As you’re reading this, the Oscar voters have already made their final selections for each category of the Academy Awards, and there’s nothing left to do but wait for the results at the awards ceremony on Sunday. It got me to thinking, what kind of case has each Best Picture contender made for their shot at the award? Below are arguments that could be made, regardless of if I agree with them or not (I don’t completely, and obviously I personally am more or less fond of certain ones), as well as avoiding the precursor results. Later on, there will be a spot as usual for you to let us know the case you’d make for your personal picks in these groups (or all of them if you so desire), but for now, this is how I see it…as objectively as possible. In short, this how I think each film would pitch itself to voters at the last minute if they were standing on even ground going into the ceremony. Yes, I’m a bit bored in Florida (for those of you who know I’m temporarily out of New York City until sometime next month), but any writing is better than no writing. Anyway, here goes nothing…
The Artist- A tribute to an era of film that never really got its due from the Academy, it’s a classical tale with a happy ending, production values that honor both the old and the new, along with simply being one of the most unique nominees in a long time. Across the board support would definitely be achievable due to its strong acting as well. I feel like this would be an easy sell to voters no matter what, though when you bring nostalgia into play, you’re always doing a good job of helping out your cause. A comparable Best Picture winner might be Chicago.
The Descendants- The most emotional work yet from one of the best directors never to see his film win Best Picture or his work behind the camera honored with Best Director, voters could see this as the most pure “actors” film of the group as well. Alexander Payne’s “due” factor wouldn’t hurt, and since its early precursor love wouldn’t be factored in, there wouldn’t be the backlash that we’ve seen of late, making it a real strong player for Oscar members. A comparable Best Picture winner might be Terms of Endearment.
Extremely Loud & Incredibly Close- The resident tearjerker of the group, the case here is that no film brought out stronger emotions from a tougher premise than this one. You also have a consistently honored director and screenwriter doing different work than normal for them. Voters who cried more than once could be inclined to check it off. Worth noting is the fact that it’s a 9/11 film that was embraced by the voters, and very few of them have so far, so that’s a badge of honor for the movie. A comparable Best Picture winner is harder here, but I’d say Platoon or Rain Man are the best fits.
The Help- An appeal here to a difficult part of American history, you also have a large cast ensemble all doing showy work. Backed by Disney, it’s the type of film that could solidify the female vote and work as an appropriate flick for multiple age groups in a way that most of the other nominees (with one exception) can’t while also being the rare Best Picture nominee to not be an all white cast affair. This is another case of a movie with potential for across the board appeal from members helping its cause. A comparable Best Picture winner would be Driving Miss Daisy or Slumdog Millionaire.
Hugo- The rare live action children’s film (although it’s more than that) up for the top prize, this also has the added benefit of three things. One is Martin Scorsese as the director, doing something very different than he’s ever done before. Another is this being another love letter to cinema, and this one being about film preservation as well, something near and dear to plenty of members’ hearts besides Scorsese himself. The other thing is the strong and showy technical aspects, which can unite voters. A comparable Best Picture winner of sorts would be Oliver! or The Sound of Music.
Midnight in Paris- What could be the final chance to honor Woody Allen with the top prize could weigh in on the minds of voters here. A focus on how this the most purely enjoyable nominee of the group and a great case of escapism and wish fulfillment for audience members would help in the sell as well. Someone who is at least a bit jealous of the main character’s journey in the flick could combine that with their love of Allen and give him what could turn out to be one last salute (he is getting older, and the Academy doesn’t nominate him as frequently these days as they used to). A comparable Best Picture winner would be The Departed or Forrest Gump.
Moneyball- The rare sports movie up for the big Oscar, voters who love America’s Past Time and underdog tales in general could see fit to cast their vote in this direction, while on the flip side the business and personal quest aspects of the movie would be able to assist in getting other members to not even think of it as a baseball or sports flick. It’s also the sole biopic (or as close as you’re going to get out of the nominees) of the class this year, which helps its case to a degree, though it’s hardly the be all-end all (honestly, it’s writing would be a bigger draw, as it’s the wittiest of the nominees). Focusing on the underdog tale of Billy Beane and the Oakland Athletics would be its surest path to votes. A comparable Best Picture winner would of course be Rocky.
