nominees

Five Decades of Nominees – 1994 – ‘The Remains of the Day’

Snooze

Alright. We’ve come to the end of the 1994 nominees for Best Picture. And what a snoozy doozy way to end them. I’ve been sitting on how to approach writing about this movie for a couple days, and I just…well, let’s give it a shot.

I’ll start with the acting. Anthony Hopkins, the most recent, and controversial winner of the Best Actor award, is so Anthony Hopkins in this. He’s a butler of a giant estate owned by a nazi sympathizer in pre-World War II England, and he rules every scene, as he always does. When I say Hopkins is so Hopkins, you know what I mean: he’s got those signature tics, the witty little reactions, the head-held-high snootiness that he’s best known for.

As always, he’s great, and I really think this movie would have been in a lot of trouble without him. Emma Thompson, like Hopkins, is who she always is – not bad, just incredibly British and sad, and honestly, it took me three sittings to finish this movie because Thompson films put me to sleep.

Something strange to see is Christopher Reeve, just a couple years before his debilitating accident that ultimately led to his death, as the American ambassador that attempts to convince the owner of the manor not to work with the Germans. The acting is here, the problem is, there’s not much else.

There are also a couple of Game of Thrones alums in this, not surprising since it’s probably the most British movie ever made. We’ve got a really young Lena Headey as a housekeeper, and that old blind dude from the wall as Hopkins’ dad.

This movie drags. Hard. I haven’t read the book, of course, but I came away from the film wondering what the hell just didn’t happen. I won’t ruin it for you, but when the credits rolled, I was really surprised. It’s one of the dullest endings to a movie I’ve ever seen, and I’m guessing it’s explained better in the novelization.

The strangest part of the film for me, is that there is this clique of butlers and housekeepers, and they’ve all crossed paths at some point. And there is also this hierarchy in which these people are fighting over, and the top spot is butler. Like, I’m sorry, but what the fuck? Is this a strictly British thing that I’ve never heard of or read about? Or was this made up for dramatic effect? What the hell is going on in this movie?

Sorry. I will say, the movie is pretty. It’s shot so well, and though it doesn’t really take many risks, each shot feels like a painting you’d find in a gallery. There’s a scene toward the end, where Hopkins and Thompson are sitting on a pier and the lights come on, and the contrast of the lights’ colors are absolutely mesmerizing. There is also a sunset scene with Hopkins driving that really is amazing. Trouble is, a lot of these shots make you feel like you’re watching something on PBS. I know there’s a market for that (probably bigger than I think), but woof, not my bag, man.

This is the sort of movie that’s playing at your grandma’s house on her tiny TV on a summer afternoon. It’s a costume designer’s blueprint, a Masterpiece Theater special stretched long, the film that appeases your groaning grandparents so they’ll watch the Oscars. It’s undeniably, the worst of the five ’94 nominees: not necessarily bad, but without the substance of the other four.

Where is ‘Philadelphia,’ by the way? How did that movie not get nominated? It’s cool that Hanks won Best Actor, but that movie carries so much more emotional depth and focuses on a much bigger worldwide issue than The Remains of the Day attempts to. Perhaps AIDS was still much too taboo for the Academy, but Philadelphia absolutely crushes me every time I see it.

Well, that’s the end of the 1994 nominees. Overall, the right movie won, and it really wasn’t close. I feel like four of these should have been nominated, but that seems to be the case every year. Next up for this month, we’ve got the 1985 nominees. I’ll try to squeeze them all in this month, but life has a way of making that tough, so we’ll see.

Have you seen The Remains of the Day and want to tell me I’m absolutely wrong? Think some other movies from 1993 should have been nominated for the ’94 Oscars that weren’t? Let me know in the comments or on Instagram, and it’ll probably help me write these in the future.

Five Decades of Nominees – 1994 – ‘Schindler’s List’

Yikes

Oh, Schindler’s List. My god, what a movie. Possibly the most visceral film ever made, and Spielberg’s emotional masterwork, there is no way any other 1993 movie had a chance at winning Best Picture. And in case you haven’t seen this (you must, do it now!), let’s get into why it’s so damn good.

I’m assuming most have seen Schindler’s List, but for those that haven’t, be forewarned that there will be some minor spoilers following. Let’s start with the cinematography. Janusz Kaminski, a frequent Spielberg collaborator, crafted this film as a series of old photographs. Every piece of Holocaust video or photography that we’ve been witness to over the years comes to almost nauseating life in the movie, and brings you right in – whether you want to, or not – to the horrors and crimes against humanity that the nazis brought to Europe and beyond.

Another Spielberg teammate, John Williams, crushes your soul repeatedly for over three hours. The violin entries are almost too much at times, making your skin crawl in anticipation of another relentless act of violence from those in the Third Reich.

