination is evidence that the Academy is maturing and becoming more radical in its decision process. This is not standard Oscar bait, it is far superior and it has hooked many an admirer.

Oscar Nominations 2013: Silver Linings Playbook

I am not overly familiar with David O Russell's work. I am aware that I Heart Huckerbees divides critics and that the Fighter was relatively well received when it was nominated for awards a few years ago. Silver Linings Playbook is a very different beast and has been described by the marketers as a rom-com. As is so often the case these days, there is far more 'rom' than 'com', but that is not to say it lacks charm. It only seems appropriate to me that any film nominated for best film should transcend the rom-com genre in some way, whether this film manages that is up for debate.

The film follows the story of two individuals both overcoming difficult periods in their lives and mental health problems. Pat (Bradley Cooper) has served eight months in a Psychiatric unit after walking in on his wife sleeping with a colleague and beating up her lover, he is subsequently diagnosed as bipolar. After his release, Pat is determined to rejuvenate his marriage despite a restraining order placed on him regarding his now estranged wife. Tiffany (Jennifer Lawrence), who is the sister of one of Pat's friends, is also suffering with a form of depression after the sudden death of her husband and has had deep emotional problems ever since which involved her sleeping with the majority of her coworkers resulting in her dismissal. I shan't divulge too much information about the manner in which their relationship develops, but its course is obvious from the outset. As with all romantic films though, this is not the point, and rather the entertainment comes from the journey rather than the destination.

One of the most commendable elements of this film lies in its tackling of a tough subject, mental illness. It is perhaps fortunate that such a film is being so well publicised just as the US attempts to begin its own national conversation about the subject. One thing I have always noticed about the American approach to mental health problems (and health problems in general) is their reliance on medication. On their first meeting Pat and Tiffany have an illuminating conversation about the different drugs they have been taking and how they have affected their personalities. It is a subtle nod, but a point certainly worth making.

For all its charm however, there are numerous problems, so much so that one really has to question why it has been nominated in the best film category at this year's Oscars. First, and perhaps this is a conscious move, but the first half of the film is frantic and moves at an uncomfortable pace. Shots are short and dialogue has little time to settle, with characters often talking over one another. I can see why this may have been done, as a reflection of the characters' mental states, but I personally found it difficult to engage and involve myself with the film when it was so hard to settle.

I also found some of the opening dialogue hard to stomach as plenty of it committed the ultimate sin, in my view, of using lazy character and plot set up lines. A moment such as this occurred when Pat returned home to his father (played very well by Robert De Niro incidentally) and explained to him why he had been sent to the psychiatric unit in the first place, as if the father needed reminding. Of course he was really explaining this to the audience. I find this method of explaining back story patronising and jarring.

Knowing how predictable the Oscars usually are, I cannot see this film getting anywhere near the best film gong, but it did have its plus sides. Jennifer Lawrence does stand a chance of taking home the award in the best female actor category, especially after picking up a similar award at the Golden Globes, the barometer for predicting the results of the self appointed 'biggest awards in the movie industry'. I do still think the film is enjoyable, and some will really enjoy it, especially those who are used to, and usually enjoy the standard rom-com template, and this film is certainly more advanced than your average Richard Curtis or Hugh Grant romantic flutter. However, there hangs over the film an element of pretension in its belief that it is much more than an advanced rom-com, a belief that has now been vindicated by the Oscars committee. Enjoy this film, but don't believe it is anything more than a romantic film attempting to dress up in something more finessed.