Entertainment
Oscars 2022: Final predictions in all 23 categories
This 12 months’s Oscars are all about wild swings. A minimum of that’s how the present’s producer, Will Packer, is placing it, and who am I to argue with the man who dares to maneuver eight Oscars off Sunday’s stay telecast to make room for … properly … who is aware of. Packer guarantees a ceremony that can be “important, kinetic and related,” and with a skateboarder and snowboarder in the home, it appears to be like like he’s acquired the “kinetic” half coated.
We’ll wait and see concerning the different two buzzwords.
With the Oscar ceremony’s traditions being turned the other way up, it feels applicable that the awards themselves are in all probability going to go their very own method this 12 months, bucking precedents left and proper. You desire a finest image winner with solely three complete nominations? “CODA” has you coated. How a couple of director successful an Oscar, however her film getting nothing else? It’d occur with Jane Campion and “The Energy of the Canine.”
What different surprises are in retailer? Listed here are my closing predictions for the 94th Academy Awards, making observe of the classes that may very well be ripe for an upset.
BEST PICTURE
“Belfast”
“CODA”
“Don’t Look Up”
“Drive My Automotive”
“Dune”
“King Richard”
“Licorice Pizza”
“Nightmare Alley”
“The Energy of the Canine”
“West Aspect Story”
Will win: “CODA”
Ought to win: “Drive My Automotive”
Might shock: “The Energy of the Canine”
After I noticed “The Energy of the Canine” shortly earlier than the Telluride Movie Competition, I wrote that Campion might win the director Oscar, however the film itself would fall brief. On the time, I figured it will be knocked off by one thing I hadn’t seen but — “West Aspect Story,” “Don’t Look Up,” possibly “Home of Gucci.” (RIP.) I can’t fairly consider that the probably Oscar winner is a film I had seen months earlier than on the (digital) Sundance Movie Competition, a stunning coming-of-age story that may nonetheless scale back me to tears even after seeing it a number of occasions.
I underestimated “CODA.” And even after the room exploded with applause after it gained the Display Actors Guild Awards’ ensemble prize, I nonetheless had my doubts. “CODA” earned simply three nominations, with no nods for director Siân Heder or movie editor Geraud Brisson, classes a film traditionally must win finest image. (1932’s “Grand Lodge” was the final film to win finest image with out not less than one among these nominations.)
Ultimately, these omissions probably gained’t matter as a result of individuals simply love this film. Its story of familial connection is common, whereas spotlighting Deaf actors in a groundbreaking trend. It’s a feel-good film for a feel-bad period. “Canine” might nonetheless prevail if it lands excessive on the preferential ballots of academy members voting for different auteur-driven movies like “Drive My Automotive,” “Dune,” “Nightmare Alley” and “Licorice Pizza.” However the “CODA” crew has already visited the White House this week. It seems like a executed deal.
DIRECTOR
Kenneth Branagh, “Belfast”
Ryûsuke Hamaguchi, “Drive My Automotive”
Paul Thomas Anderson, “Licorice Pizza”
Jane Campion, “The Energy of the Canine”
Steven Spielberg, “West Aspect Story”
Will win: Campion
Ought to win: Campion
Campion successful her first directing Oscar has lengthy felt as sure because the queen outliving us all. Her clapback towards actor Sam Elliott, who had crudely criticized her film on Marc Maron’s podcast, didn’t sit properly with some voters, and she or he later discovered that it’s all the time finest to not communicate off the cuff when accepting an award. However these misadventures additionally reveal a lady who isn’t slick or calculated, in her artwork or in dialog. She’ll win — and can probably have a speech on the prepared this time.
