Oscar Predictions: Part 2 – Songs, Styles, and Sets!

Oscar Predictions: Part 2 – Songs, Styles, and Sets!

This week’s set of predictions rounds up the lower tier categories and begins the accent to the major ones. As stated last week, The People’s Critic has decided to unveil predictions on all 24 major categories over a four week period leading up the big day on February 24th. This week’s predictions will focus on the six categories that make up the atmosphere of a film: Original Song, Original Score, Costume Design, Production Design, Makeup, and Film Editing. Readers are invited to continue to weigh in with their own opinions by submitting to the public polls following each category’s predictions.

7. Best Original Song:

Nominated songs are “Before My Time” from Chasing Ice, “Everybody Needs a Best Friend” from Ted, “Pi’s Lullaby” from Life of Pi, “Skyfall” from Skyfall, and “Suddenly” from Les Misérables

This is an interesting category in that its number of nominees varies from year to year. Current prerequisites for a nomination require that the song is originally written for a film and that the song is completely original and not partially sampled from another source (as was the case with 1995’s “Gangsta’s Paradise” from Dangerous Minds). This year there is a full set of five nominees, but that is only a formality since there is a clear and overwhelmingly obvious frontrunner, and it’s not the one that came from a musical. It is also definitely not the one that was a gift to the host of the Oscars, Seth Macfarlane. Songs from Bond movies have a storied and often kitschy past, but this year Adele’s “Skyfall” will raise that bar. The Peoples Critic Selection: “Skyfall”


8. Best Original Score:

Nominated Films are Anna Karenina, Argo, Life of Pi, Lincoln, Skyfall

John Williams (Lincoln) may have five Oscars, but he has been nominated 48 times suggesting that he is not an Academy favorite. Additionally, the five Oscars he has are for scores much more memorable and powerful than Lincoln’s. The film with the most substantial use of music is Life of Pi.The People’s Critic Selection: Life of Pi


9. Best Costume Design:

Nominated films are Anna Karenina, Les Misérables, Lincoln, Mirror Mirror, and Snow White and the Huntsman.

The key to this category is not to get too caught up in the film itself but rather focus on the creativity, authenticity, and accuracy of the costuming. Period pieces are favorites in this category and we have three of them along with two fairy tale films. This year the period pieces have the edge. Lincoln may seem like a strong contender, but designer Joanna Johnston is rarely recognized for her work, although she has designed costumes for some of the most iconic films of all time including Indiana Jones and Back to the Future. Thus, the toss up goes to the lavish Anna Karenina. This is Karenina’s Jacqueline Durran’s third nomination and she’s yet to win. The People’s Critic Selection: Anna Karenina

10. Best Production Design:

Nominated films are Anna Karenina, The Hobbit: An Unexpected Journey, Les Misérables, Life of Pi, and Lincoln

The Oscar for Production Design goes to the art director who best accomplishes the appropriate mood for an audience’s experience through visuals, movement, and other varieties of art direction. This can be a complicated job, and an A.D.’s success relies on whether or not an audience is appropriately affected psychologically by a film. From a psychological standpoint, these films all offer wildly different ways of using style and motion to affect an audience. However, performances aside production design is the only other reason Les Misérables could possibly nominated for best picture. The People’s Critic Selection: Les Misérables

11. Best Makeup and Hairstyling:

Nominated Films are Hitchcock, The Hobbit: An Unexpected Journey, and Les Misérables

In a year of impressive films, it’s hard to believe that only three of them included Oscar-worthy makeup and hair. Last year, this went to the team behind the subtle transformation of Meryl Streep into Margaret Thatcher for the film The Iron Lady; but typically this award goes to wildly imaginative, over-the-top makeups and hair. Two of the three previous Rings films won the Oscar for this award, and Peter King (nominated here for Hobbit) was part of the team that won for Return of the King. The People’s Critic Selection: The Hobbit: An Unexpected Journey

