Friday's 31 Days of Oscar line-up: Paddy Chayefsky Double Feature

I will be putting up my thoughts on the films I will be watching during TCM's '31 Days of Oscar' marathon, so take a look here frequently as there's a look of interesting films they're showing on that marvelous channel. Here are the two films shown on Friday that I watched:

The Hospital (1971, Arthur Hiller)

Academy Award winner: Best Original Screenplay
Academy Award nominee: Best Actor (George C. Scott)

A very funny screenplay by Paddy Chayefsky, along with a terrific performance from George C Scott make The Hospital a rewarding film. I guess you could even call it a horror film as Chayefsky and director Arthur Hiller make this a truly dark (yet very entertaining) thriller-comedy. But, the main attraction is the clever dialogue and the way that Scott and the other cast members deliver them. It gets a tad strange at the end, but overall, it's a great film.

Network (1976, Sidney Lumet)

Academy Award winner: Best Actor (Peter Finch), Best Actress (Faye Dunaway), Best Supporting Actress (Beatrice Straight), Best Original Screenplay
Academy Award nominee: Best Picture, Best Actor (William Holden), Best Supporting Actor (Ned Beatty), Best Director, Best Cinematography, Best Film Editing

A darkly comic (and sadly, almost realistic) look at the television industry, heading by a great direction, cast and screenplay. Paddy Chayefsky's script is filled with wonderful lines and interesting views on the television world and the way they spin things to get higher ratings. Peter Finch gives a phenomenal performance as Howard Beale, a man whose on-air rants that might have had the network quivering in their boots instead makes them happy with joy and thus they take that opportunity. Faye Dunaway and Robert Duvall are also great in their roles as the executives who take Beale's problem, without thinking of the consequences. I also find the cinematography very impressive, with the way each character is lit and how each is given their own feel by the camera. Kudos to director Sidney Lumet and his camera-man. I'm not too fond on the Holden-Dunaway storyline, but they're both great (despite the drabness of those scenes). Overall, a great film, which like The Hospital, showcases Chayefsky's screenwriting talent.

The Year My Parents Went on Vacation (Cao Hamburger, 2006)

Brazil's foreign film submission for the 80th Academy Awards, Cao Hamburger's The Year My Parents Went on Vacation is a wonderful film showing the joys and innocence of childhood. With heart, humour and a great, realistic story, Hamburger directs and writes with care and the final result is what could be called Brazil's answer to Cinema Paradiso. Much like the first act of that beloved Italian film, The Year My Parents Went on Vacation follows a young boy called Mauro as he befriends a kindly man. Much like the film palace in Cinema Paradiso brings the little Italian community together, the sport of football, Brazil's favourite pastime, allows the troubles of the outside world to fly off so they can watch Pele score goal after goal. The film is done a realistic fashion, portrayed early-70's Brazil very closely, adding little touches here and there.

The lead performance from new-comer Michel Joelsas is natural, putting himself up there with the child actors in Bicycle Thieves and Cinema Paradiso, among other cultural master-works. Germano Haiut, who plays the boy's new guardian, Shlomo, does some great work as well, slipping from Yiddish to Portuguese and back seamlessly. The natural feel of the actors makes one wonder if Hamburger was heavily inspired by the Italian neo-realist films of the 1940's.

Along with the serious dramatic moments in the film, there's also plenty of humour intact. Shlomo's realisation that the boy is not Jewish is both poignant, but also done in a funny way. When his rabbi tells him that the boy is like Moses of Egypt, dropped down at his door-step, he begins calling him "Moshele." And soon afterwards, giggles are produced when Mauro hears the story of Moses and connects him with the Pharoah's daughter. Mauro may not be Jewish, but everyone in the community comes together to help him, while his parents are away on "férias." And that's part of what makes this such a charming little film. It's not cynical, but it provides a good message and not done over-emotionally. Hamburger hits the right notes, bringing a time and a place not typically explored in films and bringing it out into the world. It's a surprise the Academy's foreign film branch didn't nominate it, as it certainly fits up their alley.