LEAD ACTRESS
Jessica Chastain, “The Eyes of Tammy Faye”
Olivia Colman, “The Misplaced Daughter”
Penélope Cruz, “Parallel Moms”
Nicole Kidman, “Being the Ricardos”
Kristen Stewart, “Spencer”
Will win: Chastain
Ought to win: Cruz
Might shock: Cruz
Three weeks in the past, I wrote that the “solely certainty on the subject of this 12 months’s lead actress Oscar race is that there isn’t any certainty.” Then Chastain gained the SAG prize, shedding some tears throughout a transferring acceptance speech, and had some fun on Twitter after receiving the meaningless Critics Selection award. Now, she’s a transparent front-runner. And why not? It’s her third nomination (she’s due!), her colleagues like her (Chastain acquired an enormous ovation on the Oscar nominees luncheon) and she or he’s up for a film through which she needed to sing, emote and put on a ton of appearance-altering make-up.
Cruz might pull off an upset, although. She’s in a greater film and offers, arguably, a career-best efficiency — although she has been great in each film she has made with Pedro Almodóvar. The academy’s worldwide membership has grown over the previous couple of years, and you’ll see their affect enhance yearly in each the nominations and the awards. This could be a spot the place they maintain sway.
LEAD ACTOR
Javier Bardem, “Being the Ricardos”
Benedict Cumberbatch, “The Energy of the Canine”
Andrew Garfield, “Tick, Tick … Growth!”
Will Smith, “King Richard”
Denzel Washington, “The Tragedy of Macbeth”
Will win: Smith
Ought to win: Cumberbatch
From right here, the performing races lose any semblance of suspense. Like Chastain, Smith is a three-time Oscar nominee. (He’s due!) Like Chastain, his efficiency (as demanding tennis dad Richard Williams) includes a level of transformation. Like Chastain, he has charisma to spare, and he is aware of learn how to use it, each within the work and on the marketing campaign path. He’s a film star, a dying breed, and almost everybody desires to see him holding this Oscar.
SUPPORTING ACTRESS
Jessie Buckley, “The Misplaced Daughter”
Ariana DeBose, “West Aspect Story”
Judi Dench, “Belfast”
Kirsten Dunst, “The Energy of the Canine”
Aunjanue Ellis, “King Richard”
Will win: DeBose
Ought to win: DeBose
As soon as “West Aspect Story” started screening and audiences noticed DeBose put her personal electrifying stamp on a job that gained Rita Moreno an Academy Award six many years in the past, she just about had this gained. Taking each different award main as much as the Oscars would show that out. Some Oscar narratives are unattainable to derail, significantly ones centered on work that produces such viewing delight.
SUPPORTING ACTOR
Ciarán Hinds, “Belfast”
Troy Kotsur, “CODA”
Jesse Plemons, “The Energy of the Canine”
J.Ok. Simmons, “Being the Ricardos”
Kodi Smit-McPhee, “The Energy of the Canine”
Will win: Kotsur
Ought to win: Kotsur
Only a week in the past on The Instances podcast, I made a passionate argument for Smit-McPhee because the deserving winner, citing his masterful work because the frail younger man who involves personal “The Energy of the Canine.” Then I watched that scene in “CODA” once more, the one the place Kotsur touches Emilia Jones’ neck so he can really feel the vibrations when she sings and, wow, that’s the film, isn’t it? Plus, Kotsur’s story as a veteran Deaf actor lastly having fun with mainstream profession recognition is inspiring and delightful. I wish to see him give one other speech. Smit-McPhee, 25, will hopefully produce other probabilities to win.
ADAPTED SCREENPLAY
“CODA,” Siân Heder
“Drive My Automotive,” Ryûsuke Hamaguchi, Takamasa Oe
“Dune,” Jon Spaihts and Denis Villeneuve and Eric Roth
“The Misplaced Daughter,” Maggie Gyllenhaal
“The Energy of the Canine,” Jane Campion
Will win: “CODA”
Ought to win: “Drive My Automotive”
Might win: “The Energy of the Canine”
If I’m Oscar producer Will Packer, I’m saving this class for late within the ceremony. Hold the uncertainty alive for so long as doable, Will. As a result of if “CODA” wins right here, a finest image victory will probably comply with. Identical if “The Energy of the Canine” prevails. And if it’s “Drive My Automotive,” then we gained’t know something past the truth that voters have distinctive style.
