Backstage Spotlight: The Overlapping Themes of Hugo, The Artist, and Midnight in Paris

Having finally seen Hugo this past weekend, I was once again brought into France via the movies–this time, a Parisian world, namely a train station, built by Martin Scorsese. After seeing it, I noticed that Midnight in ParisHugo, and The Artist all share some overlapping themes that made 2011 film feel very full circle for me. These are the similar ideas/themes I gleaned from watching the three films:

French Influence/Setting

I started to think about how France majorly influenced some of the biggest pictures of 2011. The ArtistMidnight in Paris, and Hugo–all were nominated for Best Picture. The Artist took the big prize (and then some other big ones) without breaking a sweat, Woody Allen was once again MIA to pick up his Best Original Screenplay trophy, and Hugo ran away with five technical awards at the Oscars.

Midnight in Paris is perhaps the most self-explanatory in terms of relating to France. It was filmed in Paris! The City of Lights was highlighted most in Midnight in Paris of the three films. Castor over at Anomalous Material wrote this great article that acts as a travel guide for many of the locations where Midnight in Paris was filmed.

While Hugo was actually filmed in London, Scorsese built a Parisian world that was often viewed through the eyes of Hugo, sitting in a clock tower in a train station. Multiple shots of the Eiffel Tower sitting in the distance appeared throughout the film, although the majority of film took place on a train station set. Scorsese celebrates Georges Melies, the early French filmmaker and most notably the film, A Trip to the Moon. You can learn more about how Hugo celebrates Melies in this Star News article.

The Artist has become one of the great film feats of France to take place in America, having won most of the big awards, Best Picture at the Academy Awards sitting at the top. Other French actors and films have received accolade, but The Artist triumphed in showcasing relatively new director Michel Hazanavicius, French actors Jean Dujardin and Berenice Bejo, and French film composer Ludovic Bource. Jerry Garrett wrote a well-researched article about the different LA locations where The Artist was filmed and how some related to old Hollywood or were specifically chosen by Hazanavicius for inspired reasons.

Love Letters

It’s fitting that Paris is dubbed the “City of Love”–the theme of each of the three films had the idea of “love” well-integrated into them, each acting as a love letter of sorts: Midnight in Paris, a love letter to the past and to the city; Hugo, a love letter and homage to film; The Artist, a love letter to art and expression, and a well-developed underlining theme of love itself.

Not only was Midnight in Paris a masterpiece and a beauty to view as an audience, but the film elicited charm, bringing the early 1900s Paris to life, and showing the origination of some of the most celebrated artists and writers in the city. The “starving writer” Gil, seeks solace in a discovered early 1920s Parisian world filled with the writers and artist who inspire him. French culture abounds, taking center stage throughout the film.

The brilliant Martin Scorsese decided to share one of his loves with the world–a film about film. There’s a scene when Hugo and Isabelle sit in a library and open a book that talks about early film, silent film, and the first film made–about a train. Scorsese really thanks the past films that served as both mentors and inspiration for Hugo and his other films.

While Hugo hits the love of silent film, The Artist puts its complete focus on it, not only being a silent film itself, but telling the story of a forgotten silent film star in the rise of talkies. In the middle of the film emerges a love story that starts off innocently, transitioning to Peppy extending a saving grace to George, and then ultimately finds the two dancing alongside one another in the end.

Lost, But Not Forgotten

Each of the three films also press the issue of forgetting–Midnight in Paris reminds us to not live in the past, but also not to forget it and how it influences us today; Hugo tells the story of a forgotten filmmaker, and in the process delves into early film and how it got its start; The Artist takes the most personal route of the three, showcasing a silent actor’s life unravel as the world not only forgets silent film, but ultimately forgets him and moves on to “make room for the young.”

Woody Allen really plays a trick on us–the lesson Gil learns in Midnight in Paris is that you need to live in the present, that the past belongs in the past, and that you have to make decisions now and learn to live in the now. The trick is that the film also serves as a reminder of what was, and what past art and culture has done for the future. I viewed Midnight in Paris as Woody Allen’s way of saying, “Paris, art, beauty of the past–the world may have forgotten you, but I haven’t. Thank you for paving the way and opening it up for today’s artists. You continue to inspire me.”

