2017 Oscar's Reaction

In the history of the Academy Awards, there has never been a more shocking and thrilling ending as the one that occurred last night. While the producers of La La Land were busy making their speeches for winning the award for Best Picture, chaos poured out onto the main stage. In the confusing spectacle, it was revealed that a seismic blunder had occurred, with presenters Faye Dunaway and Warren Beatty having received the wrong envelope. Instead of La La Land, a tale about a couple trying to achieve their aspirations, it was the small indie-drama Moonlight, focusing on one boy's life struggle with sexuality and crime, that took home the award. Barry Jenkins shocked face mirrored the rest of America, surprised not only with how the win was announced, but just the sheer notion that a film that cost only $1.5 million won the grand prize of the night.

The huge publicity that has come in the wake of the mix-up may be just what the Oscar's needed, although I am sure the Academy would have preferred it did not happen at all. While the Best Picture award was the main story of the night, it seems like nearly every award came with its own tag-line, making for one of the most interesting Academy Awards in recent memory. Honestly, I can not complain with how the Academy Awards played out; however, I will try my best.

Best Picture: 
Winner- La La Land Moonlight 

In all honesty, I felt a twinge of disappointment when Faye Dunaway announced La La Land had won Best Picture. Don't get me wrong, I loved that movie, but I could not help but feel that Moonlight, Lion, and Manchester by the Sea were also very deserving. Not to mention, it was completely predictable. So, a part of me was overjoyed when I heard that Moonlight had won instead. By far, this was the best movie of the year, and I think few could argue otherwise. Since I first saw it, I have been struggling to think of another film like it, and I am at a lost. My sympathies to the casts of both Moonlight and La La Land for the painfully awkward moment, but I do believe that the best film truly one this year. Also, a quick shout out to the producers of La La Land, who handled the whole fiasco with a tremendous amount of class; I'm not sure I would've done the same.

Best Actor:
Winner- Casey Affleck (Manchester by the Sea) 

This turned out to be one of the most controversial awards of the night. Many were appalled that Affleck won the award, due to allegations accusing him of sexual assault in 2010. Notably, Brie Larson, who handed out the award and is an advocate for victims of sexual assault, did not applaud Affleck as he began his speech. It is unknown whether or not these accusations are true, so I will not write as though Affleck is guilty or not. That being said, I am of the belief that bad people can make good art. If we shunned the work of every artist who committed an awful act, we would be eliminating the works of J.D. Salinger, Roman Polanski, and Pablo Picasso among others. We don't celebrate Picasso the person, we celebrate Picasso the artist. It is possible to separate the two. I personally feel that Denzel Washington was just as deserving of the award. However, Manchester by the Sea was a force of a movie powered by Affleck's very human acting.

Best Actress:
Winner- Emma Stone (La La Land) 

In a very strong group of nominees, Emma Stone rose to the top, and deservedly so. In La La Land, Stone was fun, electrifying, heartbreaking, and most of all sincere. Honestly, every song she performed was stuck in my head for weeks after seeing the film. I love Natalie Portman's portrayal of Jackie Kennedy, and I thought that Isabelle Hupert was marvelous in Elle. However, I can not bring myself to pick against Emma Stone. Since her first role in 2007's Superbad, Stone has been on the rise, with her performance in La La Land perfectly illustrating just how far she has come. What makes it all the more exciting, is that she is still in her acting prime, and I can not wait to see what amazing projects she comes out with next.

Best Director:
Winner- Damien Chazelle (La La Land)

In my opinion, Damien Chazelle has the best batting average in directing today. He only has three feature films under his directing belt, but all three (Guy and Madeleine on a Park Bench, Whiplash, and La La Land), but all three have established the 32-year old as one of the seminal auteurs in America. Only through seeing La La Land can one appreciate the sheer level of thought that went into every single shot and scene. The film plays like symphony, guiding you through the story until you are lulled into a dream and then cannoned into a different universe. Part of me wishes that the award had been given to Barry Jenkins, but I cannot help but hold both directing performances in equal regard. If this is how Chazelle has done after only making three films, I can only begin to imagine how the rest of his career will play out. Also, if you have yet to see Guy and Madeleine on a Park Bench, do so immediately; it shows some early signs of what will eventually become La La Land.