ORIGINAL SCREENPLAY
“Belfast,” Kenneth Branagh
“Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay & David Sirota
“King Richard,” Zach Baylin
“Licorice Pizza,” Paul Thomas Anderson
“The Worst Individual within the World,” Eskil Vogt, Joachim Trier
Will win: “Licorice Pizza”
Ought to win: “Licorice Pizza”
Might shock: “Don’t Look Up”
Branagh has eight profession nominations unfold over seven classes, an Oscar document. Anderson has earned 11 nominations over time. Each are up for producing, writing and directing their respective motion pictures. Neither has ever gained. Which in all probability signifies that McKay will prevail, repeating his Writers Guild win for the buzzy “Don’t Look Up.” However I’m going to stay near dwelling and go along with the L.A.-set “Licorice Pizza.” (And sure, I’m ready to be disenchanted.)
ANIMATED FEATURE
“Encanto”
“Flee”
“Luca”
“The Mitchells vs. The Machines”
“Raya and the Final Dragon”
Will win: “Encanto”
Ought to win: “Encanto”
“Flee” made Oscar historical past, changing into the primary movie to earn nominations for worldwide function, documentary function and animated function. However Jonas Poher Rasmussen’s harrowing, heartrending refugee story might properly should content material itself with that badge of distinction, because it’s up towards fashionable titles in every of its nominated classes. Right here, it’s Disney’s sensational “Encanto,” which additionally earned nominations for track and rating, and is essentially the most broadly seen nominee. It gained’t want any magic to win.
DOCUMENTARY FEATURE
“Ascension”
“Attica”
“Flee”
“Summer time of Soul”
“Writing with Fireplace”
Will win: “Summer time of Soul”
Ought to win: “Summer time of Soul”
Might shock: “Flee”
Questlove’s “Summer time of Soul” mixes stirring social historical past with performances from Stevie Marvel, Nina Simone and Sly and the Household Stone. That’s probably an unbeatable mixture, although if voters wished to reward “Flee,” this may in all probability be the probably spot.
INTERNATIONAL FEATURE
“Drive My Automotive”
“Flee”
“The Hand of God”
“Lunana: A Yak within the Classroom”
“The Worst Individual within the World”
Will win: “Drive My Automotive”
Ought to win: “Drive My Automotive”
“Drive My Automotive” additionally earned a finest image nomination, so Hamaguchi’s delicate drama has this class locked.
CINEMATOGRAPHY
“Dune,” Greig Fraser
“Nightmare Alley,” Dan Laustsen
“The Energy of the Canine,” Ari Wegner
“The Tragedy of Macbeth,” Bruno Delbonnel
“West Aspect Story,” Janusz Kaminski
Will win: “Dune”
Ought to win: “The Energy of the Canine”
Might shock: “The Energy of the Canine”
Wegner might change into the primary girl to win the cinematography Oscar. Given the standard of her collaboration with Campion, she ought to be celebrating on Sunday. However voters don’t pay as a lot consideration to those sorts of distinctions as you may assume, so I’ll give a slight edge to Fraser’s trippy sci-fi worlds over Wegner’s western landscapes.
COSTUME DESIGN
“Cruella,” Jenny Beavan
“Cyrano,” Massimo Cantini Parrini and Jacqueline Durran
“Dune,” Jacqueline West and Robert Morgan
“Nightmare Alley,” Luis Sequeira
“West Aspect Story,” Paul Tazewell
Will win: “Cruella”
Ought to win: “Cruella”
Emma Stone’s Cruella was an aspiring clothier, so it’s no shock that each gown on this film was immediately iconic.
