The Crown is back. We rejoin proceedings at the dawn of a new era.
For after two glorious seasons with the marvelous Claire Foy playing the Princess and young Queen in her twenties and thirties, we now give way to the new age of Olivia Colman. The transition is neatly symbolised by a tactful discussion of a new Royal portrait for a new range of postage stamps. It is 1964 and the monarch is in her late thirties, what might normally be seen as her “middle years.”
“A great many changes. But there we are,” Her Majesty reflects philosophically. “Age is rarely kind to anyone. Nothing one can do about it. One just has to get on with it.”
Other changes are afoot too. Then, as now, a general election is in progress, resulting in the election of the first Labour Prime Minister of the Queen’s reign, Harold Wilson. Jason Watkins captures Wilson’s manner perfectly, although not yet his wit. In time, we now know Wilson would become the favourite of the Queen’s Prime Ministers. At this stage, however, both figures are wary of each other: the working-class Wilson seems socially insecure and chippy while the Queen has heard an unfounded rumour from Prince Philip (Tobias Menzies – a good likeness) that Wilson is a KGB agent.
Elsewhere, another age comes to an end as the elderly Churchill breathes his last. In a rare piece of casting continuity with the first two series, John Lithgow briefly resumes his role.
Suspicion also surrounds Surveyor of the Queen’s Pictures, Anthony Blunt. Although not exactly a dead ringer for the art historian and Soviet spy, the always excellent Samuel West is well cast as Blunt. West is a fine actor anyway, but his lineage here is impeccable. His mother, Prunella Scales played the Queen in the Alan Bennett drama, A Question of Attribution, which was about Blunt and which parts of this episode strongly resemble. Blunt then was played by James Fox, whose brother Edward, incidentally played Churchill in The Audience, the Peter Morgan play which inspired this series. West also played the Queen’s father George VI in the (not very good) film, Hyde Park on the Hudson. His wife, the future Queen Mother was played by one Olivia Colman. West’s father, Timothy, of course, famously played George VI’s grandfather, Edward VII (and also played Churchill, several times), while Colman won an Oscar for playing the Queen’s ancestor, Queen Anne in The Favourite, earlier this year.
Fellow Oscar winner, Helena Bonham Carter is, of course, now cast as the Queen’s glamorous but troubled sister, Princess Margaret, replacing the excellent Vanessa Kirby. The makers clearly feel obliged to feature Margaret frequently in this episode, presumably because of Bonham Carter’s star status, but aside from much drinking, rudeness, singing and fretting about her wayward photographer husband Armstrong-Jones (Ben Daniels), who is pictured motorbiking about a lot, she does little of interest.
The next episode promises to be much more Margaret-orientated…
Quentin Tarantino – The Iconic Filmmaker and his Work, by Ian Nathan. Published by White Lion
One day, nearly thirty years ago, a young bearded man in a black suit ran across a road and was immediately hit by a car. Despite flying into and breaking the car’s windscreen, the hoodlum is soon on his feet again and pointing a gun at the unfortunate driver. As the scene is filmed from the driver’s perspective, it almost feels like we, the ones in the audience, are the ones being carjacked.
The carjacker was one ‘Mr Pink’ played by Steve Buscemi. The film was Reservoir Dogs and with its release, the career of film director, Quentin Tarantino had begun.
The years ahead would see the film’s director, Tarantino become so cool that for a while, it seemed possible that the name ‘Quentin’ might actually become cool in itself. In the end, despite the continued popularity of artist Quentin Blake, this never quite happened. But, as with his earlier fine, nicely presented coffee table books on the Coens and Tim Burton, distinguished film critic, Ian Nathan’s book on the video shop employee turned director, reminds us why Tarantino largely deserved all the subsequent fuss that was made about him.
The 1990s was a great time for Tarantino. Reservoir Dogs, a film about a robbery we never see and notorious for an ear removal scene we also never see, featured career-best performances from all its excellent all-male cast. Perhaps only Harvey Keitel and Steve Buscemi have done better work elsewhere and even they are better in this than anyone else.
Why is it called Reservoir Dogs? The book suggests the issue – as with the answer to the question, “who shot Nice Guy Eddie?”- is a mystery known only to Tarantino himsel). My own theory: the main characters’ behaviour resembles a pack of wild, stray dogs living near a reservoir, fighting each other, betraying each other to survive. But I’ve no idea whether this has any basis in fact. Do stray dogs even live near reservoirs and behave like this? I’ve no idea.
