#oscars coda

[izel-scribbles]

just finished malevolent relisten. needless to say the obsession has been rekindled tenfold its previous magnitude

[marv-el-spot]

FILMS WATCHED IN 2024 CODA (2021) Dir. Sian Heder

[ferretfyre]

Academy Award for Best Actor in a Supporting Role:

That song you sang tonight. What was it about?

Troy Kotsur as Frank Rossi in CODA (2021, dir. Siân Heder)

[la-speranza-e-una-trappola]

Come posizione è la più bella città del mondo, passa la vita sognando nella Conca d’oro, una valle squisita divisa tra 2 mari. I boschetti di limone e i giardini di aranci erano di una perfezione così totale che sono diventato preraffaellita e ho aborrito i comuni impressionisti. In nessun luogo, nemmeno a Ravenna, ho visto mosaici cosi. Nella cappella Palatina, che dal pavimento alla cupola è tutta d’oro, ci si sente veramente come seduti in grembo a un gran favo di miele a guardare gli angeli che cantano. […] Di Monreale hai sentito parlare, con i suoi chiostri e la cattedrale. Ci andavamo spesso in carrozza essendo i cocchieri ragazzi modellati nel modo più squisito. La razza si vede da loro, non dai cavalli di Sicilia. Ogni giorno mi mostrava tutta la cattedrale e io mi inginocchiavo davvero davanti al massiccio sarcofago di porfido nel quale giace Federico II. �� una cosa sublime, nuda e mostruosa, color sangue, e sostenuta da leoni, che hanno colto un po’ dell’ira dell’animo irrequieto del grande imperatore.

The Letters of Oscar Wilde – A cura di Rupert Hart-Davis

[workin9to5]

That’s a new one for me 😂 [x]

[tomwambscunts]

That is so bill slayer of bill hader to not being interested in making big superhero franchise movies, like I knew you were a real one girl let’s shoot horror movies in deserts bitch let’s goooo

[gnougnouss]

Just thinking about how Americans spend millions of dollars recreating a foreign movie that worked perfectly well and US audiences could have just watched subbed/dubbed....something is wrong with them.

Millions of dollars. Because americans are so deeply uncurious about other countries. Wild.

[robotpussy]

when top gun 2 wins best picture........

[aperint]

Sundance Film Festival, primera parada para el “Oscar”

Sundance Film Festival, primera parada para el “Oscar” #aperturaintelectual #vmrfaintelectual @victormanrf @Victor M. Reyes Ferriz @vicmanrf @victormrferriz Víctor Manuel Reyes Ferriz

17 DE ENERO DE 2023 Sundance Film Festival, primera parada para el “Oscar” POR: VÍCTOR MANUEL REYES FERRIZ El día para la entrega del tan anhelado premio “Oscar” ya se encuentra fechado, será el próximo domingo 12 de marzo; el lugar, el Dolby Theatre de Los Ángeles, y el evento, la 95ª edición de la entrega de los Premios de la Academia; empero, aunque son menos de dos meses para dicho evento,…

[academyawardwinners]

Troy Kotsur, Best Supporting Actor for the movie "CODA" (2022 Oscars)

[r-e-c-o-g-n-i-z-e-r]

CODA (2021)

[msclaritea]

When George installs Rose in the ranch’s big house, leaving Phil alone in the double bedroom the brothers once shared, he clearly has a vision of comfortable domesticity in mind — with his new wife playing the piano, for instance, to entertain Montana’s gov­ernor after dinner. But whatever his brother wants, it isn’t domesticity, and so Phil sets out to terrorize his new sister-in-law, to encourage her anxiety and push her deep into alcoholism — while also playing the bully with the fey and vulnerable-seeming Peter.

16NEXT GALLERY

At this point in the story we have our archetypes: Phil is a paragon of Toxic Masculinity, George is the helpless Well-Meaning Guy who can’t really see how bad his brother is or might become, Rose is the Prisoner of Patriarchy, and Peter is the gay kid who’s there to be the martyr to homophobia. And homophobia, in the world of progressive archetypes, is almost always just a form of repressed homosexuality, so it isn’t surprising when the movie starts to develop the idea that Phil’s lifelong bachelorhood and excess of machismo may in fact be repressing an impulse that dare not speak its name.

