The so-called “Career Oscar” can be an awkward compliment. There are two types, but both are tinged with embarrassment: honorary Oscars for those who never received a statuette — and competitive awards given to established talent largely due to their unrecognised body of previous work, rather than the film actually nominated that year. Alfred Hitchcock, David Lynch, Charlie Chaplin, Debbie Reynolds and Peter O'Toole are some of the most egregious examples of the former; Martin Scorsese (The Departed), Paul Newman (The Color of Money), Al Pacino (Scent of a Woman) and Henry Fonda (On Golden Pond) fit into the latter category, where one can hardly say they won for their best work.
The Californian writer/director has come a long way from the 27-year-old wunderkind who dazzled audiences with his second feature in 1997, the porn-industry drama Boogie Nights. That was the first of his films to receive an Oscar nomination and he has been a consistent fixture on ballots ever since, with eight out of his ten features nominated in any category. Overall, Anderson’s films have had 41 nominations and won three awards, for acting, cinematography and costume design. The man behind There Will Be Blood, The Master, Phantom Thread and Licorice Pizza has 14 nominations and zero wins to his own name.
View Green Video on the source websiteWhat makes One Battle so singular is its dexterity. Released in September to widespread and breathless praise, not least from our own review, the loose adaptation of Thomas Pynchon’s novel Vineland follows paranoid recluse Bob Ferguson (Leonardo DiCaprio) and his daughter Willa (Chase Infiniti) as they are hunted by a ruthless army colonel (Sean Penn), who has history with Bob after the latter's years in a left-wing revolutionary group. It is a film that defies easy genre categorisation in the best way: equal parts political thriller, father-daughter drama, stoner comedy and pulp actioner.
To smuggle this social commentary into such an accessible package should be commended, as unlike the cynical Bugonia, it shows that having something to say about America’s cultural moment should not be at the cost of entertainment. In 1997, Anderson said in an interview that he left film school after a screenwriting teacher told students they should not aim to make Terminator 2. Sean Penn’s near-indestructible villain in One Battle is a middle finger to such snobbery and the Academy should echo the sentiment.
At the time of writing, One Battle After Another is seemingly in a two-horse race with Sinners, the only nominee that can compete in terms of cultural footprint. Ryan Coogler’s blockbusting vampire horror would be a refreshing outlier in the best picture canon, but there’s an argument that a win would not serve it well. Sinners’s strength is in its embrace of horror and the B-movie, but a best picture Oscar off the back of a record 16 nominations would have people debating its credentials among traditional “prestige” dramas, which Coogler’s film has no interest in being.
One Battle After Another would perhaps be a more conventional winner in this regard, but absolutely no less thrilling. An urgent film of resistance and rebellion would be an apposite and culturally confronting choice — and exactly the kind that the Academy should make in a time when America appears on the brink.
Hence then, the article about the case for one battle after another to win best picture was published today ( ) and is available on Radio Times ( Middle East ) The editorial team at PressBee has edited and verified it, and it may have been modified, fully republished, or quoted. You can read and follow the updates of this news or article from its original source.
Read More Details
Finally We wish PressBee provided you with enough information of ( The case for One Battle After Another to win Best Picture )
Also on site :