Hugo shows the origination of film and brings to live a forgotten filmmaker and master of the art. It celebrates a life that was all built on a risk one day, turned to a dazzling career, and then seemingly forgotten, being shoved to the side with the coming of war, his films and effects destroyed in an impulsive act of sorrow and rage. Hugo journeyed back to the roots of film to share the beginning of one of the greatest mediums of time.

Yes, forgotten filmmakers and stars have “made room for the young,” and have also been left out to dry. George Valentin is a forgotten silent film star–along with the medium, watching as the world shifts its eyes toward younger stars and ears toward talkies. Valentin grasps onto what stardom and life he has left, trying everything in his power to get the world to divert its gaze just long enough to remember that silent film is still powerful, beautiful, and worthwhile. What do you do when the world forgets you? I think Michel Hazanavicuis answered that with bringing us The Artist in the twenty-first century.

What themes did you notice in the Best Picture nominees? Did you pick up any other common themes that I missed in these films?

Oscar Chatter with Kristin and Matt: Best Picture

Kristin: Out of the nine films nominated, I’ve seen all but War HorseHugo, and Extremely Loud and Incredibly Close. The good news is that I don’t believe out of those three films, that any stand a chance of winning. The most likely of them is Hugo, but even then, I see Hugo vying more for Best Director than Best Picture.

It really comes down to the main two contenders that have won most other awards this season: The Artist and The Descendants. Both are good films, yet very different from each other. The Artist seems to be the frontrunner, and having seen both films as well Tree of LifeThe HelpMidnight in Paris, and Moneyball, I will gladly confess that The Artist is my favorite of them all, and in my mind, the most deserving to win Best Picture this year.

While The Descendants was a good film that I would even watch another time or two, I don’t think it quite bears all the necessary material to win Best Picture. It stars Academy darling George Clooney, and was written and directed by Alexander Payne, an experienced writer-director who is no stranger to the Oscars, having had his writing for both Election and Sideways nominated (he won the award for Sideways). Payne’s work is story-centered, and a lot of reliance on his work being brought to life rests on the actors’ shoulders. The Descendants‘s cast gives justice to Payne’s script, and it is no surprise to see the film receiving such high accolade.

That being said, The Artist really separated itself from the mass when director Michel Hazanavicius chose to make a black and white silent film. A lot of great things have been said of The Artist in the past couple posts. But aside from its originality in this time period, The Artist also stars strangers to American film, namely Jean Dujardin and Berenice Bejo, who won over the hearts of viewers. Their acting was flawless and moving, and they paid homage to the silent film era with their performances. Ludovic Bource’s score is unforgettable, and reveals the power of how a good score can complement a film that doesn’t rely on dialogue to tell the story. Hazanavicius was able to write a story with practically no words, and yet the story was easily told and understood by those who watched it. Of the six Best Picture nominations I’ve seen, The Artist, I believe, is the overall winner because it’s not strong only in story, but also in performances; not only is it a beauty to watch in the B&W film era, but also is the music stirring, the direction clear, and the film editing, visual effects, and art direction suitable for the film, delivering on all necessary levels. The Artist is the winner in my book. 

Matt: There is little doubt in my mind who will win Best Picture tonight. Like last years winner, The Artist slowly drifted from obscurity into the hearts of the film world. It will win not only because it was a very good film, but because it is exactly the type of movie the Academy loves. I quite enjoyed the film, and found it to be an ambitious, charming homage to a forgotten time in Hollywood’s history. Will people look at this film in twenty years and mark it as a classic? While that appears to be seen, my gut instinct is that they will not. The film works wonderfully for what it is: a salute to the silent era. Does it break new ground for cinema? I cannot argue that it does.

However, do any of this years nominees break new ground? Will any of these films be regarded as classics in the coming years? Now I have not seen War Horse, Extremely Loud and Incredibly Close, or Payne’s much praised film, The Descendants. I thoroughly enjoyed Midnight In Paris. Sweet and charming, it may be my favorite film of the year; however, it is not the best film of the year. Moneyball may be the first sports movie in years that I have not gagged over. Great writing and acting made it an enjoyable film. Was it this year’s best picture? Not remotely. The Help makes you laugh and cry; it also reminds us of a very dark time in our nation’s history. And Martin Scorcese created a dream to educate us all about the origins of celluloid dreams.