The Tree of Life- One of the most experimental films ever nominated for Best Picture, that rebellious aspect could catch on with enough members to give it the votes needed for a win. Consider the rare movie output by the reclusive director and the fact that no flick this year is more unique, and the temptation to have a winner so different from any other in history would be a great selling point. Being among the most visually stimulating and beautiful films of this or any year is a plus too. A comparable Best Picture winner is almost impossible, but the closest might be The Lord of the Rings: The Return of the King or The Silence of the Lambs.
War Horse- A throwback war epic that voters could see as the most traditional Best Picture contender of the bunch, it might be all but muscle memory to vote for this, while still being different enough by focusing on a different war than is the norm. Steven Spielberg in the director’s chair doesn’t hurt things either in the least. Beautiful technical work and happy ending combine to make this the kind of thing that an Academy member looks at as being a worthy winner if they found the quality to be on par with what they’ve voted for in the past. A comparable Best Picture winner would be All Quiet on the Western Front.
Obviously this doesn’t completely take into account the reality of the situation, but it’s interesting to wonder how you might look at these nominees if they were each on equal footing with each other for the award. Best Picture is really down to either The Artist or The Help, with The Descendants, Hugo, and The Tree of Life likely to get their share of votes as well, but for a moment it was fun to look at the race a little differently. Anyway, now it’s your turn…what case would you make for each of the nominees for Best Picture? Have at it!
-Thoughts? Discuss on the Forum!
Joey Magidson
February 22, 2012 at 4:26 am
Personally, my vote would be for either The Descendants, Midnight in Paris, or Moneyball, but I can see the appeal for all 9, obviously.
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Alex
February 22, 2012 at 4:40 am
My vote is between The Artist, The Descendants, The Help, Hugo or War Horse. Was hoping War Horse would get more love, but you can’t get your own way all the time can you?
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Joey Magidson
February 22, 2012 at 3:16 pm
Indeed.
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Alex
February 22, 2012 at 4:43 am
Also, I kinda think the whole Nine nominations is a bit too much. All it’s really done is dilute the honour of a nomination. I mean Extremely Loud had been deemed a flop by all, yet it has a 9-1 chance of winning Best Picture. What does that tell you?
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Joey Magidson
February 22, 2012 at 3:17 pm
I’d rather it just be the standard 10, but that’s me…
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Thomas
February 23, 2012 at 12:19 am
I wasn’t sure what to make of the Top 10 after having 5 my entire life; but after looking at my list of films I watched that were released in 2011 I was astounded to total them up and come up with 307 of them!
“Back in the day” there weren’t even close to that many being released and if you consider that I still missed several other releases … 10 of 350+ is what percent?!? I think that if you look at it that way we cannot see it as a dilution of quality.
But that is just looking at the numbers. It is human beings that vote for them. That fact (and knowing that “to err is human”) is the only explanation of Extremely Loud. It manipulatively pulled the heartstrings of sentimental people and won some votes (truth be told I am a Daldry fan; but this … *shudder*). It may have also had a rather competitive campaign behind it …
When you say “flop”, what do you mean by that word (exactly)? Are you speaking in terms of critical praise or box office? It is BY FAR the film with the worst critical reception (although the ones who liked it apparently LOVED LOVED LOVED it) but a LOT of these films are not HUGE box office winners as only ONE has made over $100 million at the US box office (The Help). Most of them have made between $80 to $50 million and are modest hits — except for Loud and The Artist (@ $30 and $28 million, respectively).
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Joey Magidson
February 23, 2012 at 5:06 am
Yes, it’s the poorest reviewed Best Picture nominee to date.
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JDTSEK
February 22, 2012 at 5:07 am
Although it’s unlikely, owing to the lack of either a Screenplay or Editing nomination, I really hope The Tree of Life wins it. It’s my pick for the best of the nominees (although it only ranks #6 on top 10 of the year), and a more personal, ambitious, and awe-inspiring nominee you’re not likely to find.