The Nice Guy Eddie ‘mystery’ is more easily explicable, however. The ‘shooting’ of the character, played by the late Chris Penn, was actually the result of a technical error. The ‘squibs’ which stimulated his gunshot wounds went off, exploding prematurely. Tarantino, cannily recognising the potential for controversy, deliberately left the mistake in the finished film. So basically nobody shot him.
Next up, was Pulp Fiction, the film where Tarantino fulfilled his promise. Then came Jackie Brown, the Kill Bills, Inglourious Basterds, the westerns and this year’s triumphant but flawed Once Upon A Time in Hollywood. I am fully aware I have not covered Tarantino’s body of work fully here. Rest assured: Ian Nathan does. The lone exception is Once Upon A Time… which is touched upon, but was obviously released too late for the book.
But in every other respect, as a crash course in Tarantino, this is second only to watching the films themselves.
Book review: Cult Filmmakers: 50 Movie Mavericks You Need To Know. By Ian Haydn Smith. Illustrated by Kristelle Rodeia. Published by: White Lion. Out now.
What makes a cult filmmaker? The key qualities seem to be distinctiveness and a degree of obscurity. Hitchcock and Spielberg were and are great filmmakers, but both are much too famous now to be included in a volume like this. Hitchcock might have appeared once. Spielberg too, perhaps in the brief interim after the release of Dual but before Jaws. But not now.
Indeed, it could argued that just by highlighting the fifty directors included in this volume in a book specifically titled, ‘Cult Filmmakers’, author Ian Haydn Smith is simultaneously undermining their cult status as much as he is re-enforcing it.
That is not to attack the book, which is a good one. The author’s choices are intriguing and it is almost as interesting to see who has been left out as it is to see who has been included. Sam Raimi doesn’t feature. Nor does Wes Anderson or the Coens. Presumably, the men behind The Evil Dead, Blood Simple and Rushmore would have been considered cult filmmakers once. However, they are now ineligible as they’ve all moved onto more mainstream successes as the men behind Spiderman, Intolerable Cruelty and Isle of Dogs.
But if this is the reason, it’s odd that the likes of Quentin Tarantino, Tim Burton and Kathryn Bigelow are. Other selections are less contentious: David Lynch, David Cronenberg and ‘Pope of Trash’ John Waters, have all achieved fame, while retaining their cult status. Some such as John Carpenter seem to have lost their initial cultiness, only to later recapture it.
The book is stylishly illustrated by Kristelle Rodeia. Occasionally, the pictures look nothing like their subjects e.g. Terry Gilliam. It doesn’t matter.
Personally, I am most grateful for the chapters shedding light on Amat Escalante, Benjamin Christensen and Barbara Loden, amongst others. Until this book, they were undeniably in my eyes, cult filmmakers: I had never heard of any of them. But now I do. And this can only be a good thing.
The first ever US Academy Awards are held. First World War-based thriller Wings wins the first ever Best Picture Oscar.
In a scene reminiscent of the early scenes of the 2001 comedy film Zoolander, comedian Will Rogers opens the Best Director envelope and says, “Come and get It Frank!” Unfortunately, there were two directors called Frank nominated in that year. Frank Capra was half way to the podium before Rogers clarified that it was Frank Lloyd, director of Cavalcade who had won, not Capra. Happily, Frank Capra later won for Mr Deeds Goes To Town in 1936. In future years, the awards are always announced in a heavily scripted way, in the hope of preventing such an embarrassing error ever happening again.
Hattie McDaniel becomes the first black woman to win an acting Oscar (Best Supporting Actress: Gone With The Wind). Having been barred from the film’s Atlanta premiere due to the state’s racial laws, she is made to sit at a segregated table during the Oscar ceremony. She is only allowed to attend at all due to the Ambassador Hotel making an exception to its usual strict ‘no blacks’ policy. Her white agent sat with her at the ceremony.
How Green Is My Valley beats Citizen Kane for Best Picture. Citizen Kane subsequently became the most critically acclaimed film of all time.
Sidney Poitier (Lillies Of The Field) becomes the first black actor to win an Oscar.
A very rare occurrence: A tie in the Best Actress category.
Barbara Streisand wins for Funny Girl. Katharine Hepburn also wins for The Lion
In Winter (her third). As most Oscars are determined by votes from several
thousand Academy members, a tie is a frequent possibility.