All of these were good; some of them great. Among the nominees, however, there was only one film that came close to breaking new ground for cinema. With each new film, Malick continues to explore the possibilities of pure cinema. Of this year’s nominees, The Tree of Life was the only film I couldn’t get out of my head. The film’s many themes stuck with me for days after I watched it: The birth of the universe, the existence of God, the smallness of man. The joy and hardships of childhood, the death of loved ones, what happens after this life passes. It asked all the right questions without giving too many definitive answers. That is what art is supposed to do, isn’t it?

Matt brings up an interesting point–should a film win Best Picture because it breaks new ground? Or is a film that’s considered popular or “the best”  more deserving? Does it matter if a film has more influence, but isn’t considered “Best Picture” by the Academy?  Share your thoughts below.

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Matthew Roth is an aspiring filmmaker from the Madison, WI area. While his passion is narrative film, he currently shoots and edits promotional and event videos at Inframe. In his free time, Matt enjoys researching and discussing film over a cup of coffee or meeting up with fellow film junkies through Craigslist. Be sure to check out his most recent short film Memoria.

Reaction to Oscar Nominations

Everyone’s going to have their own quips about what film was nominated, what film wasn’t nominated, who got snubbed, who got included who shouldn’t have, etc. Some will and some won’t agree with me on any or many of these.

If you read my previous post, you’ll already have a one-up on this one. In more detail, here are my reactions:

What Disappoints Me

  • Shailene Woodley not making the cut for Actress in a Supporting Role. Who got it instead? Melissa McCarthy from Bridesmaids. I can’t even comprehend how there’s a comparison here. I really don’t care to vote between comedy or drama; in terms of role performance, in my humble opinion, Woodley–not McCarthy–should have been nominated.
  • Drive‘s lack of nominations. With its overall positive reviews, ratings, and plug for Ryan Gosling, I’m stunned that it’s walking about with only a single nom. In my latest post, I mentioned the forgotten Albert Brooks. I feel like Drive is walking away forgotten.
  • Joseph Gordon-Levitt missing the nomination. I know most people are more upset over Fassbender not on the ballot. I haven’t seen Shame, and honestly, have little interest in seeing it. Although I would like to see it since there’s been a great deal made about it. This disappointment, however, is regarding JGL–and I am disheartened to see that he has yet to get past Golden Globe nods and break through that Oscar glass.
  • Speaking of JGL, how about Will Reiser’s script not passing for Best Original Screenplay? I’m a little hesitant to praise Annie Mumolo & Kristen Wiig for their Bridesmaids script, and I haven’t seen Margin Call, but I’m still wondering how 50/50 didn’t get nominated.
  • Harry Potter series walks away with zero acting nominations. As discussed with some on Anomalous Material, this isn’t entirely surprising. Actually, considering some of the biggest film series with huge casts, it’s almost not surprising at all. But for us Potter fans, it still hurts a little inside to see not even Alan Rickman get some much-deserved credit, much less a host of other fantastic supporting roles. Oh, and did I mention Daniel Radcliffe? I know I’m not in the majority thinking this, but I can’t help but admit that he did such incredible work, especially in the last film. Not even a Golden Globe nod? What do I say to all that? Boooo.
  • The snubbed Mr. Ryan Gosling. Between DriveIdes of March, and even Crazy Stupid Love, which strangely earned him a Golden Globe nod, Gosling walked away without a single nomination. So I think it’s sad that he didn’t pull through for Drive  or even Ides. With a year that boasted his name more than any other, it’s disappointing.
  • Extremely Loud and Incredibly Close making the Best Picture cut. Are you serious? Here’s a better question: how does a movie with a 48% rating on Rotten Tomatoes get nominated for Best Picture?

