This is awesome.
For the third year in a row, I will be attempting to stay up as late as possible this coming Saturday night in order to adjust my body clock such that I can liveblog the Oscars for MostlyFilm, and wonder again why they can’t hold the ceremony in New York or, ideally, London, so as to make the task less arduous for us European filmwatchers. Traditionally I have enlisted the assistance of sweets, crisps and fizzy drinks to keep me going, but what also helps is having an investment in the outcome and since YET AGAIN I haven’t been nominated in a single category, I am reduced to trying to beat my record for the highest number of correct predictions. And in order to stop me cheating, I am bringing you along for the ride…
Nominees: American Hustle, Captain Philips, Dallas Buyers Club, Gravity, Her, Nebraska, Philomena, 12 Years A Slave, The Wolf Of Wall Street
This is, I’m sure, between Gravity and 12 Years A Slave, and I think the latter will win because being accidentally turned into a slave in real life beats losing a fictional daughter in the heartstring-tugging stakes.
Nominees: Christian Bale (American Hustle), Bruce Dern (Nebraska), Leonardo DiCaprio (The Wolf Of Wall Street), Chiwetel Ejiofor (12 Years A Slave), Matthew McConaughey (Dallas Buyers Club)
Matthew McConaughey ought to win; Chiwetel Ejiofor will, which I am also OK with because he is a Palace fan and we rarely win anything. (Leo, whom I love, is fantastic in WOWS, but it’s not a fantastic film and his character is so desperately unsympathetic that I don’t think he has a chance.)
Nominees: Amy Adams (American Hustle), Cate Blanchett (Blue Jasmine), Sandra Bullock (Gravity), Judi Dench (Philomena), Meryl Streep (August, Osage County)
Cate Blanchett has this nailed on, I think.
Nominees: Barkhad Abdi (Captain Philips), Bradley Cooper (American Hustle), Michael Fassbender (12 Years A Slave), Jonah Hill (The Wolf Of Wall Street), Jared Leto (Dallas Buyers Club)
This is a really strong category. I’d be happy with a win for Abdi or Cooper, but Jared Leto‘s turn as Rayon in DBC is a career-best piece of loveliness and I hope he takes it. I would also like to point out that had Behind The Candelabra been eligible for Oscar nominations, Matt Damon and Rob Lowe would both have deserved nods in this category, as would Michael Douglas in Leading Actor.
Nominees: Sally Hawkins (Blue Jasmine), Jennifer Lawrence (American Hustle), Lupita Nyong’o (12 Years A Slave), Julia Roberts (August, Osage County), June Squibb (Nebraska)
I didn’t love J-Law in American Hustle. Or maybe I mean I didn’t love her as much as I love her in Silver Linings Notebook or Real Life™ – but she will win this regardless.
Nominees: The Croods, Despicable Me 2, Ernest and Celestine, Frozen, The Wind Rises
From the buzz it’s generated among under-eights of my acquaintance, I’m saying Frozen.
Nominees: The Grandmaster, Gravity, Inside Llewyn Davis, Nebraska, Prisoners
I can’t imagine a world in which this won’t go to Gravity.
Nominees: The Grandmaster, American Hustle, The Great Gatsby, The Invisible Woman, 12 Years A Slave
It should be nominated for hair and makeup but since it isn’t, I think American Hustle will take this one instead.
Nominees: David O. Russell (American Hustle), Alfonso Cuarón (Gravity), Alexander Payne (Nebraska), Steve McQueen (12 Years A Slave), Martin Scorsese (The Wolf Of Wall Street)
Cuarón will lose out on Best Picture but I think he’ll pip McQueen to the winning post in this category.
Nominees: The Act Of Killing, Cutie And The Boxer, Dirty Wars, The Square, 20 Feet From Stardom
I will admit to not having had the guts to watch The Act Of Killing when I had the opportunity, but everything I’ve heard and read about it makes me think it has to win out here.