FILM EDITING
“Don’t Look Up,” Hank Corwin
“Dune,” Joe Walker
“King Richard,” Pamela Martin
“The Energy of the Canine,” Peter Sciberras
“Tick, Tick … Growth!” Myron Kerstein and Andrew Weisblum
Will win: “Tick, Tick … Growth!”
Ought to win: “Tick, Tick … Growth!”
Might shock: “Dune”
“King Richard” and “Tick, Tick … Growth!” gained on the American Cinema Editors’ Eddie Awards. “Dune” and “The Energy of the Canine” have nominations in sound, which a movie often must win this Oscar. (Martin Scorsese’s 2006 finest image winner, “The Departed,” was the final film to win enhancing and not using a sound nom.) So, sure, this can be a wide-open class. Given how voters are likely to equate “finest” with “most,” I’m going with the flashy fervor of “Tick, Tick … Growth!”
MAKEUP AND HAIRSTYLING
“Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer
“Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon
“Dune,” Donald Mowat, Love Larson and Eva von Bahr
“The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh
“Home of Gucci,” Göran Lundström, AnnaCarin Lock and Frederic Aspiras
Will win: “The Eyes of Tammy Faye”
Ought to win: “The Eyes of Tammy Faye”
If Chastain goes to win, the workforce making use of all that mascara ought to as properly.
PRODUCTION DESIGN
“Dune,” manufacturing design: Patrice Vermette; set ornament: Zsuzsanna Sipos
“Nightmare Alley,” manufacturing design: Tamara Deverell; set ornament: Shane Vieau
“The Energy of the Canine,” manufacturing design: Grant Main; set ornament: Amber Richards
“The Tragedy of Macbeth,” manufacturing design: Stefan Dechant; set ornament: Nancy Haigh
“West Aspect Story,” manufacturing design: Adam Stockhausen; set ornament: Rena DeAngelo
Will win: “Dune”
Ought to win: “Dune”
Might shock: “Nightmare Alley”
I’ve waffled between “Dune’s” imposing units and “Nightmare Alley’s” Artwork Deco/surreal carnival combo. (Each movies might stake a declare to “most” manufacturing design.) I’m touchdown on “Dune,” pondering it’s going to be this 12 months’s model of “Mad Max: Fury Highway,” cleansing up within the crafts classes.
SCORE
“Don’t Look Up,” Nicholas Britell
“Dune,” Hans Zimmer
“Encanto,” Germaine Franco
“Parallel Moms,” Alberto Iglesias
“The Energy of the Canine,” Jonny Greenwood
Will win: “Dune”
Ought to win: “Parallel Moms”
Might upset: “The Energy of the Canine”
Between “The Energy of the Canine,” “Spencer” and contributions to “Licorice Pizza,” Greenwood was the composer of the 12 months. However Zimmer has been cruising via the precursor awards. He final gained for 1994’s “The Lion King” and has been nominated 10 occasions since. It appears to be like just like the time is correct for the prolific composer to attain once more.
ORIGINAL SONG
“Be Alive” (“King Richard”); music and lyric by Dixson and Beyoncé Knowles-Carter
“Dos Oruguitas” (“Encanto”); music and lyric by Lin-Manuel Miranda
“Right down to Pleasure” (“Belfast”); music and lyric by Van Morrison
“No Time to Die” (“No Time to Die”); music and lyric by Billie Eilish and Finneas O’Connell
“By some means You Do” (“4 Good Days”); music and lyric by Diane Warren
Will win: “No Time to Die”
Ought to win: “Dos Oruguitas”
Might shock: “Dos Oruguitas”
Robust name between Eilish’s Bond theme and Miranda’s candy people track. “Dos Oruguitas” was extra central to the movie’s story, however I feel Eilish’s star energy offers her the sting.
SOUND
“Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri
“Dune,” Mac Ruth, Mark Mangini, Theo Inexperienced, Doug Hemphill and Ron Bartlett
“No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor
“The Energy of the Canine,” Richard Flynn, Robert Mackenzie and Tara Webb
“West Aspect Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy
Will win: “Dune”
Ought to win: “Dune”
How does this sound? “Duuuuuuuuuuuuuuuuuuuuuune!”