What Confuses Me

  • Why is Viola Davis considered the lead actress in The Help? I have no problem with her being nominated. In fact, I support that. But here’s my beef: I watched The Help, and I was under the impression the entire movie that Emma Stone was the lead character. This is lost on me.
  • Why is Emma Stone completely forgotten from The Help? I realize she plays straight to the characters portrayed by Viola Davis, Octavia Spencer, Jessica Chastain, etc. I even almost get that most would not consider her performance Oscar-worthy. But that leads me to three more questions–Why does she not get credit at any awards ceremonies this season for her work in the film? Why is her performance in Easy A considered Golden Globe worthy, but not her role in The Help? And finally, why does Melissa McCarthy get credit for her role in Bridesmaids at the freaking Oscars, but Emma Stone doesn’t get any credit for The Help . . . AT ALL?! Anyone?
  • Why is Berenice Bejo in the Actress in a Supporting Role category? Perhaps this one is more obvious. Jean Dujardin is clearly the lead. Understood. But wasn’t Bejo the lead actress in The Artist? It was the same way at the Golden Globes. I’m just really confused about this.
  • Why is everyone making such a big deal about Rooney Mara in The Girl with the Dragon Tattoo? I realize it was a very polarizing, intense role to portray. I get it. And I can even understand the Oscar nomination. What I don’t get? Why is there all this crazy fuss about her? What other work has she given to film that makes her stand apart from the rest? OK, so she’s just getting nominated for TGWTDT. Understood there. But isn’t that kind of a slap in the face to Noomi Rapace from the Swedish version? I mean only two years prior, she played the same role–and fantastically, I may add–and didn’t receive any of this accolade that is being poured on Mara. Why is that?
  • Why can’t the dogs from Beginners and The Artist get nominated? After all, the one from The Artist saved Dujardin’s life. And the one from Beginners? Doesn’t get much cuter than that. Academy, how about we add a new category, eh?

What Makes Me Happy

  • Perhaps the nomination that delightfully surprised me most was Nick Nolte in Warrior. The film itself hadn’t gotten much praise–good reviews, but not great ones. I realize everyone mentions issues with the film from cliche type story line, to boring cinematography, to “we’ve already seen this movie a zillion times in other sports films.” Got it. But I’m incredibly happy to see Mr. Nolte get some credit for his role. With great performances all around in Warrior, Nolte stood out to me, even considering Edgerton and Hardy. What a well-deserved nomination.
  • The Help and Midnight in Paris showing up on the Best Picture list. Although neither film will be a contender for that category, I’m happy to see both get nominated. The Help received a massive amount of criticism, and I wasn’t sure Midnight in Paris would make the cut, even with its growing popularity.
  • Cars 2 didn’t get an Animated Film nomination. Sorry, Pixar, but 2011 was not your year. Glad to see better animated films get nominated.
  • Gary Oldman nominated. I know this will make a lot of people’s lists of things that made them happy for this year’s Oscars. Although I wasn’t blown away by Tinker Tailor Soldier Spy, I will say that I’m happy to see Oldman receive so much-deserved credit.

AEOS Review: The Artist

Unfortunately, I was unable to post yesterday, so today will be a double header. Up first is my review on The Artist, which also happens to be my number one pick of favorite movies for 2011.

The first silent film I saw was Diary of a Lost Girl, a 1929 film made by a German filmmaker named G.W. Pabst and Louise Brooks, in my film class last semester. Initially, I wasn’t in any sense blown away by the movie, but I was able to hold interest in its entirety and found it entertaining and interesting. After all, it wasn’t void of music or sound, but only dialogue.

With this little knowledge and experience kept in mind, I went in to see The Artist with little expectation of enjoying it. I knew it was about a silent filmmaker, that it was a silent film, and that it was in black and white, but my knowledge stopped there. I knew nothing of either headlining actor or much information about writer-director Michel Hazanavicius.

