Moving Images goes to the Oscars and The Elusive Truth

• According to Peter, given that this year was the 75th annual Academy Awards celebrations, it seemed only fitting to criticize the telecast for Moving Images' annual 'Alternative Oscar' show. The Oscars proved to be an exercise in self-indulgence and opulence. Though the producers tried to cut back on the glitz in light of the war in Iraq, this just didn't to prove true. The stage was literally set for people to go over the top with gowns and Armani in order to offer their personal commentary on America's war with Saddam Hussein. Speaking of commentary, host Steve Martin walked a fine line of cynicism. Mr. Martin is a gifted comedian who is able to make fun of Hollywood's elite while remaining part of the 'it' crowd. His opening monologue clearly demonstrated this talent (Mr. Martin on cutting back on the glitz for the sake of the war: "There was no red carpet this year -- that'll send them a message!") However, Oscar winners such documentarian Michael Moore, did not refrain from commenting negatively on America's participation in the war. Though he was booed on stage, Mr. Moore was "pleased with the reaction" and claimed that the majority of negativity came from the balcony. Peter was pleased with the Oscar 'winners' this year -- especially Chris Cooper for Adaptation an indie favourite of his. Since 1994, it seems that Hollywood has been embracing independent cinema (Pulp Fiction) in an attempt to push these films into the mainstream. The head honchos in the Hollywood hills want who hand out these awards in an effort to look 'hip.' It works for the sake of television ratings and image. According to ratings, those who who were overlooked this year for awards include: Dennis Quaid (Far from Heaven and (The Rookie), Sam Rockwell (Confessions of a Dangerous Mind) and Ian Holm (The Emperor's New Clothes).



• John had an opportunity to catch a screening of The Elusive Truth that was followed by a discussion with individuals involved with the film. The film was directed by Renée Blanchar and tries to uncover the mysterious death of lay-missionary Raoul Legér that happened over 20 years ago. We follow Raoul's sister's Andréa and Cléola as they traveled to Guatemala in search of circumstances of his assassination. Through discussions with some of the village's residents, we learn of Raoul's involvement with the community and the lengths he is willing to go to fight the oppression created through a despotic government. Over 20 years later, we are only beginning to find out what really happened to Raoul and the circumstances surrounding his mysterious death.

The Bank, Swingers, Baraka and Accents

• "Charles Kinyua came by the studio to review The Bank, a new Australian thriller playing at the ByTowne Cinema, and directed by Robert Connolly. Charles, an MI correspondent, found the film to be engaging -- with twists and turns until the very end. The Bank pits Anthony LaPaglia (seen recently Lantana), as a corporate CEO, against David Wenham (featured last year in Moulin Rouge) as a brilliant mathemetician who has developed a device that can predict how the stock markets will turn. Charles assures listeners that the math isn't above people heads, that the film is thoroughly accessible and that the performances are outstanding.



• Wangui asked questions about Doug Liman's independent classic, Swingers. In an innovative commentary, she asked both John and Peter whether the film was worth seeing. The bottom line is: yes. John managed to find and play a hilarious excerpt from the film which chronicles the lives of twentysomething males in search of the ultimate woman. According to Peter, "Swingers" works mostly because of Vince Vaughn, whose retro-Elvis haircut and catchphrases ("You're so money baby, and you don't even know it) make the film work as the ultimate 'meat-market' swinger male. Jon Favreau, who plays Vaughn's friend and a desolate male who is rebounding from a six-year relationship gets to be rather grating after a while. But Liman's sense of movement with tracking shots and cinema verité style helps the film seem 'true'.



• Peter's admiration for Anthony LaPaglia got him thinking about great character actors -- and their ability to do accents. LaPaglia is a classic example. He has played an American in So I Married and Axe Murderer, an Australian in Lantana, and a Englishman on TV's Frasier. Where will it end? Hopefully never. Some of the great actors of our time have mastered accents others deemed impossible for them to do. Vivian Leigh, a classic English actress, defied all odds to play a Southerner in David Selznick's Gone with the Wind over 60 years ago. Renée Zellwegger, a Texan, mastered an English accent to play the lead role in the beloved film adaptation of Bridget Jones's Diary. Other film accent masters include: Michael Caine and Meryl Streep (the Queen!). But what of those who don't succeed? Do we as film spectators get absorbed by the iconic stature of these film stars that we tend to ignore their pathetic attempts at accents? Peter believes so. How else do you explain Sean Connery's Scottish brogue as a Soviet naval commander in The Hunt for Red October? Or Kevin Costner's Midwestern accent in the midieval-set Robin Hood: Prince of Thieves? Sure they look like the characters, but do they sound like them? No. The mark of great actor is one who can assume all of the character's traits and truly embody the role (accents and all).



• The saying "a picture is worth a thousand words" seems like an encyclopedic volume when watching Baraka. Travel to 24 countries and experience what the world has to offer. The film was directed by Ron Fricke whose amazing camera work can also be seen in the brilliant film Koyaanisqatsi, where he was director of photography. Both films present a unique vision of our planet through the use of slo-motion and hi-speed camera techniques. Meditative at times, Baraka leaves the viewer to his/her thoughts about the state of our world and hopefully an appreciation for the native traditions and cultures that inhabit this earth.