Nominees: CaveDigger, Facing Fear, Karama Has No Walls, The Lady In Number 6: Music Saved My Life, Prison Terminal: The Last Days Of Private Jack Hall
How far ahead of the ceremony does voting happen? Only the cynic in me wants to say that since Alice Herz-Sommer, the 110-year-old holocaust survivor who is the subject of The Lady In Number 6, has just died, the already-good chances that it would win have just improved.
Nominees: American Hustle, Captain Philips, Dallas Buyers Club, Gravity, 12 Years A Slave
Gravity is so sparse and elegant and beautiful that again, I can’t imagine it not winning here.
Foreign Language Film
Nominees: The Broken Circle Breakdown, The Great Beauty, The Hunt, The Missing Picture, Omar
Right, so, uh, I was going to predict a win for Blue Is The Warmest Colour but I’ve just noticed it hasn’t been nominated. So in the absence of any other information I will employ my traditional method of closing my eyes and stabbing at the screen, which gives me The Broken Circle Breakdown. You heard it here first.
(One rule I have when I make my predictions, by the way, is that I can’t go googling for betting odds or anyone else’s views. It has to be based on my own knowledge. Which is why I am often wrong!)
Makeup and Hair
Nominees: Dallas Buyers Club, Jackass Presents: Bad Grandpa, The Lone Ranger
I’ve only seen one of these, but Jared Leto is so breathtakingly beautiful in Dallas Buyers Club that I hope it wins. Mainly, though, I just hope Jackass doesn’t. There is a time and a place for Jackass, and the Oscars ain’t it.
Nominees: The Book Thief, Gravity, Her, Philomena, Saving Mr Banks
The rules are, when someone you know is nominated you have to say them. Now, nobody I know is nominated in this category, but someone I know knows someone who is, and so I’m going for Gravity (which also has a really good score).
Nominees: Happy (Despicable Me 2), Let It Go (Frozen), The Moon Song (Her), Ordinary Love (Mandela: Long Walk To Freedom)
Yeah, I haven’t heard any of these. Also, when was Tangled? There’s a good song in that. Let’s say Frozen.
Nominees: American Hustle, Gravity, The Great Gatsby, Her, 12 Years A Slave
Well actually this should definitely go to The Great Gatsby, but I think Gravity will win.
Nominees: Feral, Get A Horse!, Mr Hublot, Possessions, Room On The Broom
Cough. Well, Get A Horse! has the best name, right?
Live Action Short
Nominees: Aquel No Era Yo, Avant Que De Tour Perdre, Helium, Pitääkö Mun Kaikki Hoitaa?, The Voorman Problem
I wonder whether you tick a box or have to write in your answers, when you vote? Because nobody’s going to take the time to write out Pitääkö Mun Kaikki Hoitaa? by hand if they don’t have to. But it’s bound to be checkboxes, isn’t it? So let’s go with that. One day, when I grow up, I will be a person who watches the short films ahead of the Oscars (or even afterwards).
Nominees: All Is Lost, Captain Philips, Gravity, The Hobbit: The Desolation Of Smaug, Lone Survivor
Nominees: Captain Philips, Gravity, The Hobbit: The Desolation Of Smaug, Inside Llewyn Davis, Lone Survivor
I think Gravity will take both of these.
Nominees: Gravity, The Hobbit: The Desolation Of Smaug, Iron Man 3, The Lone Ranger, Star Trek Into Darkness
I can’t remember whether the argument over possible or desirable punctuation in the name of the latest Star Trek movie came to a conclusion, so I’m leaving it out rather than get it wrong and risk the wrath of…well, you know. Obviously this will also go to Gravity.
Nominees: Before Midnight, Captain Philips, Philomena, 12 Years A Slave, The Wolf Of Wall Street
Before Midnight is an adaptation? Who knew? Well, the Academy, it would appear. I’m racing through these last few categories not because I want to go to bed, although I do, but because I think there’s barely any debate to be had about most of them. 12 Years A Slave will win this.
Nominees: American Hustle, Blue Jasmine, Dallas Buyers Club, Her, Nebraska
Whether he did or whether he didn’t, Woody will take this for Blue Jasmine, although I would give it to Dallas Buyers Club. But for some reason, nobody asked me. I know!
