Johnny Simmons

I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.

   

     

I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.

     

MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.

    

Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy knows how to up the adrenaline and he does it here, pulling out all the stops.

     

This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.

    

It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.

   

The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.

     

This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.

       

I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey’s house to find important evidence. The screen is taut with tension and shot by shot Jackson keeps up hooked. It’s also a strong moment for Tucci who sells his character without words. What thrill ride.

     

Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.

    

Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.

     

It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.

      

I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.

     

I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.

It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.

    

I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.

     

Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
      

The coming of age film (regardless of what genre it hides itself in) is one that filmmakers and audiences often latch on. It’s not always the literal coming of age (though it sometimes touches on becoming an adult) – from Juno to Almost Famous to Mean Girls. Either could be fall into the category, and this year we had quite a few. Two came from Sundance. Precious (review) and An Education (my three reviews) both centre on their heroines as they are edified about life and its machinations. I suppose standing next to Clarice Jenny’s story could lose some its significance, but even though she doesn’t suffer at the hands of psychotic mother her coming of age is still as poignant and precious (yes, I went there) as her teenage counterpart. Education, in its basest form, plays an important role for both girls. Ms. Rainns and Ms. Stubbs are the two important teachers in each girl’s life. Though Jenny spends most of her time ignoring the importance of her education and Precious spends most of her time doubting her potential. Two beautiful moments in each film occur because of these women. My favourite moment in Precious is when Paula Patton completely sells her line “I love you!” It’s a strong moment for Gabourey but Patton’s delivery is on point. Similarly, in An Education Olivia Williams shines in her plea for Jenny to remain in school, "You can do anything you want to."

                   

Ellen Page’s Babe Ruthless doesn’t come of age in school, she grows on the track. I wonder if I misjudged Ellen Page? Juno didn’t do anything for me, but I’m awaiting her next venture before I make a decision. Unfortunately for Susie Salmon she doesn’t get the chance to revel in her education or in sports. Her life is snatched from her as a teenager and her coming of age is the most curious. She is fourteen for the entire film, yet she must grow as much as the years continue. The terror in her eyes as Tucci closes in on her in that pivotal scene is one of the strongest acting scenes of the last year. It’s a prodigious performance even if the film was panned, but you all remember how I felt about those Lovely Bones. The coming age film that should be getting such horrible reviews should be I Love You, Beth Cooper (my only F last year). The less said about the film, the better. But I do wonder how the bland Hayden Panneteire would try to sell a scene opposite Tucci if she was on Ronan’s shoes – not very well, I presume.

              

In The Young Victoria Emily Blunt must play the young Queen as she grows before her eyes. On the basest of levels, perhaps Miranda Richardson could shake hands with Mo’Nique’s Mary Jones, but then again no. Miranda’s seeming impassivity is not a sign of hatred, or jealousy she’s just a queer mother. There’s a pivotal (somewhat) scene in the film regarding a shooting and I love the shot of Miranda immediately after – no words, but her very face haunts me, even if the film is only okay. In Where the Wild Things Are Max doesn’t quite come of age as the film ends, I can’t be too sure if he’s learned anything – unlike Coraline (which incidentally would fit right into this category) I can’t discern any realisation of the importance of his family at the film ends. But, I suppose, that’s all moot.

              

American Thanksgiving has come and gone and as December begins and Christmas draws nearer a young movie blogger’s fancy turns to Oscar buzz. It seems the norm. as the year draws nearer, all the prestige pictures are released and we can’t help but contemplate who will win what – and we predict. But I don’t predict the Oscars. I just don’t have the heart. Sure when it’s a few days before I’ll get a list of who I think will we nominated. I’m actually quite good at that, but I don’t have the longevity like some for year round predictions. I suppose then you’re wondering what exactly the title of this post means.

               

I’ve seen a little over thirty films of 2009 so far – not outstanding, but considering it’s not that bad. I’m already wondering what my own personal awards will look like next February. There are a host of films I’ve yet to see. But that only makes it interesting. Still, with only a few important titles under my belt I’ve already taken a liking to a few of the Supporting Women in films I’ve seen thus far. So I’ll take a look at them whilst looking ahead at the women who’re likely to uproot them.

           

Maria Bello in The Private Lives of Pippa Lee

Kristin Chenoweth in Into Temptation

Patricia Clarkson in Whatever Works

Marion Cotillard in Public Enemies

Diane Kruger in Inglourious Basterds

              

Each of these five women with their limited roles do much to improve their respective films. I’d have loved to have any of these women in my top 5 in any particular year, so I must pay tribute to them now since it’s likely that few if any will remain in my top ten by the time I’ve seen all the films I want to.

            

Nine: Marion Cotillard, Penelope Cruz, Judi Dench perhaps Nicole Kidman or Kate Hudson

I know Cotillard is being campaigned in lead, but she’ll probably be supporting for me. If Nine hold up it could easily take three spots in my end of year awards.

The Lovely Bones: Susan Sarandon and Rachel Weisz

It’s very possible to see both these women taking a spot in my top ten or even the top 5. I’m looking forward especially to Susan Sarandon who was probably my favourite actress of the nineties.

