HITFIX just recently posted a list of 29 films that could show up on this year's Best Picture nomination sheet. Remember, this is the first time the Oscar will go to one out of ten nominees, rather than the traditional one out of five. It's an interesting list, with a mix of genres and live action versus animation. Some of the films are more obvious contenders than others, and all have short pros and cons listed. Check out the full article - or if you're in a hurry, read the 29 selected films here.
(With the number of films he's apparently in this year, George Clooney could theoretically be in half of the best picture nods, if the projects he's tied to from the below list are all selected. I'm a bit surprised Public Enemies didn't make the cut. Or, to a lesser degree, Watchmen - just in light of some of the other choices. Also, I'm still not sure where the line is drawn for certain categories, i.e. Mr. Fox or Up appearing in Best Picture instead of Best Animated Feature categories, or District 9 and The Prophet taking one of the ten spots, rather than one of the five for best foreign. Frankly, I'm not even sure if District 9 is considered a foreign film or not.)
1. Invictus 2. Avatar 3. The Informant 4. Nine 5. Julie & Julia 6. Broken Embraces 7. Precious: Based on a Novel by Sapphire 8. Where The Wild Things Are 9. Star Trek 10. An Education 11. The Men Who Stare At Goats 12. District 9 13. The Tree of Life 14. The Hurt Locker 15. Bright Star 16. Up In The Air 17. A Prophet 18. Up 19. A Single Man 20. The Fantastic Mr. Fox 21. Capitalism: A Love Story 22. The Road 23. 500 Days of Summer 24. Inglourious Basterds 25. Everybody's Fine 26. Amelia 27. A Serious Man 28. The Lovely Bones 29. Brothers
Let’s throw this out first: I really enjoyed Up. I went in the theater not really knowing what the film is going to be about, trusting that Pixar will not disappoint. It didn’t. But I was a bit weirded out.
Traditionally, cartoons and anime are geared toward kids. With the rise of adult-friendly Pixar films, the plot has become better, the writing smarter. However, the themes are still the all-age relatable ones: find true love, be accepted for yourself, struggle and triumph against odds. Both kids and adults can connect with them. Which is why Up was so surprising. Its theme is “how to move on after a spouse has past away”, or simply “how to let go of the past.”
The opening to Up was beautiful: quickly setting up young Carl and Ellie’s meeting and their shared dream of going to the mysterious Paradise Fall, followed by a touching montage of the decades they spent together, ending with the death of Ellie. This was especially effective since if the film simply started with the 78 years old Carl, the audience will laugh and enjoy watching a grumpy old man who talks to his house, but not relate to him. By starting from a point we can understand-- youthful fantasy for adventure, finding your true love— and taking the audience by the hand, leading us through the big chapters of Carl’s life, making sure we relate to his decisions every step of the way, we reach the end of the montage still connected to Carl at his old age. While feeling tearful for Carl’s lost, there was something eerie about the intro. In the back of my head, I could not help but feel the film was pointing out something no one wants to think about: This will eventually happen to you.
Carl didn’t do anything wrong: he got the girl, he didn’t really have any character flaw in his adult life, he loved and cherished his wife while she was alive, there was no foul-play in Ellie’s death. But in the end, enviably, Ellie died. This seemed wrong. Villains should have murdered her, turning Carl into a vigilante. Young Ellie should have snubbed the shy Young Carl or simply never knew he was alive. Their parents should have been against the marriage. Ellie should have been a mermaid (or Carl could be).
The second thing that’s all wrong is in a typical “let go of the past and move on to better/newer things” movie, the audience want the protagonist to move on throughout the film. We see before the protagonist does that the new girl/mom/school/etc is better. The new girl/mom/school/etc also welcomes and wants the protagonist to move on. Not so in Up. We love Ellie and the house they built together as much as Carl does. It’s painful to see the mail box he and Ellie painted together be bashed. When Ellie’s photo falls off the wall, we really really want Carl to catch it. Even when the house literally becomes a burden, we’re still behind Carl. We’re not that far ahead of Carl, but instead journeys with him in seeing how the past is stopping him from making the right decisions.
In a certain way, Pixar really did pick a theme that’ll apply to more of us than the usual anime subjects would. After all, most of us don’t need to battle against enormous odds, have friends that accept us, and probably go through life never actually talking to that attractive guy/girl (or do, and it was kind of anticlimactic). Being left behind during old age on the other hand, it something that has a good chance of happening. But because of this, Up doesn't just have a happy ending: it’s uplifting. Despite the flying house and talking dogs, Carl’s inner struggles have always been very realistic, and because of this, there is a feeling that, when this happens to the audience, they also have the ability to triumph.
The only bone I have to pick is I feel Carl could have kept something from the house. When people move on, they don’t forget about what had happened. They keep the memory without letting it hold them down. The house and all its content is Carl’s love and memories of Ellie materialized. In order for Carl to save Russell and Dug, he needed to throw all the heavy furniture out of the house. But I was extremely saddened seeing the matching chairs that symbolized all the years Carl and Ellie sat side by side together left behind. In the end, as we watch with Carl at the house drifting away and disappearing into the clouds, we come to the same sober sad conclusion as Carl: it had to go. But he could have kept a small token: the wood bird on the mantle or the framed photo of the little gap-tooth Ellie. The credits vaguely try to remedied this showing photos of Carl’s new life in the My Adventure Book the belonged to Ellie, but in the plot that would have actually gone away with the house.
That point aside, I really did enjoy the film. It has the expected goofiness and crazy villain, and the unexpected tear-jerker and uplifer. I walked away not too sure how I feel about my future, but all that said and done, Up earned my15 bucks fair and square.
What, When, Where is a weekly guide to select screenings, discussions and events in the NYC-area of interest to screenwriters. Have an event you'd like to see listed here? Give us a heads-up at info@screenwritersleague.com.
Opening this week...
DRAG ME TO HELL, written by Sam and Ivan Raimi, dir. by Sam Raimi
Premise: A loan officer ordered to evict an old woman from her home finds herself the recipient of a supernatural curse which turns her life into a living nightmare. Desperate, she turns to a seer for help, and learns she only has a short period of time before she is literally ushered into Hell.
Playing: All over.
Sam Raimi - back to his slapstick horror roots? I'm beyond sold. Chalk me in.
MUNYURANGABO, written by Samuel Gray Anderson and Lee Isaac Chung, dir. by Lee Isaac Chung
Premise: An orphan of the Rwandan genocide travels from Kigali to the countryside on a quest for justice.
Playing: Anthology Film Archives
The first time I'd heard of this was Time Out's review. They do it a lot more justice than any of the information I've found online about it.
PONTYPOOL, written by Tony Burgess, dir. by Bruce McDonald
Premise: A psychological thriller in which a deadly virus infects a small Ontario town.
Playing: Cinema Village
UP, written by Bob Peterson, dir. by Pete Docter and Bob Peterson
Premise: By tying thousands of balloon to his home, 78-year-old Carl Fredricksen sets out to fulfill his lifelong dream to see the wilds of South America. Right after lifting off, however, he learns he isn't alone on his journey, since Russell, a wilderness explorer 70 years his junior, has inadvertently become a stowaway on the trip.
Playing: Everywhere.
It's Pixar. Do we have any reason to doubt them anymore? It's gotten ridiculous.
The Screenwriters League is a collective of NYC-based writers sharing their experiences as they build their careers from the ground up, and hoping to impart any knowledge they gain along the way.
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