Saw Amour and am a wreck. Why the FUCK wasn't Trintignant nominated?
Easily one of the best movies of the year. I'm glad the Academy showered it with nominations. Riva is truly captivating, but why wasn't Trintignant nominated? Director, script, Picture, Actress but no Actor?
I'm under 30 and my parents are in their early 60's, so not to this stage yet, but I couldn't help thinking about them and how I would react if I was in Huppert's shoes. It was so upsetting; a true emotional bulldozer, and yet at the same time such brilliant filmmaking that you couldn't help but feel euphoric about the film on a technical level.
Why do people think a depressing movie is a good movie? I found this movie boring. I did not see this guy's loving care for his wife at all. He was just a control freak in a fucked situation. Why didn't their daughter do anything for them?
I eat shit.
How could you not see the love he had for his wife? He cared for her and did everything she wished.
It all just felt so real. When his frustration boiled over and he slapped her my audience gasped.
And, R1, you can think a movie is "good" for a lot more reasons than the content. The direction was just so, so good. The cinematography/mise en scene was so specific and perfect. You really got to see a master filmmaker at work, along with 3 stunning performances. That's why the film was so good.
I just don't understand why grownups like grownup things and why my parents can't just make Transformers 5 and 6 like I am praying for. Them movies about life make me think and that makes my head hurt and my acne swell.
I keep saying this but this film left me cold. Of course it was quality filmmaking, it's Michael Haneke after all, great performances but...are people that distant from end of life issues that this actually has an emotional impact? I mean, what do you think happens to the elderly?
I didn't think it was that earth shattering. At least in that film The Savages, Linney and PSH had their own issues to resolve. This...I mean, we're all going to die. These people seemed to have a good life and more or less a dignified death. End of life can be much, much worse. Much worse.
Disneyland for people who've never had to deal with end of life issues, I say.
No, R5, I don't think about what happens to the elderly or about death at all. I'm in my 20's and honestly the thought doesn't cross my mind.
The film isn't trying to be earth shattering in content- nor should a film have to be "earth shattering" to be a quality, effective film. I don't think Haneke wasn't trying to say, "This is the worst way to die. This couple had it SO hard- much harder than anyone else." Of course end of life can be much worse. That didn't make this journey any less painful to watch.
I didn't think it was that painful. It was inevitable. There was nothing wrong with it; I love Haneke's work. He's an incredible talent, I've been watching his bracing work all the way back to The Seventh Continent, Benny's Video, 71 Fragments..., etc. I have all of his films on DVD or Blu-Ray where available. I love Time of The Wolf and The Piano Teacher, especially. I've been at this party a long time.
Haneke says he was inspired to make this film, I think, because of the death of his aunt. I guess I find that a little self-indulgent - which is so unlike him, really. Don't we all have aunts or uncles, grandparents, parents, etc. as well? And the fact that it's so dry and straight forward, it's sort of not like real life at all. It's all so well planned, there's no confusion, nothing messy about it. She's passing on, he knows it. The cleaner comes, the groceries are delivered. She receives all the medical care she could require. There's never any dishes in the sink, he always has clean clothes on. There is a requisite amount of pain as life passes but not too much. Self-involved daughter pays intermittent visits. Haneke tries to keep it interesting so the nursing profession gets upbraided, which in reality is pretty unfair, considering the majority of good works done in that profession. For me, Haneke was just singing to the choir - as a 46 year-old gay man there was nothing he told me that I didn't already know.
I've never seen his remake of Funny Games (I have the original on DVD, unopened) and I don't think I'll be adding Amour to my collection either. I just can't imagine watching it again. Left me cold and I'm fairly certain in the years ahead I'll continue to deal with end of life issues and bury loved ones. I don't need to watch a movie about it that adds nothing to the subject.
Try watching Silverlake Life.
Finally saw The White Ribbon last night. Haneke is a master.
Haneke is a master. It's laughable to think that Ben Affleck should be in the same category with this guy.
[quote]a true emotional bulldozer
[quote] a true emotional bulldozer
I think I've found a title for my memoirs.