Hairspray (2007, Adam Shankman)

A fun and lively musical, Hairspray is just as funny and enjoyable on the smaller screen as it was in the cinema. Director Adam Shankman intelligently goes for the Susan Stroman route and shoots the film in an old-fashioned 60's-style, allowing the audience to see his impressive choreography without interruption. From the first number, "Good Morning Baltimore", we're primed for a fun time. Nikki Blonsky provides enough charm in her debut role as Tracy Turnblad with Amanda Bynes, James Marsden, Michelle Pfeiffer and Christopher Walken providing some great support. Only Zac Efron and John Travolta don't do as well. The former is as flat and boring as he was in High School Musical, while the latter's performance just can't shake off the feeling that it's Travolta wearing a fat suit and sounding like Dr. Evil. Marc Shaiman (the co-song writer of South Park and Team America) provides some great songs with humourous lyrics and while the film could have been snipped a bit, his work makes us forget that a bit. "Enjoyable" is probably the best way to describe Hairspray, joining The Producers and Chicago in the hall of fame of modern-day film musicals.

The opening musical number, "Good Morning Baltimore"

David O. Russell's Three Kings (1999)

I didn't care for I Heart Huckabees, but after watching Three Kings, I'm starting to appreciate David O. Russell slightly more. He crafts a great screenplay that much like Stanley Kubrick's Full Metal Jacket is both pro-war and anti-war and that's part of what makes the film work. Russell manages to look at the meaning without getting overly preachy. It's also hilarious with some very funny jokes littered throughout. The cast helps as well. George Clooney is his usual great self giving his Cary Grant-like charisma to the character. Mark Wahlberg also delivers in his role and Spike Jonze is quite solid as well. Saïd Taghmaoui (from La Haine) also delivers a great performance as does Nora Dunn. A pre-Arrested Develoment Alia Shawkat is also quite good and Judy Greer is rather funny in her small role. Ice Cube isn't as good, though, but he's not terrible. The visual style Russell applies to the film takes a while to get used to, but as I became more involved in the film, I began to take to the style more. Action, comedy and drama are combined seamlessly in Three Kings and along with the actors and cinematography, that's what makes it work.

My Top Ten of the 21st Century

1. The Producers (2005, Susan Stroman)



Hilarious, bold, brilliant. Mel Brooks's classic Broadway musical is finely turned into a terrific motion picture adaptation by stage director Susan Stroman. The cast is in perfect form, particulary Nathan Lane who plays the sad-sack producer Max Bialystock with the right amount of humour and pathos. Matthew Broderick gives Leo Bloom a nice sense of innocence, even while pulling off the ultimate scheme. Uma Thurman, Will Ferrell, Gary Beach and Roger Bart also pulls off their parts brilliantly. Coupled with fantastic songs, amazing song-and-dance numbers and a show-within-a-film that has to be seen to be believed, The Producers is without a doubt the best film of the decade.

2. Spirited Away (2001, Hayao Miyasaki)



Quite possibly the best animated film of all-time, Hayao Miyasaki fills this wonderous story full of beautiful colour and fantastic characters. The main character of Chihiro is an independent young girl, who tries to make it in this world, and even though she's a drawing, Miyasaki makes her feel like a real personality. Joe Hisaishi's score combined with Ghibli's animation (probably the best animation unit in the world) created a seamless blend of perfection that only Disney can even come close to.

3. The Lord of the Rings: The Return of the King (2003, Peter Jackson)



A incredibly epic adventure and a brilliant conclusion to a very good trilogy, The Return of the King is amazing entertainment from start to finish. Its three hour running time doesn't hinder the film in the least. Everybody in the cast succeeds, particularly Andy Serkis as Gollum and Ian McKellen as Gandalf. The special effects are absolutely brilliant and the best of the modern film era. A compelling story, this is Peter Jackson's finest hour (make that three hours). It may just be about people walking to a fucking volcano, but hell, I enjoy it a lot.