I am, right this second, listening to a R4 programme on musical middle eights. It’s interesting, and you should listen to it when you get the chance, but it’s made me wonder what the definition of a “middle eight” really is. (I looked it up on the internet, but nobody on the internet agrees with anyone else on the internet.)
Obviously it needn’t be eight bars long (and if you feel sniffy about that, you can get around it by calling it a bridge), but it does probably need to be somewhere in the middle of the song, which is to say it can’t be the intro or the outro. And yet one of the first examples given by Helen Caddick, a composer and lecturer in songwriting at Goldsmith’s College, was Eleanor Rigby, which I don’t think has a middle eight at all, but Caddick thinks the “Ah, look at all the lonely people” section is a middle eight; and if your definition is that it’s not the verse or the chorus (I think that bit is part of the chorus, but I’m not a lecturer in songwriting) and that it has a different melody or theme from the rest of the piece, then I suppose she could be right.
But then her second example was Pulp’s Common People, and her middle eight was this section:
Rent a flat above a shop
Cut your hair and get a job
Smoke some fags and play some pool
Pretend you never went to school
Still you’ll never get it right
Cause when you’re laying in bed at night
Watching roaches climb the wall
If you call your dad he can stop it all
Now, the vocal is certainly different, and emotionally it’s the punchy centre of the song for sure, but the music playing behind it is (I’m going by memory, I can’t seem to be bothered to give it an actual listen; feel free to tell me I’m wrong) the same as the rest of the song.
So I’m still not sure what a middle eight is, but I do know what my favourite middle eight is (today). What are yours? And what’s your definition of a middle eight?
I have loved almost all of the recordings of White Christmas we’ve had this advent, but as soon as I heard this one I knew I was saving it for Christmas Eve, because it’s not someone singing the well-known Bing Crosby song; it’s a completely immersive reimagining of the original, and a glorious piece of music in its own right. Turn up the volume really loud before you begin. Happy Christmas!
In the 1940s popular music often wasn’t immediately, or ever, associated with an individual performer – many versions of songs would be recorded, and the composer generally given the lasting credit. Which is why, I’m thrilled to be able to tell you, there were FOUR versions of White Christmas recorded and released in 1942, and here they all are in a playlist that I have made using science. It’s interesting that the first three (by, in order, Gordon Jenkins, Charlie Spivak and Freddy Martin, though in each case those are the names of the bandleaders rather than the singers, who feature as “guest vocalists”) are all quite like each other and not a great deal like Bing’s (and, because unfamiliar, much more instantly evocative of that era than Bing’s).
The version of Bing that we had on December 1, incidentally, was from the movie Holiday Inn, whereas this is the solo recording which you probably know better, so I tricked you when I said we were getting Bing over and done with at the beginning. Sorry.
Of course this lovely swing version by Ella had to be the choice for our final Crooners’ Sunday. Nothing more to say about this; it speaks for itself.
I know this is late, but it was worth the wait. How have I never realised what a terrific voice CeeLo Green has? I love this big glitzy Vegas version, and I love how happy everyone performing it is. Also, Las Vegas is totally Christmassy, because of Father Christmas Goes On Holiday.
The Beach Boys might even be my favourite band of all (not counting the Beatles and the Carpenters and the Pet Shop Boys and the Who and probably some others). This starts off so slowly that I keep thinking someone’s accidentally playing it at 33rpm rather than 45, but it’s a gloriously swooshy and whooshy version, with singing as luscious as you’d expect. Also, all Christmas songs should end with a sweep of violins, I have decided.
Now, if you’ll excuse me, I’m off to sleep for 48 hours. I think I am too aged for the Christmas party season.
From now on in, all our Christmases are not just white but pure musical gold. This, from the Ravens, is one of the versions I am most delighted to be able to share with you, because it’s not well-known but it’s SUPER. Take especial note, please, of the lovely piano at 1:11 and everything from 2:10 onwards. Merry Christmas!