But the one thing I will admit after seeing The Artist is that it was easily the best movie I had seen all year. In fact, it was so good, I had nothing but Diary of a Lost Girl to compare it to since it was the only other silent film I have seen. And even with that, I don’t feel like I could compare the two on any level other than that they’re both silent films. The Artist is a moving, fulfilling, hilarious and incredibly delightful film to end 2011 with. Clearly, Jean Dujardin and Berenice Bejo were made to act in the silent film era. Why? Well, the thought of seeing a silent film in my mind is wondering whether I’ll be able to understand the plot with limited narration. There’s much more dependence on the supporting soundtrack, and more so on the facial expressions of the actors. We don’t have words or tone to determine exactly what is being said or how the characters are processing information and then reacting. So much credit is due to Dujardin and Bejo for not leaving the audience in confusion throughout the entire film. From start to finish, I knew what was going on and was able to understand the plot and process the emotions displayed on screen. The other big credit goes to Hazanavicius, who also wrote the film.

It’s an oddity today for people to be entertained without speaking taking place. We live in a world with people who have very small attention spans and rely on technology for constant entertainment. Perhaps we are products of our technologically-savvy generation, but writers and directors like Hazanavicius have proven through works of art such as The Artist that we don’t need an action movie, big explosions, a crazy soundtrack, or a tween love-triangle to entertain today. What Hazanavicius gave us in The Artist was a beautiful, entertaining, well-written story that far outshines much of today’s film. Not because it was bold in being different from everything else, but because it was bold enough to not care to be like everything else, even if that meant not bringing in and holding a younger audience’s attention.

I wish more movies would strive to be like The Artist. The acting was genuine and filled with emotion and made you as a viewer sit there and CARE about what was going on. The Artist also provoked the thought process of what happens when you become an old book and get put on the top shelf. Do you sell everything you have and give up living your life? Do you take everything into your own hands and work to make something better? Or do you join hands with the coming of age while still utilizing older concepts? Obviously silent film is a rarity today (what was the last silent film you saw before The Artist?) and the idea of deciding between talkies and silent movies isn’t a viable question, must less a considered one today.

Rating: ⊙⊙⊙⊙⊙

Top Ten Favorite Movies of 2011

The time has come for me to finally make this list. I haven’t seen Tree of Life or Drive yet, so I feel like this list could possibly be adjusted after a viewing of either, but despite those exceptions, I still had a difficult time compiling this list. Without further ado, here are my top 10 favorite movies of 2011:

10) Something Borrowed

Of course I’m the only person out there who will be putting Something Borrowed on my list. It rated 14% on Rotten Tomatoes and received poor reviews all around. HOWEVER, this is my “dud” on the list. There’s a reason Something Borrowed makes my favorites list (as I not so subtly bolded the word favorite earlier), and not the list I consider to be the BEST movies of the year. I know it’s not going to be other people’s favorite, but that’s the point, right? This film resonated with me. I enjoyed the story (and the book it was based off), and maybe part of my problem is that I have this thing for John Krasinski. I don’t know.

9) The Muppets

And now to hit the movies that are on other people’s lists. I ended up seeing The Muppets twice. This is one of the most fun films to come out this year. Jason Segel did an excellent job reincarnating this group of lovable puppets that stole many hearts of earlier generations. From the screenplay to the original music, The Muppets won me over almost without trying.

8) Mission Impossible: Ghost Protocol

I found this newest edition to the franchise to be the most adrenaline-pumping of them all. Nonstop action, and some of the craziest stunts I’ve seen take place in a movie. There was great chemistry between Simon Pegg, Tom Cruise, Paula Patton, and Jeremy Renner for the latest IMF team. I really enjoyed the craziness of this movie and am happy to see Tom Cruise phoning in another good performance.

7) X-Men: First Class

This is one of the most exciting movies that came out this summer as well as the best one of the franchise by miles. Originally, I had never seen any of the X-Men movies, but on just a single viewing of  First Class, I was interested in the series. When a prequel can draw a non-fan in without annoying fanboys/girls with excessive detail or repetition (or really, just treating them like they’re stupid), then it can really be a great thing. I really enjoyed being introduced to the awesome Michael Fassbender as well as seeing James McAvoy play a young Professor X. And to top it off, a great soundtrack by Henry Jackman served as background.