Best Supporting Actor:
 Winner- Mahershala Ali (Moonlight)

There was little doubt in the minds of the public that Mahershala Ali would be leaving the Dolby Theater with an golden statuette in hand, the first Muslim actor to win an Oscar. The only serious challenge came when Dev Patel of Lion walked away with a BAFTA for the same award. And while there were other noteworthy nominees, like Michael Shannon in Nocturnal Animals, there is no doubt that the award went to the most deserving man. Poignant is a word that's thrown around a lot when referring to actors in a serious drama, but it is entirely the right adjective when describing Ali in Moonlight. Besides the main character Chiron, it is with Ali's Juan that I most empathize with. So often in films, a drug dealer is portrayed either as a one-dimensional "thug" or a desperate soul willing to do anything to get ahead. Juan is neither of those things; his career choice may be questionable, but he is in no way unethical. He is kind, gentle, and far more sensitive than he initialMoonlight would not have even been considered for Best Picture were it not for him.
ly seems. Ali's performance ranks as one of the best of the decade, and

Best Supporting Actress: 
Winner- Viola Davis (Fences)

Let me just say, thank god for Viola Davis! She brings such a passion and love to acting with every role she plays, evidenced by her powerful speech last night. This was her third Oscar nomination, and I am still wondering how she failed to win one for The Help or Doubt. Both were stellar performances. In Fences, Davis is splendid next to Denzel Washington, and the pair bounce off each other wonderfully. While Davis undoubtedly deserves this award, a small part of me wishes it had gone to Naomie Harris (Moonlight). Harris commanded the screen with a truly versatile performance, managing to be both terrifying and heart wrenching at the same time, a near haunting experience. Viola Davis is one of the strongest actor's in Hollywood today, and the emotions she displays through her characters pour of the screen and wash over the audience. Watching Davis in her medium is an immersive experience, and a real honor. Not to mention, she's now the first black actor to win an Oscar, Emmy, and Tony award. I can't think of many actors, irrespective of color or gender, who can boast that accomplishment.

Best Foreign Film: 
Winner- The Salesman

I'll keep this short, considering that I already wrote a whole review on this masterpiece. I don't think I've ever rooted for a film to win an Oscar more than this one. I wish that Asghar Farhadi's film had been nominated for Best Picture, as it could have competed with any of the other films nominated for the award. Farhadi's acceptance letter was simple, poignant, and utterly moving; much like this movie. I implore you once again to please watch this film. Farhadi is one of today's cinematic treasures, and one that should be taught in all film schools.

Best Adapted/Original Screenplay: 
Winner Adapted- Barry Jenkins & Tarell McCraney (Moonlight)
Winner Original- Kenneth Lonergan (Manchester by the Sea)

I am comfortable in saying that it was the two movies with best screenplays that won both awards for writing. First, Moonlight. The greatest aspect of this movie is its subtlety. The characters don't reveal all of their emotions and thoughts in words, and yet you know exactly how they're feeling. Jenkins chose a minimalist route when converting McCraney's story into a screenplay, and the result was pure bliss. With the simplest gestures and phrases, Jenkin's characters speak volumes, above and beyond what could be said in words. Second, Manchester By the Sea. Kenneth Lonergan is a tour de force is the world of script-writing. With previous works like Gangs of New York and You Can Count on Me, the quality that he exudes with Manchester by the Sea is hardly surprising. This movies centers on the death of a loved one, a terrible experience that everybody feels at one point in their lives. Unfortunately, so many movies about such a heartbreaking topic drown themselves in cliche and sentimentality, in such a way that fails to ring true with the average person. Lonergan manages to make his story authentically human in the experiences of its characters, a feast that is more difficult than it sounds.