4. Capote (2005, Bennet Miller)



A pitch-perfect performance from Philip Seymour Hoffman helps make this film more than just your typical "true story." He embodies Truman Capote, not just doing an impersonation, but actually transforming into the neurotic author of In Cold Blood. Bennett Miller's only other previous credit is of a documentary and that is quite evident with his direction here. The film feels real, like we're watching Capote at work and not necessarily Hoffman at work. Dan Futterman's screenplay shows the pains that can happen when writing a real figure and how far a man can go for a book, even if it destroys him. Catherine Keener also does some great work as Harper Lee with the other big actor of the picture, Clifton Collins Jr, giving a chilling and intense performance as the infamous Perry Smith. Slow and calculating, Capote is already a classic in my eyes.

5. The Royal Tenenbaums (2001, Wes Anderson)



Wes Anderson's very funny character study on the family unit, this isn't just another film about a dysfunctional and quirky family. This is a comedy that brings upon the idea of how one major event (whether true or not) can bring them together. Filled with an impressive ensemble cast, a clever screenplay, an un-pretentious direction and a splendid soundtrack, this is a film that is both very entertaining but also causes one to think about how family is important. Godard would be proud.

6. The Departed (2006, Martin Scorsese)



An example of an American remake that can be miles above the Oriental original film, The Departed is an intense thriller that isn't afraid to pack any punches. Martin Scorsese's direction is perfect and despite taking place in Boston, his New York intellect is still intact. William Monahan's screenplay may be profanity-laced, but it's perfect to boot with its odes to Shakespeare sprinkled throughout and wonderful to spot and one of the best endings in years. Plus, there's DiCaprio, Damon, Nicholson, Wahlberg, Sheen, Baldwin, Winstone, Farminga. Who could ask for a better cast?

7. Stanley Kubrick: A Life in Pictures (2001, Jan Harlan)



A fascinating and well edited look at the impressive career of filmmaker Stanley Kubrick, this documentary is not just a smattering of praise. It looks deep into what made his films so interesting as well as the persona he kept so hidden from the public. Jan Harlan (the film's director), Malcolm McDowell, Woody Allen, Steven Spielberg, Christiane Kubrick and a batch of other interesting interviewees supply plenty of thoughts on Kubrick himself as well as his films. This is a special documentary that should be seen by any Kubrick fan. It's that essential.

8. The Last Shot (2004, Jeff Nathanson)



Featuring two fantastic lead performances and a hilarious screenplay, The Last Shot is un under-rated gem. Matthew Broderick is perfect as Steven Schats, an aspiring director. He fills him with enthusiasm, creating an incredibly relatable character. In fact, this character reminds me so much of myself, it's insane. Alec Baldwin also does incredible work as the under-cover FBI agent posing as a film producer. He adds plenty of warmth to his performance, instead of going for a tough guy routine that other actors might have given him. Baldwin is touching and his chemistry with Broderick is pitch-perfect. Toni Collette, Tony Shalhoub, Joan Cusack and James Rebhorn also do some fine work in their smaller roles. Jeff Nathanson's screenplay captures the wide-eyed wonder of Hollywood terrifically, bringing plenty of hilarious one-liners and jokes. This certainly stands as one of the best of the decade so far.

9. The Dreamers (2003, Bernardo Bertolucci)



Bernardo Bertulocci takes an erotic angle on the minds of film aficionados with this well-roven drama of an American teenager and the two French twins he befriends in Paris during the period of the Student Revolution. Eva Green gives a perfect performance as the lead female as she blends naturally into the part. Michael Pitt and Louis Garrel do fine work as the other two leads (though they're no match for Green). An essential for any film fan, this is also educational as it talks about an important historical event and could even lead some people to watch some Chaplin, Keaton and Godard as well.

10. Catch Me If You Can (2002, Steven Spielberg)



Yet another terrific film from Steven "The Man" Spielberg, Catch Me If You Can is a fun journey through the world of a young man doing every person's dream. Leonardo DiCaprio plays Frank Abagnale, Jr. with a charm that echoes Johnny Depp and Matthew Broderick, among others. And in the film's more dramatic moments, he delivers just as well. I would probably say this is my favourite DiCaprio performance. Tom Hanks, Christopher Walken and Amy Adams also do fine work in their roles. Everything else is top-notch as well. The screenplay, the cinematography, the costumes, the soundtracks, the art direction, the editing and of course, Stevie's direction. Incredible that even at 60 years old, it seems as if Spielberg hasn't gotten older (though he's certainly matured).