6) Harry Potter and the Deathly Hallows Pt. II

I was one of the people who waited in line to see Deathly Hallows Pt. II and left feeling exceptionally underwhelmed, most likely due to steep expectations. After a second viewing of it, I came around and started thinking more about it. Deathly Hallows Pt. II was a great end to such a successful movie franchise. Although many fans of the books were left wanting with having many scenes changed or completely left out of this movie, it’s hard to argue that this movie didn’t move you in some way if you’re a Harry Potter fan. I was especially fond of the epilogue and the tone it left viewers with. There were so many great performances, that it’s hard to pick just one or two standouts. For me, it was exceptionally nice to see Daniel Radcliffe give all that he could to his Harry Potter role throughout the series, and then watch it all come together as he gave his life in Deathly Hallows Pt. II.

5) Midnight in Paris

I’m so happy to see all the critical chatter Midnight in Paris is drawing. I had heard almost nothing about it before I saw it, but I read a nice review by Roger Ebert. In the middle of a summer filled with lots of action, superheroes, and monsters comes this beautiful and creative stand-alone movie from Woody Allen. All the locations filmed in Paris alone serve as a great backdrop and historical picture of past and present Paris. I really enjoyed seeing Owen Wilson shine in a newer type of role for him alongside the gorgeous Marion Cotillard. From the music to the costumes to the humble, but smart screenplay, Midnight in Paris was easily one of my favorite movies of the year.

4) The Descendants

Since I first saw a trailer for The Descendants in theaters, I knew I would want to see the movie. I really enjoyed George Clooney’s previous Up in the Air, and I was excited to see him in an indie-styled film. Coming across as very grassroots, The Descendants takes a family that is seriously messed up and lets us journey with them through an especially harrowing time for George Clooney’s character, Matt King. What I enjoyed most about this movie was the realistic touch. Shailene Woodley gives her all in a dramatic role of playing a rebellious, but hurting teenager. It’s a story about family, making decisions, grieving, and dealing with unpleasant situations, and at the same time, it gives the audience a sense of realism. That pain and frustration and arguing and death is a real thing that happens every day, and shapes you as person as you deal with those times by your reactions to certain situations and interactions with the people close to you in life.

3) The Help

Based off the novel by Kathryn Stockett, the story of The Help is both moving and inspirational. This movie was able to accomplish both of those tasks–move and inspire viewers–without the unnecessary pizzazz or cheesiness that tends to accompany many films of the same genre today. Stripped of all the colors from the costumes, The Help makes you think beyond the movie theater and the book. Some of the best performances of the year took place in this movie, from Viola Davis and Octavia Spencer to Emma Stone. Jessica Chastain was hilarious in her supporting role as well. Although there’s still controversy over this movie, The Help is no doubt one of the best movies to come out in 2011.

2) 50/50

Barely missing the top spot for my favorite film of the year, 50/50 made me cry and laugh and walk away very thankful for life by the movie’s end. Perhaps because the story was written by the guy (Will Reiser) who was actually diagnosed with cancer–and has now survived it and is in remission–50/50 offers the most realistic look at a young person dealing with a rare form of cancer. Joseph Gordon-Levitt is both brilliant and endearing in this role, seeming to act the part from the inside out. A great supporting cast of Anna Kendrick, Anjelica Huston, and even Seth Rogen ties this dubbed “bromance comedy” together. Both moving and hilarious to watch, 50/50 was one of my favorite movies of the year.

1) The Artist

Until this past Sunday, 50/50 held the number one spot in my list of favorite movies for 2011. And then I saw The Artist and couldn’t shake the feeling that I had seen one of the greatest films to come out in a long while. I walked in with low expectations, assuming I would be bored or disinterested, but found myself unbelievably surprised and thankful for the opportunity to see this movie gem. Jean Dujardin and Bérénice Bejo are flawless in this Michel Hazanavicius film filled with great performances, a great score, great writing, and great cinematography. It’s difficult to restrain from overpraising The Artist, not only because was it that good, but also because nothing else remotely similar has come out in ages, much less would be comparable to it. The Artist will probably hit it big at every awards ceremony this year, and rightfully so. If you haven’t seen this movie yet, please do so. It’s definitely my favorite of 2011.

What was your favorite movie of 2011? Did you like any of the ones on my list? What was missing from my list, and what do you think I should see still? I missed out on just about all documentaries in 2011, so I’m definitely looking for suggestions!