Best Documentary Feature:
Winner- O.J. Made in America

I wanted to give a shout out to what is probably my favorite documentary ever. Anyone who knows me knows that I am a sucker for a 30 for 30 ESPN documentary. I am always so fascinated at the way major sporting events, which at the time seem so insulated, connect with the context of the time they occur in. This documentary was made in five parts for over eight hours. That may sound punishing to watch, but once you begin it locks your attention and those eight hours fly by like you would not believe. Take every notion you thought you had about O.J. Simpson and crush them, because they will be of no use to you when watching this behemoth of a documentary.

These are all the categories from the Academy Awards that I thought were worth mentioning. I highly recommend you listen to all those nominated for Best Original Score. I would have written about it, but I for the life of me could not pick a favorite, they're all amazing. I hope you found this year's Academy Awards as entertaining as I did; I am already counting down the days until next year's ceremony.
  

 

Goodnight, and Good Luck (2005) REVIEW

Every year during Awards Season, I find myself in somewhat of an Oscar's frenzy. This mainly consists of binge watching Academy Awards Ceremony from years past and seeing some of the most celebrated movies win their awards as they happened. I came across one video showing the awarding of Best Actor at the 78th Academy Awards in 2005. The actors nominated for this award were as strong a group of nominees as I have ever seen: Philip Seymour Hoffman (Capote), Heath Ledger (Brokeback Mountain), Terence Howard (Hustle & Flow), and Joaquin Phoenix (Walk the Line). The final name, David Strathairn (Goodnight, and Good Luck), was unfamiliar to me. He is one of those actors whose face I have seen on the big screen numerous times, but with whom my recognition goes no further. A clip was shown along with the announcement of his nomination, showing Strathairn's compelling performance in the true story of famed journalist Edward R. Murrow. The clip could not have been more than ten seconds long, but I immediately sensed this film's importance and I knew I needed to see it as soon as possible.

If you managed to stay awake for any part of your high school U.S. history course, you no doubt came across the name of Senator Joseph McCarthy. During the early 1950's, the now infamous senator from Wisconsin had much of the country gripped with fear and paranoia, with his government-led witch hunt for communists and their sympathizers. Few were willing to take on the senator for his ruthless and often unethical tactics, for fear that they too would become victims of the witch hunt. Edward Murrow, portrayed by Strathairn, did not fall into this category, and, instead, fearlessly critiqued "The Red Scare" and McCarthy, its ringleader.

Directed by and starring George Clooney, Good Night, and Good Luck is as fine a historical drama as one will ever see; and I do not believe I'm being hyperbolic in saying that. In the same vein as All the President's Men, it shows exactly how the media challenges those in power, and just how severe the risks of doing so can be. Also, for all you journalism students, it shows exactly what good and ethical journalism is. Strathairn portrays Murrow how any respectable television journalist should be, as a stone wall of emotions. In one scene where Murrow is publicly responding to scathing accusations made against him by McCarthy, Murrow keeps his composure, his expression as stoic as a Roman statue. Yet, there exists an unmistakable intensity in his voice, letting the audience know that beneath the professionalism and television makeup there lies a human being. It is incredibly difficult for an actor to subtly infer such powerful emotions. Strathairn accomplishes this with ease.

George Clooney, more notable for the roles he has played, is also a very talented and visionary director, which is revealed in the production and writing of this film. The lighting in Goodnight, and Good Luck is one of its most striking features. Since it is a black and white movie, lighting choices are key in establishing mood and drawing the attention of the audience. Arguably, the best of these choices occur whenever Murrow is live on T.V. Bright lights illuminate his face, but not overwhelmingly so, which gives the viewer an incredibly intimate feeling. You almost begin to believe that this broadcast, which occurred over sixty years ago, is being filmed exclusively for you. Strathairn possesses a mesmerizing speaking voice, one that sounds like it should be announcing a baseball game in 1930's New York. During broadcast scenes, Murrow will often say something to the effect of, "We want you to know exactly what we mean when we say something." Thanks to a brilliant script by Clooney and Grant Heslov, we know exactly what all the characters mean, even if that is not their intention.