12. Best Film Editing

Nominated films are Argo, Life of Pi, Lincoln, Silver Linings Playbook, and Zero Dark Thirty

This is an impressive award to win and the Academy does not treat that lightly. The winner for Best Film Editing has often been the film that wins Best Picture, and it is no surprise that all five films nominated here are also nominated for Best Picture. The editing of a film is nearly as important as the direction since it affects the story, the pace, and the tone. Often, great editing goes unnoticed by the viewer because of how seamless the story has been woven together. The major consideration here is that William Goldenberg is nominated for his work in both Argo and Zero Dark Thirty. Argo is the better of those two films especially given its genius and flawless balance of tones throughout the film. We also have an editing legend nominated in Michael Khan for Lincoln who has won three Oscars from seven nominations. Also not to be counted out, Jay Cassidy’s avant-garde style has mostly been seen in documentary films, and it is refreshing and interesting to see that style in a feature film like Silver Linings Playbook. This is a tough one and could add to the controversy of Affleck’s snub as Director for The People’s Critic’s Selection: Argo.

Hitchcock

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Movies about the movies are generally fascinating, and this genre has really never gone out of style. 2012’s best picture Oscar went to The Artist, a film about the emergence of sound in film. Robert Altman’s excellent film The Player satirizes the studio system as a backdrop to a murder mystery. The list of films like this dates back to the origin of the motion picture itself. While a common genre to make, these films often find a smaller niche audience and Sacha Gervasi’s Hitchcock will be no exception.

Hitchcock opens with a charming homage to Alfred Hitchcock’s television program, Alfred Hitchcock Presents. Anthony Hopkins plays the iconic director, and his bravura for capturing Hitchcock’s eccentricities without appearing overly melodramatic keeps the film afloat through its sprawling middle section (which is curiously similar to the sprawling middle section of the man himself). It can be a double-edged sword to be a director who takes on a film project about a brilliant director. Gervasi’s film is rather unimpressive in its form. It is constructed rather typically and while telling a story about some brilliant editing, it fails to really practice what it preaches. This film is also not a career spanning project; instead, it commences in medias res as the aging director searches for a project that will validate his position as a master of suspense who is not outgrowing his art form. That aforementioned project is 1960’s Psycho.

The battle to get Psycho made is an interesting story and one worthy of the legacy of films about films. Hopkins dispels some of the tainted oddity that surrounds the reputation of Hitchcock by revealing the passion that lies underneath. Additionally, the film showcases his symbiotic relationship with his wife, Alma (Helen Mirran), a previously unsung heroine who put up with a lot and always stood by the flawed auteur. However, the film does tend to be a bit too “inside” for the casual filmgoer. It is almost imperative to have a working knowledge of Psycho to truly enjoy the film. Moreover, there are multiple winks at the audience for those who come in to the theater already knowing some of the behind the scenes stories like Hitchcock’s battle with Bernard Herrmann about the score or what images were truly spliced into the famous shower montage.

Nonetheless, Hitchcock does sail on in a relatively entertaining way. There is a bit of a lull as the film shifts focuses from Hitchcock to Alma’s friendship with Whitfield Cook (Danny Houston). This side-story is pivotal, but it is dwelled on and overly represented. Hitchcock’s infamous curiosity with his leading ladies is explored as Janet Leigh (Scarlett Johansson) and Vera Miles (Jessica Biel) arrive on the set. This story of the director at work is much more compelling and deserves to be showcased a bit more than it is. This obsession that Hitchcock had with his lead actresses on set was also examined in HBO’s The Girl, which debuted on the network earlier this year. In that film, Toby Jones plays Hitchcock with a malevolent and sinister air. Hopkins provides a slightly softer, warmer (yet still faintly obtuse) view of his behavior. Hitchcock is far from the comprehensive, authoritative source on the life of its subject. That film is yet to be made and perhaps never will be. However, it is not without its charm and is sure to please fans, although it may fail to create new ones. B