Yes, I’m Going to Talk about the Golden Globes

And the nominees are . . .

Not going to be listed here. But if you’d like to see a list, they’re just about anywhere else. Like Fandango, or Rotten Tomatoes, where it lists the movies with their RT rating. Kinda nifty.

Unfortunately, I haven’t see all of the films/performances that are up for awards yet. It’s difficult to make it to the theater for all of them, but I can comment on what I know and hope to happen. Here are my personal thoughts on each category, and who I guess will win each.

Best Motion Picture – Drama

I’ve seen 4 out of the 6 nominations. I’m actually stunned Ides of March made this list. Really? But then again, the Golden Globes occasionally pulls an odd nom or two out of a hat, so I’m crediting Ides with being the weird pick. My greatest disappointment is that Tinker Tailor Soldier Spy is entirely void from not only this list, but from the Golden Globes as well. Come on! I’m happy, however, to see Tree of Life not present, because people were making far too big a deal out of that film (if you ask me). I would be happy, however, to see The Help or The Descendants win this category. I enjoyed Moneyball a lot, but don’t think it deserves to win over either of those. I also think Hugo is entirely overrated because it’s a Scorsese film. I can’t comment on War Horse because I haven’t seen it, but it’s difficult to put into the mix when I don’t even have a desire to see it. Perhaps when it is in full release, I will reconsider.

Best Motion Picture – Comedy Or Musical

In this section, I’ve seen half the films. My Week with Marilyn was always on my list to see, but it hasn’t worked out yet. I will personally be pulling for 50/50 to win, because it was my favorite film of the year thus far, but with The Artist having the most nominations of the season, I see it easily stealing this win. Midnight in Paris is a close personal second pick for me. It’s a Woody Allen treat and a great film, but I find it unlikely to beat out The Artist. Unlike the rest of the world (and critics alike), I was not a giant fan of Bridesmaids, although I was impressed with Wiig’s writing more than her performance with it. Surprisingly, Carnage is really pulling out a nice string of nominations, but I doubt it will fare against The Artist, much less Midnight in Paris.

Best Performance by an Actor in a Motion Picture – Drama

This is perhaps one of the easiest categories for me to comment on, because I have seen all the performances except for Michael Fassbender in Shame. However, after reading reviews, if I were to bet on who would surprisingly come up and win this category, I would bet on him. Plus, I think those awards voters smile upon nudity, but that’s those awards voters for you. Judging on all other performances, it appears to be a pretty tight race. Unfortunately for Brad Pitt, I don’t see Moneyball nominations faring well at all against it’s competition. Despite my dislike of J. Edgar, I think DiCaprio gave a fantastic performance. And despite my thoughts, I think voters will overlook him again and go with Fassbender. My personal pick would be between George Clooney in The Descendants and Brad Pitt in Moneyball. I won’t even give Gosling a fair chance in this match because I’m still one of the many stunned that his performance in Drive wasn’t considered for this category.

Best Performance by an Actress in a Motion Picture – Drama

On the complete opposite side of the spectrum, I find myself with little to say, seeing that the majority of these performances are difficult to judge since half the films haven’t been widely distributed yet. The competition appears to be even more fierce in this category when big names like Meryl Streep and Tilda Swinton are included. Although I will be biased and think that Viola Davis is more than deserving of this win, I see either of the former winning this category. I’m also left disappointed with Emma Stone not getting any credit for her work in The Help, but it doesn’t surprise me, unfortunately. I’ve heard great things about Rooney Mara’s performance in the Swedish version of The Girl with the Dragon Tattoo, but I don’t think she has a fighting chance.

Best Performance by an Actress in a Motion Picture – Comedy Or Musical

I feel like I’ve really missed out on all the nominated performances this year–I’ve seen only one in this category as well! And that, being Kristen Wiig in Bridesmaids, which I don’t think will do anything. I see Michelle Williams easily taking this win with her performance in My Week with Marilyn. I’ve heard great things about Charlize Theron‘s polarizing performance in Young Adult, but I don’t know if that will come to anything or not. Two nominations are phoned in for Carnage, but again, it’s difficult to comment having not seen it. Although Kate Winslet seems to be an awards darling more than many.