VISUAL EFFECTS
“Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
“Free Man,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick
“No Time to Die,” Charlie Noble, Joel Inexperienced, Jonathan Fawkner and Chris Corbould
“Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver
“Spider-Man: No Method House,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick
Will win: “Dune”
Ought to win: “Dune”
“Dune” has a finest image nomination (an enormous benefit on this class). Plus sandworms. That’s unbeatable.
ANIMATED SHORT
“Affairs of the Artwork”
“Bestia”
“Boxballet”
“Robin Robin”
“The Windshield Wiper”
Will win: “Robin Robin”
Ought to win: “Bestia”
Might shock: “Bestia”
Aardman’s “Robin Robin” has songs, plus Gillian Anderson. It’s essentially the most accessible of this eclectic group.
DOCUMENTARY SHORT
“Audible”
“Lead Me House”
“The Queen of Basketball”
“Three Songs for Benazir”
“When We Had been Bullies”
Will win: “The Queen of Basketball”
Ought to win: “Audible”
Might shock: “Audible”
The poignant refugee story “Three Songs for Benazir” would even be a worthy alternative, however I feel voters will go for both Ben Proudfoot’s portrait of a groundbreaking feminine basketball star or Matt Ogens’ “Audible,” which memorably follows a Deaf highschool soccer participant.
LIVE ACTION SHORT
“Ala Kachuu — Take and Run”
“The Costume”
“The Lengthy Goodbye”
“On My Thoughts”
“Please Maintain”
Will win: “The Lengthy Goodbye”
Ought to win: “Please Maintain”
Might shock: “Ala Kachuu — Take and Run”
The searing Riz Ahmed-led “The Lengthy Goodbye” has the best profile. And it packs a robust anti-racist message into its 12-minute operating time.
Movie Reviews
Movie Review: 'Mufasa: The Lion King' – Catholic Review
NEW YORK (OSV News) – You don’t have to be Dr. Dolittle to understand what the animals are saying in the musical adventure “Mufasa: The Lion King” (Disney). That’s because director Barry Jenkins’ prequel to the popular franchise uses the same technology employed in the 2019 remake of the 1994 animated kick-off of the series to enable them to talk.
How much viewers will enjoy the varied creatures’ dialogue, however, is another question. The movie’s strong suit is visual rather than verbal and the upshot is a sweeping spectacle that lacks substance.
As narrated by Rafiki (voice of John Kani), a wise mandrill, the story looks back to the youthful bond between two princely lions, Mufasa (voice of Aaron Pierre) and Taka (voice of Kelvin Harrison Jr.). Though the duo quickly become friends, their situations are very different.
Taka is right at home under the protection of his royal parents, Queen Eshe (voice of Thandiwe Newton) and King Obasi (voiced by Lennie James). When Taka first encounters him, by contrast, Mufasa has been forcibly carried away by a sudden flood from his home, family and inheritance and is on the point of being eaten by crocodiles when Taka steps in to rescue him.
As their relationship flourishes, the pair treat each other as adoptive brothers. But plot complications — primarily involving Sarabi (voice of Tiffany Boone), a lioness they both befriend — eventually drive them apart.
Beyond the importance of unity and the corrupting effect of jealousy, there are few thematic elements to ponder as these events unfold. So viewers will have to be content with lush landscapes and some pleasant tunes from composer Lin-Manuel Miranda.
While free of objectionable elements, Jeff Nathanson’s script does flirt with shamanism and suggests that the dead achieve immortality through their influence on the living. Along with the numerous dangers through which the central characters pass, that may give some parents pause.
The film contains potentially frightening scenes of combat and peril. The OSV News classification is A-I — general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.