It's a stunning movie. And I agree Trintigant's non-nomination - and generally, his being lost in the award season in general - come on BAFTA, Affleck was fine in Argo, but does anyone really believe his performance is close to Trintignant's? - is inexplicable.
It's not a great movie because it's theme is painful. There are many awful movies that take on painful issues. It's a great movie because it's a great movie.
I'd tell you why I think it is but I'm sure all I'd get from much of the crowd on DL is a "Mary!"
Happy Birthday Emmanuelle Riva, you may just walk away with an oscar!
Why does anyone who's not a masochist go see Haneke's films at all any more?
As technically accomplished as he may be, he's an emotional sadist who makes an art of the "feel-bad" movie.
I will never look at one of his movies again (and I say this as someone who saw all his early works, starting in the 80s). After all, I wouldn't pay a sadist dom to rape me sexually -- why would I pay a director to rape me emotionally?
Yes, I know: Mary! But it's the truth.
r5/r7, his aunt dying was just the starting point for this film. Please.
How is it self-indulgent to take inspiration from real life?
And secondly, you bring up the 'social' angle in all DL threads about 'Amour'. This film is NOT a study on a specific social class. AT ALL. You're critizing the film for failing something it never attempts to be.
In any case, the JLT role wasn't as showboaty as Hugh Jackman or Joaquin Phoenix, who both have no business being nominated.
It's a shame he was excluded, but at least Haneke and Riva are in.
Finally, as much as I love his other films, 'Amour' is his most well-rounded work to date. I still think about this film, months after having seen it.
And I didn't have that experience with 'Piano Teacher' or 'Cache'.
r14, 'Amour' is the exception to Haneke's rule.
It's not a sadistic film at all.
Go see it, you'll be surprised.
I eat shit.
The Streep troll (tm)
Considering R1 is reacting to a Haneke film, his response is valid. Haneke's work is relentlessly grim, with moments of poignancy here and there. He is a good director, maybe great, but one tires of being put throughout the ringer by him. His outlook is almost pathological, as if joy was, to him, vulgar.
I think there's a lot of misunderstanding of Haneke: yes, his films are brutal to watch, but not because he has disdain for humanity but because he's so concerned about humanity, our materialism, our class structures, our tendancy to cruelty, our selfishness.
People talk about the violence in Haneke's films, but if you review his films, he only uses violences in key moments for greater impact. Indeed, the slap in Amour is probably the most devastating violent act in a movie all year -- as somebody else mentioned, the audience I saw it with gasped when it occurred.
And, yes, it's absolutely astonishing and frustrating that Jean-Louis Trintignant was snubbed for an Oscar nod (and other award nominations); but JLT has always been a subtle, insular, non-showy actor -- his brilliance is his minimalism, and here his considerable gifts were on full display -- but the Academy prefers the godawful scenery chewing of a Joaquin Phoenix instead, apparently.
NEW THREAD REQUEST
Could a paying member please start a new thread & poll:
"What is the most scandalous nomination fail in Oscar history?"
Poll options should be:
Jean-Louis Trintignant - Amour; Tilda Swinton - We Need To Talk About Kevin; Kirsten Dunst - Melancholia; Naomi Watts - Mulholland Drive; Isabelle Huppert - The Piano Teacher; Sigourney Weaver - The Ice Storm; Madonna - Evita; Bette Davis - Of Human Bondage; Cher - Mask; Jeff Daniels & Mia Farrow - The Purple Rose of Cairo.
DL needs to discuss this!
"Trintignant was snubbed for an Oscar nod (and other award nominations); but JLT has always been a subtle, insular, non-showy actor -- his brilliance is his minimalism, and here his considerable gifts were on full display -- but the Academy prefers the godawful scenery chewing of a Joaquin Phoenix instead, apparently."
You took the words right out of my mouth. But actors should know the difference between showy acting and honest precision. Phoenix is a great talent but his work in The Master is just that, WORK, WATCH ME DRAMATICALLY TRIUMPH!
Trintignant's performance will, however, stand the test of time. His and Riva's work in Amour are what movie acting is all about.
The White Ribbon is great.
To the violence discussion: You have to know that Hanekes most violent movie "Funny Games" is some kind of a reckoning, his answer to the banalization and ridicule of violence in movies, particularly with regard to Tarantinos Pulp Fiction.