But then the unexpected starts to happen, beginning with Phil suddenly shifting from persecuting Peter to making fumbling attempts to mentor him. And from that shift to the fatal end­ing, our sympathies, having been first pushed into a very predictable zone, are quite aggressively pushed out into unsettled territory. Sufficiently unsettled, in fact, to create an interesting amount of critical disagreement in the reviews I’ve read about where the movie actually ends up, whose side it’s taking (if it’s taking any side), and who the actual bad guy is in the story (if there is one).

My own view is that The Power of the Dog is functionally a horror movie. It’s using a western canvas, and teasing out the terrors lurking on the edges of that landscape, but it’s not so much a subversion or revision of the traditional western as a brutally impious answer to the pieties of revisionism — and maybe especially to the film to which it will be inevitably compared, Ang Lee’s Brokeback Mountain.

[disarmluna]

[ferretfyre]

Academy Award for Best Picture:

The song you sang tonight. What was it about? It was about... what it is to need another person. Can you sing it for me? CODA (2021, dir. Siân Hedar)

[crowdvscritic]

crowd vs. critic single take // GOING MY WAY (1944)

Photo credits: IMDb.com

The Church of St. Dominic is dying. Enter: Father O’Malley (Bing Crosby), who has been sent by Catholic Church leadership to revive an unenthusiastic congregation meeting in a building they can’t pay for. Father Fitzgibbon (Barry Fitzgerald) has been leading St. Dominic's for 45 years, and change doesn’t come easily. As they fight to relieve the church’s mortgage and support the struggling members of their parish, though, Father Fitzgibbon begins to see maybe he does need help after all, and maybe he needs it from someone less orthodox like Father O’Malley. 

CROWD // Going My Way straivags its way through an episodic story. Fitzgibbon fights a cold and negotiates with creditors. O’Malley supports a runaway teen who dreams of being a singer, bumps into an old flame, and plays baseball with the boys in the neighborhood (with a shout-out to my shuttered hometown team the St. Louis Browns!) The duo plays checkers and golf, and we watch a full song performed from the opera Carmen. The adagio pace is a feature, not a bug, though perhaps it’s why, in a rare move, I needed to watch this Best Picture winner a second time because I couldn’t remember what happened not long after my first watch. 

That said, the tone is also why this is a rare feel-good Best Picture winner. If Bing Crosby is in your movie, almost by default one of your themes becomes the power of music. Music gives hope to all of the parishioners of St. Dominic’s, and it literally solves life’s big problems for several of them. While the plot may not move with the efficiency and humor of White Christmas, it’s hard to complain about any story that gives Crosby the chance to sing.

POPCORN POTENTIAL: 7.5/10

CRITIC // The Best Picture winner this film reminded me of most? 2022’s CODA, another feel-good narrative about the power of music. The biggest reason I kept comparing them in my mind, though, is the eras they were released. CODA was a heartwarming story released as we were exiting a pandemic, and Going My Way won Hollywood’s highest honor just two months before V-E Day. Sometimes when the world around you feels almost too much to bear, you need an escape. The same could be said for last year’s winner Everything Everywhere All at Once or this year’s Best Picture nominee The Holdovers. (We’ll see how world events play out in 2024 and if this trend continues, but it’s unlikely we’ll see another feel-good nom about Catholic priests given the baggage we have now, as outlined in 2015’s winner Spotlight.)

It may have less of a legacy today than competitors Double Indemnity and Gaslight, but at the time, Going My Way was a big winner. In addition to the top prize, it brought home trophies for Best Actor (Crosby, which Christian Blauvelt’s book Hollywood Victory noted was new range for this superstar), Supporting Actor (Fitzgerald, the only person to be nominated in both lead and supporting categories before rules prevented it from happening again—talk about category fraud!), Director, Original Story, Screenplay, and Original Song. Today’s audiences may not find it innovative, but it hits all its marks, and its arcs are universal, such as an older generation dealing with its obsolescence or the rich holding those meant to help a community hostage with their finances. (The Bishop’s Wife and It’s a Wonderful Life would go on to explore this idea with more depth.) Though there is a surprising lack of spiritual experience with God given the setting, it is also refreshing in our moment to watch the clergy devote their lives to bettering their neighborhood. 

ARTISTIC TASTE: 8.5/10