Colin Firth would look so fetching in drag
Colin Firth would look so fetching in drag.
The Sense of an Ending By Julian Barnes (Knopf, 163 pp., $23.95) Is it worth it? Life, I mean—is it worth it? Julian Barnes isn’t sure. “I am certainly melancholic myself,” he says in Nothing to Be Frightened Of, a memoir-cum-meditation-on-death, “and sometimes find life an overrated way of passing the time.” Martha Cochrane, in England, England, thinks about “the thinness of life, or at least life as she had known it, or chosen it.” “She had done little in her time,” Jean Serjeant thinks in Staring at the Sun, and Gregory, her son, had done less.
For a while in this awards season, The Social Network seemed to be the favorite for the Best Picture Oscar. But the later opening of The King’s Speech has served it well. In the crucial nomination and voting period, The Social Network’s domestic box office slowed down, and it has earned less than $100 million. The picture has been hard to find in theaters, in part because it appeared on DVD in January.
In a critically and commercially disappointing year for the film industry, one of the few highlights has been the reception given to The King’s Speech. The movie has been nominated for just about every existing award, and a bevy of Oscar nominations are forthcoming. The period drama is also on its way to financial success. Like Stephen Frears’s film from 2006, The Queen—which won Helen Mirren an Oscar for her eponymous performance—The King’s Speech is a testament to Americans’ continuing fascination with the British Royal Family.
The Oscar nominations rolled on out this week, but with a difference: In a rather explicit admission that it does not trust its own judgment, the Academy has upped the number of Best Picture nominees from the usual five to ten. Let’s begin there. Best Picture Last year, there was widespread disgruntlement that critical and popular hits Wall-E and The Dark Knight missed the cut for this award. So the Academy decided, in essence, to protect itself from its own ineptitude by nominating more pictures.
What does it say that three of the top five films on my list this year--and another that could easily have made the top ten, Coraline--are “kid’s movies”? In the end not much, I think. Two of the three, Where the Wild Things Are and Fantastic Mr. Fox, were directed by talented indie auteurs (Spike Jonze and Wes Andersen, respectively) who merely happened to adapt children’s books in the same year.
The poster for designer Tom Ford's directorial debut, A Single Man, features Colin Firth and Julianne Moore lying in bed together. As such, it had already raised questions of whether the Weinstein Company was trying to downplay the fact that Firth's character is gay. The new cut of the trailer does about as much to confirm this thesis as one could imagine. As Vulture points out, it's nearly identical to the earlier, pre-Weinstein version but "totally omits the shot of Firth making out with Matthew Goode, who plays his dead lover." Nor is that the only homoerotic omission.
Anyone seeking evidence of the death of romantic comedy will find it in abundance in Love Actually, which arrives in video stores this week. Written and directed by Richard Curtis (best known for penning Bridget Jones's Diary, Notting Hill, and Four Weddings and a Funeral), Love Actually announces its ambitions early: Too bold to offer us a thin, unconvincing romance, it instead offers us half a dozen.