Speaking of horrible people, the always villainous Ralph Fiennes makes Voldemort look like a harmless gecko in his turn as Amon Goeth, the nightmarish SS lieutenant in charge of overseeing the construction of a new concentration camp in Poland. From the get-go, he’s a slippery ghoul, straight from the bowels of an unthinkable hell. I won’t get into the details of what he does to the incarcerated Jews, but holy shit, did it have me sinking to unimaginable depths of my couch.

Another thing to note, is how this violence is portrayed in the movie. Not letting up in the slightest, Spielberg chooses to show every bit of the hyper-realistic executions of men, women, and children inside the camp. It’s a bold choice – one that I’m sure had the MPAA arguing for months – but I think it’s necessary to show this, to really drive the point home, and induce some of the trauma endured by the victims of the German fascists. I will also note, that I don’t think I’ve ever seen a movie with more headshots. Not even in a Rambo or John Wick flick.

Some more notable performances include that of the always wonderful, Sir Ben Kingsley, and action star, Liam Neeson as the titular Schindler. The first (and only other) time I saw this film, I thought Neeson was pretty dull. I was also probably around 15, and didn’t really have an appreciation for Neeson at all. Now that we’ve seen him in countless revenge-action flicks that rerun on TBS every weekend, it’s almost breathtakingly impressive just how good he is. Wait until the end. God damn.

Now, I will admit that a few scenes got me that hadn’t on my first run through more than 20 years ago. Perhaps, it’s the recent rise of White Christian Nationalism in our country (and world), or I’m just a weaker soul, but the first scene to note is where the children are leaving the camp in truckloads to be gassed (while singing gleefully, as if they’re about to go on a field trip), and the mothers run after them screaming in horror, helpless.

Another is a scene where women and children that are meant to join their fathers and husbands at Schindler’s new camp, are accidentally sent to Auschwitz. Earlier in the film, rumors spread through the camp that Auschwitz has been gassing Jews en masse in the showers, and as they arrive in Auschwitz, sure enough, they’re shipped into the showers as a group, naked. It’s a deeply unsettling scene, with more tension than any horror film I can name.

So, the big question is, ‘Did Schindler’s List deserve to win Best Picture in 1994.’ Yes. Unequivocally, yes. Rarely have I seen a film so enveloping and purposely discomforting as Schindler’s List. It will remain for the foreseeable future as a masterpiece in filmmaking. It’s necessary, it’s permanently relevant, and it will go down as Spielberg’s greatest work, guaranteed. If you haven’t seen it, carve yourself out 3 hours, turn down the lights, and get ready to bawl. This is essential film.

To end 1994, I have The Remains of the Day, starring recent Best Actor winner, Anthony Hopkins. It’s another on this list that I haven’t seen, and I can’t say I’m very excited about it. But, we’ll see. See you in a few days, before we get going with a new year of Nominees in May!

Five Decades of Nominees – 1994 – ‘In the Name of the Father’

abACABadoo!

Another film on this enormous list that I have not yet seen was this Irish drama that stars the greatest actor of our generation, Mr. Daniel Day-Lewis, in an absolutely amazing performance, that probably comes as expected at this point.

The movie begins almost just like ‘Children of Men,’ with a cafe bombing in London. The story kicks off with an incarcerated Day-Lewis as Gerry Conlon, who’s been falsely imprisoned by the English government. Conlon, an Irishman, is in London to dodge a minor charge in his home of Belfast, but the classic wrong place-wrong time puts him, his friends, and family into an embroiled mess with the IRA.

Long story short, Conlon is imprisoned along with his father and friends for 15 years, before Emma Thompson takes his case. It’s peak-90’s Drama, almost too PBS for its own good with a score that screams ‘your grandma’s going to love this movie,’ but overall, it’s a really damn good flick.

Day-Lewis steals every scene, his usual physical transformations throughout the film, which would be a marvel if it had been any other actor. Pete Postlethwaite is refreshingly kind and warm-hearted throughout the movie as Conlon’s father, Giuseppe, and some scenes between the two are undeniably heartbreaking.

Of the films on this list (the only one left I haven’t ever seen, ‘Remains of the Day’), this one feels the most dated. Perhaps it’s the score, or the rather pedestrian cinematography, but it just didn’t bring too much excitement to the table when compared to its honorary counterparts. I did appreciate the theme throughout regarding cops’ mistakes and lack of care, which ultimately brings down the system as a whole, and how relevant this is today, especially since I watched this the day before a certain murdering cop was surprisingly found guilty of all charges in Minnesota.

Overall, I’d definitely suggest checking this movie out. It totally drags at times, but I think it’s a mistake to ever pass up a chance at watching a Day-Lewis romp. He’s unbelievable at times in this one, and makes the whole 2+ hours absolutely worth the ticket price.

Up next, we have the soul-stomper, ‘Schindler’s List,’ the movie that ultimately took home the little gold dude in ’94. I’ll see you in a few days with my thoughts on my second time through that chest ripper.