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Entertainment
How far will Philomena Cunk go to get a laugh? 'If he breaks my nose, it'll heal'
Some kids aspire to be doctors, astronauts, teachers or firefighters. Growing up in Bolton, a former mill town in the north of England, Diane Morgan was interested in one thing: comedy. She watched a lot of it, mostly British. Peter Sellers, “Fawlty Towers,” Monty Python.
When she landed in drama school, she told the head of the program, “‘Look, I’m not here for the Shakespeare’ — so they gave me Lady Macbeth, all the big roles,” she recalled in a video chat from her London home. “All these lovely, beautiful girls who wanted to play the ingenues — they hated me because they were like, ‘Why is she getting these parts? She wants to be the stupid maid.’”
Several decades later, Morgan’s commitment to playing the fool has paid off. Since 2013, she has starred as Philomena Cunk, a know-nothing TV pundit, in a series of mockumentaries about history, philosophy, art and science (including “Cunk on Earth”). As she strides through picturesque locations, dressed in tweed, and sits down with distinguished experts from the world of academia, she looks every bit the part of a BBC presenter. Then she does things like ask an Oxford professor, “What was more culturally significant, Beyoncé’s hit ‘Single Ladies’ or the Renaissance period?” and the illusion of gravitas is (hilariously) ruptured.
The latest volume in the “Cunk” canon, “Cunk on Life,” premieres Thursday on Netflix. Cunk remains as deadpan and ill-informed as ever, asking great philosophers and physicists “some of the most significant questions you can ask with a mouth.” In one particularly absurd scene, she tells a renowned British surgeon that only 40% of people have skeletons. Everyone else, she says, is “solid meat.”
Morgan has a remarkable ability to maintain a straight face throughout these interviews. It’s all about the pressure, she says. “I know that as soon as I laugh, it’s not funny.” She admits she does “corpse” — or crack up — on occasion, particularly with certain experts, like Douglas Hedley, a professor of the philosophy of religion at Cambridge University who has become a recurring talking head in the “Cunk” universe. “He talks very slowly, but he’s brilliant. I think the straighter and more serious they are, the more it tickles me,” she says.
The academics who appear in “Cunk” may be aware that Morgan is doing a bit for a comedy program, but they still react to her character’s idiotic questions with genuine shock and exasperation. In the early days, before Cunk became well-known, there was more confusion.
“We had some real eggheads, and famously, they don’t watch comedy. Then you trample all over their favorite topic” and things can get tense, she says. One expert grew so irritated they had to pause filming while he calmed down. “I said, ‘Don’t stop if that happens again.’ I was willing for him to punch me, because I thought it would make great TV. If he breaks my nose, it’ll heal.”
“I think they genuinely feel a bit defensive of their subject matter,” says “Cunk on Life” creator Charlie Brooker, who is also the force behind the techno-dystopian anthology series “Black Mirror.” He is usually not physically present when Morgan is filming the interviews because, he says, “I find it too cringe. I would die.”
Brooker says Morgan “doesn’t mind an awkward silence, which comes in really handy when she’s doing the interviews, because sometimes they will last an hour, 70% of which is awkward silence.”
The experts, some of whom have become recurring favorites, “seem to really enjoy the fact that they’re there,” Brooker says. “The sad thing is, experts don’t get interviewed on mainstream TV very often anymore.”
Over time, Cunk has grown more antagonistic toward the talking heads she interrogates, and more willing to counter their arguments with dubious anecdotal evidence. (“My mate Paul” is one of her most frequently cited sources.)
“That feels like a modern-day thing,” Brooker says. “People are less shy these days about saying to an expert, ‘Yeah, whatever, you may have studied this subject for 25 years, but I just watched a video on YouTube which tells me your life’s work is bulls—. I’ll tell you why we didn’t land on the moon, or vaccines don’t work. There’s an arrogant swagger to a lot of the alternative truth crowd.
“There’s something funny about watching her attack their professions, things they care passionately about, from her position of slightly bored detachment,” he adds.