George C. Scott wins Best Actor for Patton. He chooses not
to attend and instead stays home and watches a ball game on the other channel.
Native American Sacheen Littlefeather surprises viewers by
attending to reject Marlon Brando’s second Oscar won for The Godfather on his
behalf. t “He very regretfully cannot accept this very generous award. And
the reasons for this being are the treatment of American Indians today by the
film industry,” she says. She is actually not a political activist herself but
a small-time actress who later appears in Playboy magazine.
In a famously impromptu remark, host David Niven comments on
a streaker who disrupts the ceremony: “Isn’t
it fascinating to think that probably the only laugh that man will ever get in
his life is by stripping off and showing his shortcomings?
Robert De Niro wins his first Oscar playing Vito Corleone in
The Godfather Part II. Marlon Brando played the same character in 1972’s The
Godfather. It is the only time two actors have won Oscars for playing the same
Tatum O’Neal becomes the youngest ever person to win a competitive
Academy Award (Best Supporting Actress – Paper Moon). She is ten (she turned
nine during filming).
Annie Hall beats Star Wars for Best Picture. Director and star Woody Allen begins a long tradition of not attending the Oscars (choosing to perform jazz music elsewhere on Oscar Night instead). He finally attends in 2002.
British actress Vanessa Redgrave (Best Supporting Actress: Julia) is audibly booed after she attacks opponents of her documentary film, The Palestinian as “Zionist hoodlums”. She also attacks former President Nixon.
Jane Fonda (Best Actress: Coming Home) uses sign language during her acceptance speech to highlight awareness of deafness. It is her second Oscar: she also won for Klute in 1972.
Robert De Niro wins his second Oscar for Martin Scorsese’s
Raging Bull. The timing is awkward as the new President, former actor, Ronald Reagan
has just been shot and wounded in an assassination attempt. His attempted
assassin John Hinckley was reportedly inspired by Scorsese and De Niro’s 1976
film Taxi Driver and a desire to “impress” his teenaged co-star Jodie Foster
(she is not impressed).
Katharine Hepburn wins her fourth and final Oscar for On
Golden Pond. No other actor, male or female, has ever won four Oscars. Cate
Blanchett later wins one for playing Hepburn herself in The Aviator in 2004.
Hepburn’s co-star Henry Fonda becomes easily the oldest ever
Best Actor winner at 76. Too ill to attend the ceremony, his daughter and
co-star, Jane Fonda collects the award on his behalf (he dies a few months
Screenwriter Colin Welland shouts “The British are coming!”
following the success of Chariots of Fire this year. In fact, the next decade will
prove a very lean one for British cinema, although Gandhi does win Best Picture
Sally Field wins her second Oscar for Places In My Heart. “I haven’t had an orthodox career, and I’ve wanted more than anything to have your respect,” she says. “The first time I didn’t feel it, but this time I feel it, and I can’t deny the fact that you like me, right now, you like me!” Seen my many as overly sentimental, Field’s speech is often misquoted as: “You like me, you really like me!”
Whoopi Goldberg (Ghost) becomes only the second black actress to win Best Supporting Actress.
Silence of the Lambs wins in all of the “Big Five”
categories: Best Film, Actor (Anthony Hopkins),
Actress (Jodie Foster), Director (Jonathan Demme) and Adapted
Screenplay. This is the only the third time this has ever happened (the previous
films were 1932’S It Happened One Night and 1975’s One Flew Over The Cuckoo’s
Rumours abound that Jack Palance read out the wrong name
during his announcement of the Best Supporting Actress winner Marisa Tomei (My
Cousin Vinnie) In fact, though a surprise result, Tomei undoubtedly won. That
said, Palance did seem to be in a somewhat “tired and emotional” state as he
announced the award.
Couple Tim Robbins and Susan Sarandon use the Best Film Editing category as a political opportunity urging the government to let HIV-positive Haitians being held at Guantanamo into the US.
“Oh, wow. This is the best drink of water after the longest
drought of my life.” Steven Spielberg (Best Director: Schindler’s List) finally
wins. Schindler’s List is the first black and white film to win Best Picture
since The Apartment (1960).