Honorable Mention: Match Point (2005, Woody Allen)



For many years, Woody Allen shot his films in New York, showing neurotic characters discussing that they "would never want to belong to any club that would have someone like me for a member", quoting the old Groucho Marx quote. With Match Point, the clarinet-playing, Marx-quoting Allen moved to a totally different city: London, England. And thus, there is a change of pace from nervous, neurotic individuals to confident people looking to climb the social ladder. As typically happens when an American filmmaker puts his lens on Britain, audiences are treated to the upper-crust of English society and for Match Point, it works. Match Point also lacks the feel of a Woody Allen film, which makes it even more fascinating as he allows the actors to work on their terms, reading his written lines with enough of their own feel. And particularly what sets this film apart from previous Woody fare is the darkness of the production. While he has tackled dark films before with the Bergman-inspired Interiors and Crimes and Misdeamenors (which this film borrows heavily from), never has he attempted to make a psychological thriller. Match Point isn't like, say, The Silence of the Lambs, but it does have a suspenseful feel lurking around it.

The magic of Cinema Paradiso (1989)

Beautiful, absolutely beautiful. Cinema Paradiso is perfection and the best world of foreign cinema has offered. The film that defines the power of cinema the best, this is a revelation and after many years, I will still consider it to be one of the two greatest films of all-time (along with Chaplin's Modern Times). Giuseppe Tornatore's direction and screenplay is an inspiration, with its charm, humour and beauty. Every cast member delivers an impressive performance, giving it their best and adding to the wonderment of the film. Then, there's Ennio Morricone's brilliant score. His best work to date, the music of Cinema Paradiso is an emotional tour-de-force hitting the right keys and producing a melody that will remembered for all eternity. As the film goes through the three major time periods of the protagonist's life, we are immersed all throughout by how the art of film touched and helped mold this boy's life. And then comes the touching final twenty minutes, that are sure to bring a tear to just about everyone who watches it. It's a commentary on how the cinema has unfortunately fallen in this technology-filled time period, but the films still stay the same, enchanting us through our whole lifetime. All this leads up to one of the greatest film endings ever made: a montage of screen kisses, set to Morricone's classic score, a heart-breaking moment that will certainly bring forth many good memories to all viewers. If I were to make a selection of films to show at a classic film festivals, I would proudly give Cinema Paradiso the honour of being the closing night film.

Sweeney Todd: The Demon Barber of Fleet Street (Tim Burton, 2007)

Sweeney Todd: The Demon Barber of Fleet Street

As per typical of Tim Burton, this film is a visual triumph, succeeding incredibly well in art direction, costumes, cinematography and makeup. The German Expressionism influences are obvious and that's what makes this film even more fun, as it's a German Expressionist film set to music. Having never heard much of Stephen Sondheim's work, I didn't know what to expect from the songs, but I must say I was impressed. Some memorable tunes and funny lyrics add to the fun of the film, particularly when Helena Bonham Carter sings them.

Regarding the actors, Johnny Depp is very good, although I did catch a hint of Jack Sparrow sometimes. He's a decent singer too, but nothing extraordinary. Helena Bonham Carter was my favourite in the cast, playing her character incredibly. She's a tragic figure, who you can't help but sympathise for and Carter's performance adds to this. She's a great singer as well. Alan Rickman, as usual, is fantastic despite nothing having that much screen time. He has a fairly good singing voice, too. Timothy Spall and Sacha Baron Cohen provide plenty of dark comic relief in their parts, too. I didn't particularly care for the two actors playing Joanna and Anthony, though. Despite good singing, I found them rather uninteresting.

The film gets off to a slow start, but once the killings start (and boy does Burton do a great job with those), it gets more exciting. Those two hours passed by very quickly. My favourite musical of the year (but I still need to see Across the Universe).