He told the story that when he watched the movie, the scene when they shoot the black guy in the car in the head, the whole cinema laughed. Violence shown as something cool and funny disgusted him (the title Funny Games was a purely sarcastic allusion to that)
Isabelle Huppert declined the role of the tortured mother because she thought the script was "too perverted". After seeing the movie she said something like she never regreted this like anything before in her career. Because he was just so right and she also first didn't get what he wanted to show - that violence is just horrible horrible horrible horrible
We still need the thread proposed at r20!
DL needs to discuss JLT's nomination snub, plus other historic snubs!
Can anyone please start the thread & poll?
I watched some of his movies from the 50s/60s, so unbelievably elegant, the way he puts his hat on, walks down the street, whatever he does - you just can't put your eyes off him. He was really really good looking
You're an idiot, Streep Troll. None of those you list except Davis was a "scandal." And only a few of them are even genuine omissions. Please - you've invalidated everything you say by including Madonna on her list.
Meryl would be shocked, appalled, and so disappointed that you think that slag was worthy of being in the same category as her.
Streep Troll, there have been threads on the great oscar nod snubs of all time. Find it!
New thread request.
BIGGEST SHIT EATERS OF ALL TIME!!!!!
I saw Amour today, and I'm solidly on the Emmanuelle Riva bandwagon. I hope she wins on Sunday. And I wish Trintignant had been nominated as well.
I don't think anyone would be disappointed to see Riva win.
They have to give it to a real actress like Riva if they're going to give the other one to that obnoxious and desperate Hathaway.
My partner had been through the same situation with his parents (minus the euthanasia part) and was visibly shaken by Riva's performance, having bawled his eyes out during most of the movie. She was truly astonishing as was Trintignant. I mean, people like Bradley Cooper are nominated but he wasn't??
Trintignan does not have Harvey Weinstein's PR machine. That is all. And yes, he is a great actor and it was wonderful to see him again in a film. Saw the Conformist again not too long ago. Brilliant!
Streep Troll, you need to become a fucking member of DL. I like you, but it's criminal for you to not pay for membership. You are ALL OVER every thread.
That said, of your list, Kirstin Dunst is the biggest snub.
Yeah, I'm really surprised Streep Troll doesn't make a monetary contribution to the site. Especially since she acts like she owns it. Streep Troll, you are greatly diminished in my eyes.
Trintignant was an attractive man in his prime, like Delon and Belmondo and Montand and Mastroianni or Vallone. I have recently re-seen Un Homme Et Une Femme, Les Biches, The Conformist, Z, and that 50s one with Bardot when he was young. Its cruel seeing what age has done to him .... its a stunning last performance from him, as he was retired.
Isn't this a French movie? Why should it be nominated for an Oscar? American movies don't get nominated for the French Oscars or the Japanese Oscars.
r37, the British Academy just honored Argo, an American movie, the scripts for Django and Silver Linings, American movies, and Riva's performance, by a French actress in French in an Austrian produced and directed movie.
Do you object to that?
AMPAS like BAFTA, at least in theory, honor movies which opened in the U.S. or the U.K. during the year. Not just American or Brit movies.
Why would you think AMPAS should only honor American movies?
that potential poll at R20 is pretty good. I'd say Isabelle Huppert, The Piano Teacher, though I agree with a lot of the other choices as well
My friend saw Impossible OP, and felt the same way about Naomi Watts.
Totally agree, OP. Tritignant deserved the nom more than Riva, and certainly deserved a nomination more than Bradley Cooper or Joaquin Phoenix.
"Tritignant deserved the nom more than Riva"
No, he did not deserve it more than Riva. That's contrarian bullshit, part 367.
JLT deserved a nom, and his work in the film is brilliant and heartbreaking; but he is not 'better' than Riva, who had to show much more range, and who went on a much more challenging external and internal journey.
JLT's work was mostly internal. Riva's was both.
Yes, her part is more flashy than his. It also attracts more sympathy, because she dies (but then so does he at the end, if only by implication).