Upon watching this movie, I do believe that this is one of the most relevant movies of our time. We know how the new president and his administration feel about the media, especially those who decide to critique it. Murrow, his staff, and many others during this time faced a similar kind of opposition from McCarthy and those like him. Every American knows about the freedom of speech and of the press, but few can comprehend how easily these freedoms can be tampered with in the name of national security. This is not a matter of choosing a side of the political aisle; rather, it is a reminder that freedom of the press is, or at least ought to be, a bi-partisan issue. It exists at the heart of every respectable democracy. That is not to say that the word of the media is infallible, and that journalists never make mistakes. However, problems in the media will not be fixed by a complete shunning of it. Many Americans have the mindset that embarrassing events, such as "The Red Scare", were mistakes of the past, and that we are now too educated and bright to make the same mistakes. Two days ago, CNN, The New York Times, and several other media outlets were barred from a White House briefing. "First they came for the Socialists..."

To those who say that the media should only provide news free of editorializing, Edward Murrow, played by David Strathairn, provides the perfect response. "I simply cannot accept there are, on every story, two equal and logical sides to an argument", says Murrow. I can not confirm whether Murrow actually uttered this quote, or if it is just a dramatization. That, however, does not take away from its accuracy. After all, not everyone agrees on one truth.

I want to make it known that the message behind this movie is not what makes it great. Many films contain messages, sometimes political, and are resounding failures. No, what makes this film great is that the viewer gets a real sense of the struggles that these journalists faced by taking on one senator. Not the president, but one senator from a state they did not even live in. Many might say that they would have stood up to McCarthy's rhetoric, but once they see what those who stood up went through, I do believe that many would choose silence instead. Goodnight, and Good Luck is one of those rare films that people will continue to reference whenever the personal liberties of citizens and the media are threatened. As long as there are those in power who wish to label dissent as "not American", this film will live on.

Animal Collective- The Painters EP (2017)

Animal Collective have established themselves as the Salvador Dali's of the musical world. The images their songs create may seem absurd and nonsensical at first, but you soon see the deep message that is always laced in the insanity. Not to mention, this album cover looks like something the famed Spanish surrealist would paint.

Coming of off their 2016 album, Painting With, the Baltimore trio wasted no time in dropping this brand new EP, seemingly a continuation off of their latest project. For those of you whose ears are untouched by saccharine mayhem that is Animal Collective, their music is best at its most absurd.  The first song, "Kinda Bonkers", serves as the epitome of this absurdity, as can be seen in the opening line, "Life is so French Toast to me." I have no idea what Avey Tare is referring to, and yet I feel it perfectly describes my attitudes towards to world I inhabit. The rest of the lyrics speak directly about the absurdity that occurs in everyday life, and how beautiful it is that we as humans all get to play a part in the silly pandemonium. This song also contains one of the most infectious choruses I have ever heard in an Animal Collective song. It feels so jumpy and stagnated, yet undeniably fun.

The EP continues with a much more subdued track in "Peacemaker".  The echoed vocals layered over extremely psychedelic samples, make for a hypnotic listen. For the past week, this track has been my relaxer; I challenge anyone to listen to it and feel completely washed over with waves of synth. "Goalkeeper" sounds like it came straight off the band's 2007 seminal classic, Merriweather Post Pavilion. It contains the same amount of zaniness we've come to expect from an Animal Collective track, and yet contains so much composure. It proves that these DJ's are in the business of writing serious music, not a bunch of silly songs.

The Painters finishes up with a cover of "Jimmy Mack", originally performed by Martha and the Vandellas. Animal Collective completely reinvent this Motown classic, dragging out the quick and catchy lines into an assortment of squeaky keys, that are almost overwhelming in their frequency. The whole tone of the song changes, from a very matter-of-fact demand to a wistful plea. They have sucked out all of the authority in the song, and replaced it with a complete helplessness that anyone in a fractured relationship can relate to.

