We’re less than one week away til the big day, and VanRamblings is back to weigh in on four more Oscar contenders.
Of course, Little Children remains our favourite film of 2006 (followed by The Good Shepherd, Babel, The Lives of Others and Letters From Iwo Jima … pretty much in that order), but we’ll leave to another day the posting of our Top 10 Films of 2006 list.
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First up, the film that will garner Martin Scorsese that Best Director Oscar statuette he’s long sought. Too bad, though, that The Departed is a rather humdrum adaptation of the Hong Kong crime flick Infernal Affairs, a high body count movie where sterling performances (from Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg) become the focus over compelling narrative. The Departed isn’t a bad film; rather, it’s just not up to the standards of Raging Bull, Casino and Bringing Out the Dead.
The pick o’ the bunch this week, Clint Eastwood’s Letters From Iwo Jima is everything that Flags of Our Fathers was not: passionate, strikingly original, involving, masterful and resignedly melancholy. How is it possible that anyone would come away from this film and not see the absolute futility of war? Certainly deserving of a Best Picture nod, Letters From Iwo Jima is eloquent, powerful, humanizing filmmaking, created by a mature filmmaker working at his peak.
Set in the dying days of the Spanish Civil War, when Franco had long been in control of the reigns of government, Guillermo del Toro’s fabulist fairytale, Pan’s Labyrinth, brilliantly melds the realms of fairy tale and brutal 20th-century history as it relates the trauma of war through the haunted eyes of a lonely 10-year-old girl. Often terrifying and graphically violent in its depiction of evil, Pan’s Labyrinth is decidedly not children’s fare, but del Toro does create a richly imagined world, and magnificent film fare.
Volver may not be one of Pedro Almodóvar’s more compelling nor inventive films but for all that, given the heavier fare reviewed in today’s posting, Volver comes across as generally involving, sporadically humorous, well-acted and warmly personal cinema. Relating the relatively slight story of a family who take over a recently closed restaurant and in the process discover much about themselves, Penélope Cruz is very much the star here, her performance radiantly funny, her character immensely likeable.
Well, that’s it for now. See you later in the week for our Oscar post.
