Since I turned in the first draft of my comps project on Monday, I now have a life again! And that life, of course, involves blogging. I feel like I’m about to go into casual film writing withdrawal or something; so much time spent maintaining a stern, academic tone can be suffocating. So let’s get wacky, why don’t we! Just like Bertie in The King’s Speech, let’s throw off the shackles of pomp and circumstance, and start acting… well, acting however the hell we want to. After all, as Sean Parker says in another Oscar nominee, “This is our time.”
Yeah, I’m just all intoxicated with the joy of freedom, movies, and awards season (even if all the awards are just the problematic, self-congratulatory products of industry politics), and I want to write, write, write! So first of all, I want to write about a subject near and dear to my heart: horror director Lucky McKee (of May fame). As you may have heard, he recently had a film debut at Sundance. It was largely overlooked in the midst of all the Red State hoopla, but it sounds fascinating and disturbing—always the best combination.
It’s called The Woman and it involves the feral, nonverbal woman of the title being taken in and “educated” by the abusive, sociopathic patriarch of an average American family. Sound deeply weird? Yeah, I think we’re in prime McKee territory, folks. Better yet, The Woman‘s premiere screening was the site of a hysterical outbreak by one particularly vocal McKee detractor, who declared that “this film ought to be confiscated, burned… there’s no value in showing this to anyone!” You can watch footage of the event at the link above. Oh, and a woman was injured trying to walk out of the screening. You can read McKee’s well-reasoned response here.
And yes, as indicated by the picture above, I did watch The King’s Speech immediately after the nominations were announced. It didn’t exactly set my world on fire. It’s occasionally cutesy, and shows some fine British dry wit in its best moments, but for the most part, it’s just well-mounted historical fluff. Compared to something like The Blind Side, certainly, it’s high art—I’m not exactly outraged that it’s posed to possibly sweep the Oscar race—but it’s hardly in the league of daring, even ingenious films like The Social Network, Black Swan, or Winter’s Bone.
I love HBC as much as the next weirdo, but it’s sad to see her nominated for a role where she mostly just smiles and nods, when she’s done such ferociously good work in the past. And seriously, Geoffrey Rush is anything but a Supporting Actor. That’s just silly. But I’ll get more into all of this as February 27 approaches (and with it, my 21st birthday!). For now, suffice it to say that The King’s Speech was, to quote the impression my friend Rebekah had gotten, “pretty OK.” With that, may an era of renewed blogging begin! (Oh, and fun fact: did you know that HBC is nobility, as well as the great-granddaughter of a British PM? Like Wallis Simpson, Tim Burton clearly quasi-married above his social station!)