MMM: How To Train The Social Speech

James here with Movie Music Monday.

Three selections from the Oscar nominated scores of 2010.


‘The King’s Speech’ has a marvelous score by Alexandre Desplat, as warm and human as the film. The title track blends reserved whimsy with tension and unfolding tragedy.


‘The Social Network’ won the Best Score Oscar, and it deserved it. Very inventive and memorable, it’s a shame that the Academy didn’t recognize the same level of invention present in the film itself.


‘How To Train Your Dragon’ is a film I haven’t seen. John Powell, one of the most prolific working composers these days, really outdid himself here. Evocative, with unique instrumentation and lovely progression. Truly listenable.

No Country For Old Men

Stars:  ★★★★

Summary:  Existential, genre-slashing, disturbing cinema at its very best.

Review:  Cinema gives us innumerable opportunities to vicariously experience fear.  The raw reaction to the most basic of survival instincts is a large part of why we keep coming back for more.  Most times, we opt for the proverbial roller coaster experience; the main characters, our conscious avatars, make it through alive, often by the skin of their teeth to intensify catharsis.  Populist movies are structured to insure such satisfying escapes.  If we want to take these animal emotions seriously, however, we need filmmakers capable of dropping the bottom out.  While we’re physically safe, our psyches, so well-trained by common experience, are vulnerable to truly nightmarish twists.  When filmmakers go this route, they tend to compensate by helping us identify with the killers over the victims.  When the Coen brothers went for it, in their Best Picture adaptation of Cormac McCarthy’s ‘No Country For Old Men’, they balanced our sympathies nigh perfectly, creating a truly disturbing film.

Nihilism and justice collide in an unrelenting chase through Western Texas.  Roger Deakins’ gorgeous and clear cinematography heightens the sense of you-are-there, and the Coens’ screenplay, with minimal dialog, exposes a multitude of procedures that the hunter and hunted use to stay in the game.  Even in the film’s wide vistas, we feel the walls closing in, as the characters we identify with at a simple human level fight to survive.  The hunter and antagonist, Anton Chigurh (played absurdly well by Javier Bardem), exhibits believable sociopathy and a moral code all his own.  He’s a predator incomprehensible to his prey.  In our introduction to the hunted, Llewellyn Moss (ditto by Josh Brolin), the filmmakers encapsulate this theme without saying a word.  Llewellyn is a socially acceptable hunter, a creature who by virtue of intelligence and superior fire power preys on game from a comfortable physical and emotional distance.  In short, in relation to pronghorn, Llewellyn sees himself the same way Anton relates to, well, anything.  Doing his damnedest to put a stop to this cat-and-mouse game is Sheriff Ed Tom Bell (ditto for Tommy Lee Jones), an aging lawman who views the unfolding chaos with due horror.

The plot mechanics, the $2 Million McGuffin and the why’s behind it all, take a backseat to the story’s inescapable present tense and ever-increasing violence.  While other stories make a point to ensure the audience’s karmic satisfaction, the kernel of truth here is that, despite the best of intentions, evil continues to haunt the human race.  The struggle here is cosmic, between the animal and spiritual natures of humankind.  Predatory and survival instincts often overrule justice.  Our higher ambitions, a fire in the night, pass from one generation to the next, keeping the cold, meaningless chaos from turning us all into Anton Chigurh.  The Sheriff and Anton are almost absolute opposites, but they both answer to a code of ethics.  The difference lies in empathy.  True justice submits to and ensures harmonious coexistence, countering the lone wolf within us.  Anton’s justice, whatever it is, is truly unknowable, because it belongs to him alone.  It is therefore meaningless.

This is an example of the Academy of Motion Picture Arts and Sciences making a, if not “the”, right choice.  ‘No Country For Old Men’ is probably the best picture on this subject.  Being a Coen brothers film, it’s the height of craft, but what makes it special is how far they go in subverting genre expectations.  ‘No Country For Old Men’ defies convention and substitutes original story.  This is a movie for cinephiles who like getting existentially scared out of their wits and making sense of their reaction.  It’s not for the fainthearted or brainless.  It’s too good at what it does.

NR: The Sci-Fi Ghetto

James here with Wednesday’s News Reflections.

It’s painfully predictable that I would comment on the Oscar nominations (find them all here), but I’m going to do it anyway.  My interest, though, is in one particular issue that continues to torture nerds, geeks, otaku of certain colors, and anybody with an interest in fair play.  It’s the aptly named sci-fi ghetto.

This is the stigma associated with science fiction and fantasy works of all kinds that often prevents them from being taken seriously by most critics.  As enlightened critic Andrew Gordon points out, “…certain film genres are read as ‘less fictional’ (Westerns, gangster, and war films) and others as ‘more fictional’ (the musical, horror, and fantasy).” [1] It’s a skewed understanding of fiction and, sadly, a prevalent attitude.  Ursula Le Guin found that, in America, the cultural mindset is “to repress their imagination, to reject it as something childish or effeminate, unprofitable, and probably sinful”, which she ties to “our Puritanism”. [2] Many great movies are ignored at the Oscars as a result.  They tend to get technical awards, but Best Picture, Director, Screenplay, etc. are reserved for “higher” movies.  After all, who needs that juvenile, unsophisticated, fast food genre junk?

Oh… Oh, that’s right, okay.

A really good example of the cultural dissonance between what the Oscars deign to honor and what the public actually appreciates is in the case of the 55th Academy Awards, where ‘Gandhi’ beat ‘E.T.’ for Best Picture.  Richard Attenborough, the director of ‘Gandhi’, said “I was certain that not only would E.T. win, but that it should win. It was inventive, powerful, [and] wonderful. I make more mundane movies.” [3] By quoting this I am not implying that historical dramas are all “mundane”, but that a movie’s emotional power transcends its trappings.  There’s no reason a sci-fi, fantasy, or (to add a veggie to this stew) an animated film should be disregarded because its subject or narrative style is distinctly different from so-called “less fictional” works.  Either it’s good or it isn’t.

While ‘Inception’ and ‘Toy Story 3’ were given nominations this year, there’s little hope of them winning, for the reasons I gave above.  I’m inclined to believe that ‘The Social Network’ will win for being a topical, up-to-date film, even over other dramas like ‘The King’s Speech’.  I’m not sure that it’s the year’s best picture, but I don’t believe that I’m qualified to make that judgment.  I don’t believe the Academy is either, for that matter.  The difficulty I have with the Academy’s pending decision is that ‘Inception’ and ‘Toy Story 3’s loss due to critical snobbery is a foregone conclusion.  I’d love to be proven wrong.