Faith-Based Oscar Disqualified Song Creates Controversy
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For the first time ever, the Motion Picture Academy has disqualified a nominee for ethical reasons. The nomination of “Alone Yet Not Alone” as best song came as a surprise. Most people had not heard of the song or the movie it came from, a small, faith-based film of the same name.
The song was disqualified because its composer, Bruce Broughton, sent out an email to his friends in the Academy asking them to consider it for an award. While “for your consideration” lobbying is widespread, what concerned the Academy was that in this case it was coming from a former official of the Academy and was therefore seen as implicitly and improperly endorsed.
Now, according to the LA Times, there is a backlash, accusing the Academy of applying a different standard to small, independent films than it does to big studio movies.
Broughton has cried foul, saying he was simply trying to draw attention to his independent movie, as many in Hollywood do during awards season.
“They had previews and parties and huge promotion,” Broughton said of the studio campaigns for Oscar-nominated songs from other films, which include box-office hits such as Disney’s “Frozen” and Universal Pictures’ “Despicable Me 2.””We had no budget. There’s no Oscar campaign. All there is is this really stupid email that went out to about 70 people saying, ‘Please look at my song.'”
After sending out its statement Wednesday, the academy offered no further comment on Thursday. But already the story had gained traction, with “CBS This Morning” bringing Broughton on the air and conservative-leaning outlets such as the Drudge Report and the Washington Times setting up a Hollywood vs. Middle America battle.
“Christian Film Stripped of Oscar Nomination,” a headline blared on Drudge.
Even some in Hollywood thought that Broughton, a music personality, longtime head of the music branch and a USC professor, had been given a raw deal.
The Ylvis song What Does the Fox Say is an international hit and there have been many parodies, like the Kerry Washington skit on SNL. I love this Quaker tribute to founder George Fox, funny, sweet, and inspiring at the same time. Many thanks to Wendy Shuman for sharing it.
“Film Noir” (“black films”) usually refers to the stylized dark crime films of the 1940’s, usually made by German directors who came to the United States to escape the Nazis. Their cynicism, sense of dread and loss, and themes of betrayal, obsession, and sin gave their stories of crime and mystery an archetypal feeling. Two of the best can now be seen for free.
A neglected gem from Orson Welles, “The Stranger” is the story of an investigator (Edward G. Robinson) who is tracking down a Nazi war criminal (Welles), now living a quiet life as a professor and married to a woman (Loretta Young) who knows nothing of his past. The climax in a church belfry tower is brilliantly staged.
Edward G. Robinson also appears in the less characteristic role of a mild-mannered professor who gets caught up in a web of deception and betrayal in “The Woman in the Window.” The ending is a disappointment, but the direction by Fritz Lang is a masterpiece of noir mood.
Richard Linklater (“Before Midnight,” “School of Rock”) is going to direct a remake of the Don Knotts fantasy The Incredible Mr. Limpet, made in 1964 but set in the early days of the second World War. It’s the story of a shy fish-loving bookkeeper who turns into a fish and helps the Navy locate German U-Boats. The original trailer is something of an artifact of its own, featuring television personality Arthur Godfrey.
On the surface, “Labor Day” feels like would-be Nicholas Sparks, a syrupy romance about two people with damaged hearts finding a healing love in a picturesque setting. But like a pretty chocolate candy with a filling that turns out to be surprisingly sour, this film based on the novel by Joyce Maynard is poisoned by Maynard’s trademark narcissism and her notion of love that never progressed beyond pulp-infused fantasies. For Maynard, the only purpose of perfect love is to be endlessly worshiped by everyone, including a hunky guy who can literally and metaphorically clean her gutters and change her oil and also bake overripe peaches into a swoon-worthy pie, no measuring cup needed.
Those themes can be and have been turned into compelling stories, even literature. But that requires a level of self-awareness that is utterly beyond Maynard, or, apparently director Jason Reitman, who wrote the screenplay based on her book. Compare her novel, To Die For, based on the real-life case of the young wife who persuaded her 15-year-old lover and his friends to kill her husband, to the far superior movie starring Nicole Kidman and Joaquin Phoenix. Thanks to screenwriter Buck Henry (“The Graduate”) and director Gus Van Sant, one key difference is that the film version slyly tweaks her story. The film has some perspective on its clueless, narcissistic, chocolate spider of an anti-heroine (a sizzling portrayal by Kidman), while Maynard’s version seems to suggest that it sure would be nice to be so loved that you could talk someone into killing for you.
And that brings us to this story, in which Adele (a game but pasty-looking Kate Winslet), a depressed and fragile single mother, is unreservedly loved not just by her 13-year-old son Henry (Gattlin Griffith) and by Frank (Josh Brolin), the escaped prisoner who takes her hostage (but in the most gentlemanly way possible, performing all kinds of handyman chores, teaching her son manly throwing skills, being kind to a kid in a wheelchair, and making the gooey, luscious, no measuring cups allowed pie). Even (spoiler alert) the ex-husband (Clark Gregg) has to chime in as well with the ultimate fantasy of the wife left for the babysitter — a confession that the ex-wife was just too beautiful and deep and all-around fine for him to handle. The narrator is the now-adult son (Tobey Maguire), looking nostalgically back on end of the summer of 1987, when his efforts to cheer up his mother included a “Husband for a Day” coupon book. Maynard has said this was inspired by a gift from her own son. The film conveys no understanding that this might be evidence that she should be more careful about boundary issues (even worse is her sex talk) or that it is parents who should care for children, not the other way around.
Henry has outgrown his clothes, so he has to cajole Adele into a rare trip to the store. There he is sized up by Frank, bleeding and wounded, who grabs a hat and sweatshirt from the rack and tells Adele that Henry has agreed she will give him a ride. He tells her to drive him to her house, and then he tells her he will just stay until dark. But pretty soon he is literally and metaphorically oiling her hinges. Politely tying her up just to preserve her deniability in case he is found, he takes a few ingredients he finds in the kitchen and whips together a succulent chli, feeding her almost tenderly. And then a neighbor comes over to drop off some ripe peaches, and they make every attempt to do to pastry what “Ghost” did for a potter’s wheel. Unfortunately, it does to pastry what the many spoofs of the potter’s wheel scene have done instead.
Hunky as he is, we are never in thrall to Frank as Adele and Henry are. His handyman perfection and meaningful glances are just too over the top and the backstory, when it finally comes, does not satisfy our need to understand and forgive him. The entire last third of the film involves so many bad decisions — no, not just bad, catastrophically imbecilic — that we lose our sympathy for just about everyone involved.
Parents should know that there are some disturbing images of a bloody wound and a homicide and an off-camera very sad death of an infant. There are sexual references and references to adultery and non-explicit situations. Characters are in peril and there are some uncomfortable family interactions.
Family discussion: What did Frank and Adele understand about each other? What could Gerald have done to be a better father? Why did Henry want to stay with his mother?
If you like this, try: the books and movies from Nicholas Sparks and “The Bridges of Madison County”