Best Performance by an Actor in a Motion Picture – Comedy Or Musical

Clear and simple, I would easily place my vote for Joseph Gordon-Levitt to win this category. I was blown away by his performance in 50/50. This is only the second time he has ever been nominated for a Golden Globe. But I think the obvious winner of this category will be Jean Dujardin in The Artist. Again, I’m stunned to see Gosling nominated for Crazy, Stupid, Love, of all the movies to be nominated for. And although I very much enjoyed Midnight in Paris, I doubt Owen Wilson will do anything. Either way, I’m happy to see him nominated.

Best Performance by an Actress In A Supporting Role in a Motion Picture

For this category, the stand-out performance for me was Shailene Woodley in The Descendants. The Help scored two nominations in this narrow category for Octavia Spencer and Jessica Chastain, two actresses that I would also be happy to see win–I think Jessica Chastain has a little more edge then Spencer in this category. But then again, The Artist may take this category, too, with Berenice Bejo‘s performance. More than ever, I’m wishing I had seen that movie so I wouldn’t feel so begrudged in talking about it’s likely and hypothetical victories.

Best Performance by an Actor In A Supporting Role in a Motion Picture

It’s a strange thing to see Drive finally get a nomination with Albert Brooks in this category. My pick would go to Jonah Hill in Moneyball, although I see Christopher Plummer (Beginners) or Viggo Mortenson (A Dangerous Method) walking away with the trophy before Hill does.

Best Director – Motion Picture

I will admit I’m very biased in this category. First things first: No, George Clooney, I don’t think you should win, much less be nominated in this category. Yes Ides was good, but it wasn’t Best Director nomination-worthy. Second: Despite the hype over Hugo, no, Scorsese, I don’t think just because you decided to make a family film that was largely successful, that you should win this category either. What kid wants to sit in a theater for over two hours when the film is more fitting for adults? That’s what The Muppets is for–to make children laugh and smile and sing and enjoy going to the theater. And get ready for it: No, Mr. Allen, I don’t think you should win either. Yes, you are an incredible writer, director, and storyteller, but you’re also the biggest Academy Darling of those listed, and just because those voters love you doesn’t mean you should win every year you’re nominated. Off your high horse. Which leaves Alexander Payne (The Descendants) and Michel Hazanavicius (The Artist). My gut tells me Hazanavicius is going to walk away with it, and I would be all the happier if he did.

Best Screenplay – Motion Picture

My first choice? Midnight in Paris. The writing is the strength of the film, and I think it’s spectacular. I think Ides should be thrown out the window on this one too. It is likely that The Artist could take this one, too, but then again, so could The Descendants. Moneyball was a nice adaptation, but for those who have read the book (*raises hand*), they know it wasn’t a great representation of the book. It was, however, an excellent way to translate the story for today’s viewers and make something that might not entertain most to something that could now entertain many.

Best Animated Feature Film

The question we should all be asking is, where the heck is Kung Fu Panda 2 on this list? Seriously, Cars 2  was the least successful Pixar film to date, yet it still makes it on the list of nominees. If I were to pick a favorite, it would be Puss in Boots. Then again, I remained unimpressed with this list, considering the great past couple years of animated filmmaking.

Best Foreign Language Film

I have little to nothing to say about this category as well, since I haven’t seen a single film on the list. My only thought is that it’s interesting to see Angelina Jolie’s directorial debut make the list, In the Land of Blood and Honey. But that’s all I have to say about that.

Best Original Score – Motion Picture

There’s a great many popular and suspected composers’ scores on this list, from Howard Shore to John Williams to last year’s Oscar winners, Trent Reznor and Atticus Ross for The Girl with the Dragon Tattoo this time around. I put this category entirely up for grabs.

Best Original Song – Motion Picture

I’m definitely a fan of Mary J. Blige’s The Living Proof from The Help, but I can’t help but get angry at not seeing even a showing for The Muppets on this one. Really? I’m actually stunned. This is a huge disappointment for a film with such great original songs.

And those are my thoughts! What are your biggest disappointments and surprises for this year’s Golden Globes?