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Joey Magidson
February 22, 2012 at 5:12 am
It certain;y has that going for it…
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Joey Magidson
February 22, 2012 at 5:12 am
Certainly*
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Matt
February 22, 2012 at 8:42 am
My pick, out of these 10, would be Moneyball, if I had my way. But honestly I feel this going to The Artist, or Hugo. Most likely The Artist. I loved The Descendants too, but The Artist and Hugo have too much going for them for Descendants to win.
This was a terrible year for nominees in my opinion, but a great year overall for movies. Many films were left out, like Drive, and Take Shelter, that were amazing.
But of the nominees, I’d choose Moneyball. It grows on you the most (of the nominees), and that’s the sign of a great film, imo.
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Joey Magidson
February 22, 2012 at 8:51 am
Pretty much, and a fine choice on your part.
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sc62788
February 22, 2012 at 12:06 pm
I’ll second the ToL sentiments from the second poster. It is, like the article says, hard to find something like it among past winners. It’s a completely unique experience and Malick is far from your typical director/writer. That could be the same reason it doesn’t win though. War Horse is nominated (like so many others) because it fits the bill of what a ‘great film’ or best picture nominee should be. Having seen all of them though, I’d say the ones that stand out as unique and worth consideration are ToL, Moneyball. and The Artist. They each offer something different, or a different take on something we normally see, in contemporary filmmaking in different aspects of their productions. Whether it’s the script (Moneyball), the performances (Artist), or the near purely visual storytelling (ToL), they’re each far from what we normally see in this category. The Descendants and Terms of Endearment is an apt comparison (if not completely accurate). Both seem to be strictly grabs at sentimentality and based around a single performance (except Terms had a much better one). The Help just seems far too simplified and while Viola Davis is great, the movie around her isn’t up to her level. Hugo is too long for children and, for me at least, not interesting enough for an adult as an adventure story. EL&IC is a decent movie, I just wish more of the novel’s story had come into play. Midnight In Paris is charming, but needed a bit of editing. It certainly has the wit of classic Woody Allen, but the writing outshines some of the performances. Woody Allen movies are truly great when the actors and the writing are of equal power (i.e. Annie Hall, Hannah and Her Sisters). And War Horse is just…War Horse. It’s a paint-by-numbers movie that isn’t bad, but isn’t anything exciting or different from someone who many people claim to be one of the greatest storytellers in the business. I just think he could’ve done something else this year instead. Looking forward to Lincoln.
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Joey Magidson
February 22, 2012 at 3:19 pm
Interesting thoughts. Don’t agree with them all, but certainly valid opinions.
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sc62788
February 22, 2012 at 3:13 pm
That was a lot. Oops.
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Joey Magidson
February 22, 2012 at 3:18 pm
No worries.
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Gregory Roberts
February 22, 2012 at 4:37 pm
Of the films nominated my vote is for Midnight in Paris.
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Joey Magidson
February 22, 2012 at 4:56 pm
A fine selection, to be sure.
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Massimo
February 22, 2012 at 9:15 pm
The Artist
- it scores on all fronts (all of the other nominated films have at least one weakness)
Tree of Life
- because of the films ambition
- sheer beauty of the film and its groundbreaking visuals
- impeccable direction
- top notch acting (chastain,pitt and mccracken)
Hugo
- of the nominated it achieves the highest honor on the technical side (stunning use of 3D)
- very well directed
- well done on the craft side
Moneyball
- one of the best sports films to come along in quite some time
- flawless screenplay
- well acted
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Joey Magidson
February 23, 2012 at 5:15 am
Well done.
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Alex LoSchiavo
February 22, 2012 at 11:19 pm
Hahaha, Midnight in Paris is similar to The Departed. Got a laugh out of me!
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Thomas
February 23, 2012 at 12:21 am
I laughed at that too … and scratched me head.
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Joey Magidson
February 23, 2012 at 5:10 am
Thomas- See my explanation to Alex…
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Joey Magidson
February 23, 2012 at 5:10 am
Alex- Has to do with perhaps thinking now’s the time to honor a veteran filmmaker before it’s too late.
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