         

Precious: MoNique, Mariah Carey perhaps Paula Patton

I won’t try to escape the buzz for Precious. I wonder if MoNique will top my awards... Still I am a fan of hers and she could very well take a place, and if Mariah is as amazing as they say, who knows?

          

Up In the Air: Vera Farmiga or Anna Kendrick

Vera Farmiga is my biggest draw to this film, and if she’s good she could end up here. I’ve been hearing good things about Kendrick, so she too could make a play for it.

           

Julianne Moore in A Single Man: With a little cameo she’s scintillating in The Private Lives of Pippa Lee in a nondescript role. I only wonder what she’ll do with a proper role here. I hope she doesn’t disappoint.

     

Natalie Portman in Brothers: I’m keeping my fingers crossed here. The trailer seemed promising enough.

                 

Drew Barymore in Everybody’s Fine: No one’s predicting this, but not being Oscar worthy doesn’t mean I won’t like it. Maybe I’ll like it, or maybe I won’t. But I’m looking out.

                  

Rosamund Pike in An Education: I was a fan of this young lady in Pride & Prejudice. I’ve never been a hater of a performance based on screen time, and regardless of how short this is, if I’m impressed so be it. we’ll see…

                

Marcia Gay Harden in Whip It: I should have seen this by now. Marcia has topped my Year End Supporting Actress list twice, will this be enough to land her there again? I doubt…but she could be in the running.

We don’t have the four seasons in my part of the world, but the four seasons are common knowledge. Although I generally think of the entire period from September to December as fall: which is of course inaccurate. Still, I can’t wait for that season that I so lovingly refer to as The Movie Glut Season. And of course that’s why I can’t wait – movies of course. All the movies that I really want to see are going to be coming out in the next four months.

# 9 – Where The Wild Things Are
I didn’t know much about this, but it seemed promising. A little research on the original and it does look good. A quirky 3D experience? Why not?

# 8 – The Princess & the Frog
This is so obviously the little child in me coming out. This was the first children’s book I had. I don’t know where the hell it is right now, but moving on. This is the first conventional animated film Disney has done in a loooong time…and it’s about time because I am sick of 3D. Anika Noni Rose, who deserved an Oscar nomination for giving the best performance in Dreamgirls, plays the first African American Disney Princess in a retelling of the story. I cannot wait, and I hope that the music is good. God, I am such a child.

# 7 – Avatar
James Cameron and Sigourney Weaver? I was in like that and I didn’t know crap about this movie. So I finally got some background information on it, and although one of its selling points is that horrific 3D thing everyone’s been going crazy for, I can’t wait for this. So in the battle of Andrew vs 3D… yeah 3D wins. I am so weak.

# 6 – Agora
Rachel Weisz. Yeah! She’s essentially carrying the film, which I don’t think she’s ever done before. So, this is a great opportunity for her. This looks like an action drama and given the teaser information I’ve gotten about it, I cannot wait!

# 5 – Bright Star
I’m sort of hooked on British Period films, and although I know Jane Campion is not going to go exactly conventional I cannot wait. I like literature and I heard that Paul Schneider is good in it. I'm still holding out that Ben Whishaw will be good in this though, although Oscar will undoubtedly overlook him.

# 4 – An Education
Ah, the British. I love them. This is not a typical British Period film but it’s not exactly far off. Mulligan impressed me in her bit role in Pride & Prejudice and Sarsagaard deserves a plum role. I’m still hopeful about Rosamund Pike and I must have been the only person who enjoyed Chocolat and Alfred Molina in it. So…count me in.

# 3 – The Lovely Bones
Aaah. Rachel Weisz. I had a major crush on her in The Mummy and it sort of intensified with The Constant Gardener. Soairse Ronan – hopefully I can believe her as someone other than uber bitch Briony Tallis. Stanley Tucci – finally he’s getting a plum role after years of insignificant crap. And they gave him hair, which is good. And finally Mark Wahlberg, after Max Payne he can only go up. Peter Jackson has done Heavenly Creatures, The Lord of the Rings, King Kong and they have all been good. This looks promising. Oh and don't think I forgot Susan Sarandon. She ruled the Oscars in the 90s and finally she's back in business. I'm just hoping that this performance is worthy of her.

# 2 – Shutter Island
Scorsese is my favourite director and I loved his last feature so I’m all in for this one. Not only does it have Leo and Emily Mortimer which would have been enough it also has Mark Ruffalo. Add that to two great actors – John Malkovich and Patricia Clarkson who need some awards recognition and what do you have? Me waiting patiently. What the hell more do you need? Seeing that the AMPAS don't worship him like they do Eastwood I fear that they'll not embrace this film. I don't really care though. It's going to be great and I'm going to love every second.

# 1 – Nine
I cannot wait. Unlike other recent musicals I’ve been invested in the music of Nine before the movie came so I’m already imagining how it’s going to line. And boy, I cannot wait. Of course, that just means I’ll be more disappointed if it sucks – or if they cut the songs. But I’m optimistic; in fact I’m very confident. And I’m waiting (im)patiently.



What are you looking forward to in the fall?