Morgan’s Bolton accent somehow adds to the character’s dry comedic affect. When Morgan was studying at the East 15 Acting School, she was told the way she spoke would be an obstacle to getting work.
“It’s madness, because every part I’ve had since then, it’s the accent that’s got it,” she says. “In drama school, they always want to stamp out the interesting bits about you and build you back up into an actor that they think people want. But actually, people want weirdness. They want individuality, don’t they? They want humps and lumps and weird eyes.”
Morgan spent nearly 10 years performing stand-up in London, an experience that was at least as valuable as drama school. “You learn a lot very quickly about how not to bore people,” she says.
During those lean years, she made ends meet by working a string of miserable jobs. There was a stint as a telemarketer, cold-calling people to ask if they needed a new accountant, and a particularly grim gig packing worming tablets for dogs for 10 hours a day, with no talking or sitting allowed. “It was the worst experience, but it made me think, ‘I’ve really got to make this work. I’ve really got to pull my socks up and do something with my life, because I don’t want to end up here,’” Morgan says.
She had landed a few small parts in TV when she got the audition for Philomena Cunk, which originated as a character on the satirical news show “Charlie Brooker’s Weekly Wipe.” Comedian Al Campbell played a dim-witted commentator with the ludicrous name Barry Shitpeas. The show was looking for his female counterpart, someone they originally envisioned as “a yummy mummy cupcake blogger who’s vacuous and drives a Range Rover,” Brooker says.
To complete the stereotype, the character was supposed to sound more posh. But Morgan insisted on asking for additional time in her audition to play Cunk in her own voice. “I’d never had the balls to do that,” she says. “It was just funnier, because my own accent is quite flat, and it lends a sort of misery to everything.”
Brooker was “absolutely floored” by the audition. Morgan brings “an odd comic unknowability” to Cunk, he says. “There’s something very curious about the character, where she is sort of alien and otherworldly but simultaneously vapid in a cosmic way,”
“Everyone was quite nervous about it — would this new character work or not?” Morgan recalls. “If it hadn’t, I’d have been axed immediately and taken off and shot around the corner. But it worked.”
Cunk became a breakout character, appearing in recurring segments and then anchoring standalone specials, including “Cunk on Britain” and — yes — “Cunk on Shakespeare.” (Standout quote: “School in Shakespeare’s day and age was vastly different to our own. In fact, it was far easier because he didn’t have to study Shakespeare.”)
Meanwhile, Morgan became a reliable scene stealer in acerbic British comedies, often playing bluntly profane characters with little regard for social niceties. In the Ricky Gervais vehicle “After Life,” she starred as a newspaper employee obsessed with Kevin Hart’s oeuvre. In “Motherland,” a sitcom co-created by Sharon Horgan, she played a foul-mouthed single mom who chafes at the bourgeois parenting standards of her middle-class social orbit. (She lets her son pee in the street and makes sandwiches by hacking cheese from a hunk in her freezer, severing a finger in the process.)
“It’s nice to have someone like that, who just doesn’t give a toss,” she says of her “Motherland” role. “I used to get moms running up to me in the street every day: ‘Thank God for this. I thought I was the only one.’”
She also wrote, directed and starred in the defiantly weird comedy “Mandy,” which follows an unemployable woman as she skips from one odd job to the next.
Morgan occasionally thinks it would be nice to do something a bit grittier and more dramatic. “But I’ve still got no interest in Shakespeare.”
Movie Reviews
Identity Review | Expensive, Expansive and Excessively Complicated
One thing I have noticed about the scripts of Akhil Paul, one of the makers of the new Tovino Thomas starrer Identity, is how he notices certain peculiar things in stuff we see almost regularly. In movies like 7th Day and Forensic, he has used those details to deceive the audience or to deceive certain characters. When it comes to Identity, his third film as a writer and second film as a director, along with Anas Khan, the ambition is really huge. But somewhere, the convolutions of the story from being a simple revenge story to an almost Mission Impossible-level tragedy evading heroic thriller tires you. And rather than making us figure out how it all unfolded more subtly, Akhil and Anas are explaining everything less enticingly. While a part of you do appreciate the movie for being ambitious with the scale, the over-explained, complicated script reduces the wow factor of the film.