What makes The Painters so great is that it manages to encapsulate the wide range of emotions that can be found in all of Animal Collective's songs. If you have never come across this group before, I highly recommend starting with this EP in order to get a taste of what they have to offer. I guarantee that it will be a musical experience like you have never had before.

The Salesman (2016) Review

Like many Americans, I felt a mixture of disgust and disbelief when I heard about President Trump's Muslim ban. At first, though, I did not fully comprehend just how awful this executive order truly was. I guess with the near constant barrage of horrifying news, I had become somewhat sanitized to the many awful decisions the President has made since his inauguration. That is until I read an article stating how award-winning director Asghar Farhadi, who is Iranian, would be unable to attend The 89th Academy Awards, where his film,The Salesman, was nominated for Best Foreign Film. Seeing how this executive order actually affected the lives of other people filled me with a sense of political rage that I have never felt before in my entire life. I could not comprehend that one of the greatest directors of the decade would be unable to attend a ceremony for his own film, solely based on his nationality. Upon watching the film, I realized that not only should it win Best Foreign Film, but it rightfully deserves a nomination for Best Picture. Trust me, that is not an exaggeration.

The Salesman (Forushande in Persian) centers around the married couple of Emad Etasami (Shahab Hosseini) and his wife, Rana (Taraneh Alidootsi). Both Hosseini and Alidootsi have been featured heavily in Farhadi's previous films. Emad is a school teacher who also acts alongside his wife. The story of the couple is juxtaposed with their performance of Arthur Miller's Death of a Salesman. In the beginning, Emad and Rana are forced to move out of their Tehran apartment, which is at risk of collapsing. Thanks to their friend, Babak, they quickly settle into a new apartment. In the apartment they find all of the personal belongings of the previous tenant, which serves as the catalyst for the trials the couple must endure throughout the rest of the film.

Up until this point, Emad and Rana are as loving a couple as they come. Emad is shown to be funny and patient, especially with his class, while Rana's personality is talkative, but also independent
. It continues like this until tragedy strikes. While Rana gets ready to take a shower, a buzz comes in from downstairs. Thinking it is her husband, she leaves the door open. This is when Farhadi's uncanny ability to create tension and drama out of thin air comes to fruition. The camera remains focused on the slightly open door as it swings gently in the breeze. While nothing sinister has happened yet, the stomach of every audience member drops, knowing full well what is about to happen. We then see Emad returning home to find blood splattered all over the bathroom. He runs to the hospital to see Rana in the middle of surgery, having just been attacked.

From here, the entire dynamic of the film shift. Rana refuses to go to the police, clearly traumatized from the ordeal. Emad then decides to take matters into his own hands, filled with a determination to find the person who committed this crime. Its this drive that destroys them both.

What makes this film beautiful is how subtly the personalities of both main characters change. What seemed like the quintessentially stable couple at first eventually find themselves struggling to find normalcy in their now chaotic lives. Farhadi balances the tension of Etasami's with their portrayal of the Lomans in Death of a Salesman. The two narratives often bleed into one another. The writing exudes a palpable tension that becomes inescapable when watching it. You feel every disappointment and heartbreak that the characters do, and therefore leave the theater with your soul feeling absolutely devastated.

This is the second of Farhadi's film to be nominated for Best Foreign Film; his seminal classic A Separation won the award in 2012. Despite this, it is still a grave injustice that he will be unable to attend the Oscars on February 26. Farhadi has now stated that he would not go, even if he could, as a protest against President Trump's ban. Taraneh Alidootsi has also said she will not attend the ceremonies in protest.

Farhadi and Hosseini both won at the Cannes Film Festival for Best Screenplay and Best Actor respectively. The spotlight cast on the film by the executive order might just be enough for it to win its Oscar nomination. However, even if the ban never happened, I do believe this movie would easily win. Not only that, I sincerely believe that The Salesman is of a higher quality than at least half of the movies nominated for Best Picture. The fact that this movie has subtitles should not prevent its inclusion among the greatest films of the year.