Tom Hanks wins two Best Actor Oscars in consecutive years for
Philadelphia and Forrest Gump, a feat not achieved since Spencer Tracey in the
1930s, He delivers highly emotional acceptance speeches both times, inadvertently
“outing” a high school teacher as gay in the first (a moment which later
inspired the Kevin Kline film In and Out) and in the second stating “I feel
like I’m standing on magic legs.”
Samuel L. Jackson (Pulp Fiction) loses the Best Supporting
Actor Oscar to Martin Landau (Ed Wood). Lipreaders can see Jackson clearly says
“shit” on hearing the announcement from 12 year old, Anna Paquin. Jackson is
unrepentant afterwards, arguing he deserved to win.
George Clooney, Nick Nolte, Ed Harris and many other actors refuse to stand or applaud Elia Kazan’s Lifetime Achievement Oscar. The On The Waterfront director testified to the notorious House Committee on Un-American Activities in 1952
Halle Berry (Monster’s Ball) becomes the first black winner of the Best Actress Oscar.
Filmmaker Michael Moore (Best Documentary: Bowling For
Columbine) provokes a mixed reaction with an attack on President George W.
Bush: “We live in the time where we have fictitious election results that
elects a fictitious President. We live in a time where we have a man sending us
to war for fictitious reasons…Shame on you, Mr. Bush, shame on you. And any
time you’ve got the Pope and the Dixie Chicks against you, your time is up.”
Adrien Brody (Best Actor: The Pianist) kisses actress Halle
Berry on receiving his award.
The Lord of the Rings: The Return of the King becomes the
third film to win eleven Oscars. The others are Ben-Hur (1959) and Titanic
(1997). All About Eve (1950) and Titanic remain the most nominated films (14
each). The Return of the King is the only fantasy film to win Best Picture (no
sci-fi film has ever won it) and only the second sequel (the first was The
Godfather Pt II in 1974).
Martin Scorsese finally wins (Director: The Departed) after years of being overlooked. “Could you double check the envelope?” he quips.
A showdown between Kathryn Bigelow’s The Hurt Locker and
James Cameron’s Avatar. The Hurt Locker wins Best Picture. Bigelow becomes the
first woman to win Best Director (she and Cameron were married between 1989 and
The Artist is the first black and white film to win Best
Picture since 1993’s Schindler’s List. Contrary to popular belief, it is not technically
a silent film. Wings, the very first Best Picture winner, remains the only
silent winner in this category.
Christopher Plummer (Best Supporting Actor: Beginners)
becomes the oldest ever performer to win a competitive actor Oscar. He is 82.
Meryl Streep wins her 17th nomination (and her third win)
for The Iron Lady joking: “When they called my name, I had this feeling I could
hear half of America going, ‘Oh no. Come on… Her, again?’ You know. But,
whatever.” No actor has ever been nominated as many times as Streep has:
Katharine Hepburn won four times but was only nominated a still impressive 12
times. In 2018, Streep received her 21st nomination for The Post. Her other two
wins were for Kramer Vs Kramer and Sophie’s Choice.
Daniel Day Lewis wins his third acting Oscar for Lincoln.
Only five other actors have achieved three Oscar wins: Katharine Hepburn (who,
as previously mentioned, won four), Meryl Streep, Jack Nicholson, Walter
Brennan and Ingrid Bergman.
John Travolta messes up his introduction to a performance
from Frozen by Idina Menzel: “Please welcome the wickedly talented, one
and only Adele Dazeem,” he says.
The Oscars are widely criticised for a lack of racial diversity in the nominations.
Leonardo DiCaprio finally wins Best Actor for The Revenant.
In an embarrassing cock up, La La Land is briefly announced
as Best Picture, instead of the actual winner, Moonlight. The mistake – which
seems to have resulted from veteran actor Warren Beatty being given the card
revealing La La Land actress Emma Stone’s Best Actress Oscar in error, and
Beatty and Faye Dunaway’s understandably confused reaction – is only corrected
after two minutes (“There’s a mistake. Moonlight, you guys won best
picture…This is not a joke. Moonlight has won best picture”) by which time the
La La Land team are midway through their acceptance speech.
Casey Affleck wins for Manchester by the Sea despite
widespread controversy over sexual harassment allegations. Actress Brie Larson,
an advocate of sexual assault victims, presents the award to Affleck, but seems
unhappy with the result.
Comedian Kevin Hart steps down as host of the Oscars after controversy emerges over a slew of allegedly homophobic tweets he sent in the past. It is decided the Oscars will not have an official host for the first time since 1989.