The trailer of the movie has not really revealed much about the film. So, I will try to keep it spoiler-free. But some spillings will be there, so be cautious. Haran Shankar is our hero who lives with his two sisters. Haran, who lived with his abusive father till the age of seven, has developed a very obsessive character trait. And since his late mother was a sketch artist in the police force, Haran knows the science of that as well. What we see in Identity are the events that happen in the life of Haran when a Bengaluru-based police officer becomes his neighbor in his apartment. The police officer is accompanied by a witness who is experiencing face blindness after a hit-and-run incident. How the sketch artist capabilities of Haran help these two and how that journey unfolds is what we see in Identity.
The agenda of the bad guy in this movie is so elaborate and meticulous that while I was driving back home after watching the movie, I was trying to think about the story in a linear way. So, when you look at the story from a linear point of view, the hero almost becomes a character who happens to be in a subplot of the villain’s story. See, people like Christopher Nolan and Dennis Villeneuve have also gone after complicated scripting methods to make the movie compelling for the viewers. Forget foreign films, one of my absolute favorites of last year, Kishkindha Kaandam, also made a linear story complicated to give us that cinematic high. The issue I felt with Identity is that the complications in the story and when they eventually get revealed, it feels more like a deliberate distraction rather than a well-crafted twist.
In terms of using minute details about professions or medical conditions, the writing is definitely great. From facial blindness to sketch artist psychology, and to flight protocols, one can see that the director duo have done really good research in bringing authenticity to subplots and set pieces they have imagined. But somewhere, I felt the theatrical euphoria you associate with the revealing of a twist was just not there in the directorial aspect of the film. And I feel a larger part of that is because of the spoon-feeding exposition through dialogues. We are not picking information from the scenes. It is more like we are getting informed about what really happened literally by some character.
The wider aspect ratio of the film gives it the option to make things look grand and slightly larger than life. And Akhil George plays with the color palette pretty effectively to give sequences a particular mood. A lot of back and forth is happening in the movie to reveal the twists, and Chaman Chacko uses aggressive cuts to make those portions work. The production quality of some of the chase sequences is pretty good. While the fight inside the flight made absolute sense, and the execution was really impressive, the car chase sequence felt slightly outlandish.
Tovino Thomas tries to follow this stiff body language to show the precision obsession of his character. While that style looked very stylish whenever he does that, along with dialogues, in the initial portions of the movie where he is mostly silent, that body language somewhat reminded me of Small Wonder. In an interview, when Akhil Paul was asked about the casting of Trisha in the film, he was sincere enough to say that the bigger budget of the movie made them cast a bigger name to widen the market. Well, that very much gives you an idea. Her character, Alisha, is important to the story. But in terms of scope to perform, it offers minimal opportunity to the actor. Vinay Rai, in his typical style, carries the tone shifts of the character effectively. After a point, Allen Jacob was all about swagger. Shammi Thilakan was perhaps the only performer who was able to reduce the rigidness of the dialogues through his dialog rendering. Aju Varghese gets a police role we really don’t see him play often.
In terms of scale and imagination, Identity definitely has managed to pull off an appreciable output on screen. At a time when people are willing to decode things on their own after watching a film, I thought a bit more refinement on a writing level would have made Identity a quality film by all means. Similar to what I said about Marco, despite these movies having shortcomings or issues, it is really promising to see that within the constraints of having a small market, our makers are trying ambitious stuff.
At a time when people are willing to decode things on their own after watching a film, I thought a bit more refinement on a writing level would have made Identity a quality film by all means.
Signal
Green: Recommended Content
Orange: The In-Between Ones Red: Not Recommended
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