For Your Consideration: Feb. 20, 2015

It’s a very special weekend, everybody: we have finally reached the end of the season of famous people giving shiny statues to other famous people. Who will triumph at the Oscars? “Birdman?” “Boyhood?” “The Imitation Game?” We’ll find out on Sunday night. But right now, we’re combining our Academy Award celebration with this weekend’s OTHER major event: yes, I’m talking about the release of “Hot Tub Time Machine 2.” Come take a step back through Oscar history with us, won’t you?

– Ethan

“Eternal Sunshine of the Spotless Mind” (2004)

Cast: Jim Carrey, Kate Winslet, Mark Ruffalo, Tom Wilkinson, Kirsten Dunst, Elijah Wood, Jane Adams, David Cross

Available to rent or purchase from iTunes, Amazon Instant and Vudu, on disc from Netflix

10 years ago, Michel Gondry’s modern masterpiece only managed two Oscar nominations – Best Actress for Kate Winslet (deserved, though she somewhat pales in comparison to Jim Carrey’s unrecognized, career-best work opposite), and Best Original Screenplay. For comparison, “Finding Neverland” got six nominations that same year. So it goes. At least, in the best victory of the night that was otherwise dominated by milquetoast offerings like “Million Dollar Baby” and “Ray,” Charlie Kaufman took that screenplay award. The writer’s branch has always been the most daring part of the Academy when it comes to nominating genuinely great, oddball work, and this time even the rest of the membership couldn’t ignore the dazzling inventiveness and melancholy of Kaufman’s sci-fi-rom-com scenario.

– Ethan

“Ed Wood” (1994)

Cast: Johnny Depp, Martin Landau, Sarah Jessica Parker, Patricia Arquette, Jeffrey Jones, G.D. Spradlin, Vincent D’Onofrio, Bill Murray, Mike Starr, Max Casella, Lisa Marie

Available to rent or purchase from iTunes, Amazon Instant and Vudu, on disc from Netflix

20 years ago, Tiny Ethan was glad to be not yet old enough to recognize cinematic injustice. But I’ve had plenty of time since to make my distaste for “Forrest Gump” known, so we won’t linger on that. One of the few categories that wasn’t taken over by Zemeckis’ saccharine juggernaut was Best Supporting Actor, where Martin Landau was deservedly recognized for his work as aging film star Bela Lugosi in Tim Burton’s paean to the titular “worst director of all time.” This was something of a career award, the kind the Academy so dearly loves to dole out, for Landau: he’d come up with the Actors Studio decades earlier in New York City, befriended James Dean and Steve McQueen, and had two previous nominations (“Tucker,” “Crimes and Misdemeanors”) among his many workhorse credits. But Landau is also fantastic in “Ed Wood:” an appropriately Z-movie take on Norma Desmond, delusional and fierce and sympathetic, a former great at the end of his rope. It’s quite possibly the best acting performance ever put forward in a Burton movie – challenged, I think, only by Depp in the same film.

Ethan

“The Godfather, Part II” (1974)

Cast: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, Talia Shire, Lee Strasberg, Michael V. Gazzo, G.D. Spradlin

Available to rent or purchase on Amazon Instant, iTunes and Vudu, on disc from Netflix

40 years ago, the first and only sequel ever to take Best Picture triumphed over one of the toughest (if a bit top-heavy) fields in Oscar history. I mean, how do you vote between “Godfather II,” Coppola’s other masterpiece “The Conversation,” and “Chinatown?” Some of the other choices might have been easier, though: Coppola’s father Carmine winning for Best Original Score was a decent way to make up for the controversy surrounding Nino Rota’s score for the original two years earlier; meanwhile, despite Fred Astaire standing as a sentimental favorite for his turn in the star-packed “The Towering Inferno,” Robert De Niro’s far superior performance won over in Best Supporting Actor – despite the actor, Hollywood royalty now but largely unknown at the time, never speaking a word of English in the film.

– Ethan

R.I.P. Gordon Willis

It is a great misfortune to report that Gordon Willis, one of the true titans of American cinematography, passed away on Sunday in Falmouth, Massachusetts. I haven’t seen any cause listed, but he was 82.

Willis will generally be defined by his prominent collaborations with three major directors: Francis Ford Coppola, Alan J. Pakula and Woody Allen. Willis essentially set the aesthetic for an entire generation in masterpieces like “The Godfather” and its sequel, “All the President’s Men,” “Annie Hall,” “Stardust Memories,” “Pennies from Heaven,” and, of course, his luminous, transcendent work in Allen’s “Manhattan.”

His most famous images undoubtedly come from the latter, and rightly so: Allen and Diane Keaton sitting in the shadows under a sparkling, almost spectral Queensboro Bridge is a dream of a dream, all of pop culture’s impressions of New York City distilled in one shot. But at the end of the day, I have to say my personal favorite of Willis’ films might be another Allen collaboration, “The Purple Rose of Cairo.” The silver screen lost its literal silver many years ago, but I think Willis’ stunning work on Allen’s Depression-era fable evokes the shimmer and sheen of early film better than a 1980 color film has any business doing. If you needed someone to visualize the beautiful, terrible power of cinema, you couldn’t ask for any better than Willis.