In any case, taking down Emmanuelle Riva's work in this film is beyond silly.
r34 & r35: are you serious with your questions? I'm not a paying member because I'm a TROLL, sweethearts! Tried and true, dyed-in-the-wool troll.
I get other people to do my bidding, just because I can! It works, every single time.
And I even have a self-appointed *benefactor* now! Can you believe it? I remind him of his needy ex-bf, and out of fondness and familiarity, he's promised to start any thread for me I ever want.
Am I one happy troll, or what?!
And you just jumped the shark, Streep Troll. That's a shame. Again, I liked you. Trolling is one thing. It can be fun and engaging. Being a freeloader is entirely different and speaks to your character.
A french actor won last year, which was a fluke as Dujardin has done nothing of note since (that Les infideles was terrible) and Marion Cotillard won Best Actress as Piaf 3 or 4 years ago, so another French actress no matter how deserving, may not get the votes this time.
r44, I'm not attempting to observe *your* standards by my trolling. You got something wrong there.
Me staying a non-member, yet being persuasive enough for benefactors to start threads for me is a wonderful sport. I do not care if I fail your 'expectations'; I certainly meet mine!
Secondly, I never pay for any website on the internet. That's beneath me.
The internet, in my view, should be free. At all times.
Finally, I've never asked anybody here to 'like' me. Whether you do or whether you don't is of no interest to me.
r45: Dujardin is in the new Scorsese flick (Wolf of Wall Street). He's also been cast in the Clooney film that is currently in pre-production (The Monuments Men).
Thanks for playing, hon.
Riva will win not because of background or lack thereof, but because it's the best performance of the year 2012.
In response to _R5_, "I didn't think it was that earth shattering. At least in that film The Savages, Linney and PSH had their own issues to resolve. This...I mean, we're all going to die. These people seemed to have a good life and more or less a dignified death. End of life can be much, much worse. Much worse.": I don't dispute that it could have been much worse, but I wonder what you imagine the sensation of being smothered to death must feel like. I imagine it feels absolutely horrible. No one should have to die like that, especially at the hands of their beloved.
hmm, well, I guess that is a bit of a "spoiler"...^
This is ridiculous.
The beauty and truth that Trintignant and Riva bring to Amour they create together, give to each other and give back. It's called acting. And this is just about as great as acting gets.
Trintigant's performance was ridiculously forgotten by the awards season.
To justify dismissing Riva's equally superb work and contribution to the integrity of their teamwork by the fact of Trintigant's snubbing is like arguing that two wrongs make a right.
Yes, they worked well together, but I cast another vote for Tritignant being the best thing about the film (in unquestionably the most difficult role).
What am I, chopped paté?
Huppert, as always, is terrific. But the role is not large.
Slightly OT and shallow, but Huppert looks amazing and completely unsurgified while pushing 60.
Huppert's best scene is her first one in the movie: where she talks about her philandering husband and the estranged son. Great range as she goes from pensiveness, to fleeting indifference, to uncertain contentment, all while attempting to entertain her father.
Her other scenes are mostly her crying or being furious; they're played well, but are not very demanding or outstanding.
Of course, she owns the final frame of the film, which is heartbreaking in its sadness and helplessness.
In any case, even if she had not much to work with, IH should have been nominated instead of Ann 'look at me' Hathaway.
Another missed opportunity to finally recognize the second best actress working in film!
This movie is a perfect paradigm of what shit floats these days and how stupid people are.
Boomer issues? Check. Maudlin subject? Check. Foreign language? Check. Overrated director? Check. Simplistic story? Check. Sterile cinematography? Check. About children or the elderly? Check. It's become too easy anymore.
Sorry, Haneke is no Von Trier (or even Honore). Wake me when the Academy or Cannes decides to award true art that says something meaningful to society again (or ever).
The fact that this tripe is lavished with praise while Christoph Honore's BELOVED - ten times more dynamic and compelling and addressing many similar themes, actually - is shafted and ignored by most says it all.
I saw the film this afternoon and, hours later, I'm still shaken from experiencing a profound story and great cinema at the same time. It is extremely rare when a film captures human condition, and Amour does just that.
I totally agree about Trintignant deserving praise and awards for his performance.
Riva should have won an Oscar.
I can't wait to watch the film again.