Connect to share and comment
Six foreign films that made a splash in 2010, according to the Golden Globes.
BOSTON — Everyone knows the real reason to watch the Golden Globes. They serve booze, so the stars get good and soused and sometimes say something funny — or do something funny, like when Liz Taylor started to namethe best picture winner before she had even listed the nominees.
The Golden Globes have never been taken as seriously as the Oscars, at least not since 1958 when Frank Sinatra and the rest of the Rat Pack hijacked the stage with high-balls in hand and gave everyone a show to remember.
The air of revelry tells us as much about American culture as do any of the films featured at the event. But there is also a global message to be heard.
For starters, the event is run by the Hollywood Foreign Press Association, which is made up of journalists who cover the U.S. entertainment industry for outlets abroad. It's about bringing Hollywood to the world.
It's also about bringing the world to Hollywood. A quick glance at the five films nominated for Best Foreign Language Film takes us from post-World War II Russia ("The Edge") to turn of the millennium in Milan ("I Am Love") to a refugee camp in today's Sudan ("In A Better World.")
Before you plunk down this Sunday evening to watch the event itself, hear from GlobalPost correspondents, who give global context to these films (as well as "The King's Speech," up for best drama):
"The King's Speech" (U.K.): No one is shocked when a British film gets a Golden Globe or Oscar nomination. It's expected there will be British representation among the nominees for Hollywood's big kudos.
Certainly "The King's Speech" fits the bill. Who does costume drama with pithy dialogue and effortlessly elegant performances better than the Brits? The film's star Colin Firth is a probable winner, and Helena Bonham Carter stands a good chance as well in the supporting actress category.
British actor Colin Firth poses with a fan in the Hollywood section of Los Angeles, Jan. 13, 2011.
(Robyn Beck/AFP/Getty Images)
Costume dramas and punchy action comedies about London criminals make up the bulk of Britain's film industry, plus serious auteur dramas from a handful of filmmakers: Ken Loach, Mike Leigh and Stephen Frears.
But other than that the world tends not to know about British films. Which is a shame because the country is chock full of film talent. Heard of "Shane Meadows"? Only if you're a real cinephile. Seen "Down Terrace"? Thought not. Local movie theaters are always overflowing with American movies. Homegrown work that doesn't fit into the above categories struggles to get seen.
Shared language is the blessing and curse of the British film industry. The blessing is American filmgoers don't like subtitles, so British films have an easy time gaining traction. They aren't consigned to the oblivion of the Best Foreign Language Film category.
The curse is that talented British directors, writers, cinematographers, designers as well as actors all can find work in the United States. It often seems that the British film industry's headquarters runs east-west, north of Sunset Boulevard and south of Mullholland Drive. For example, before Tom Hooper, director of "The King's Speech," came to Golden Globe attention, he had already won Hollywood's notice as the director of the HBO series "John Adams." British brothers Ridley Scott and Tony Scott have offices in London but no one thinks they do their deals here.
"The King's Speech" is the "British" film expected to win some gold over the next 60 days. But other Brits thought to have a chance at an award this year include Danny Boyle, director of "127 hours," and "Inception" director, Christopher Nolan. Roger Deakins, the Coen brothers regular cinematographer, should get nominated for "True Grit."
The list of top-flight talent is too long to go into here but you get the point. This year it is "The King's Speech," next year it will be something else. Probably with Helen Mirren or Judi Dench or Ian McKellen, written by Julian Fellowes or Tom Stoppard, directed by Stephen Frears or Ken Loach or Mike Leigh ... etc.
— Michael Goldfarb in London
"The Edge" (Russia): To many, World War II ravaged the world in a bygone era. But in Russia, it’s a saga that is very much still alive. Little wonder then that Russia’s entry for Best Foreign Language Film at the 2011 Golden Globes (and likely Oscar candidate) is “The Edge,” a sweeping drama that unfolds in the dark years following the war’s end.
Russia is still struggling to come to grips with its past — was World War II the epitome of Russian glory and bravado? Or did the bloody Stalinist era that followed it forever blight the country’s effort? Good and evil aren’t clear, and they certainly aren’t in director Alexei Uchitel’s film either.
The film, released in Russia in September, opened on the big screen with little fanfare — especially when compared to the veritable circus that surrounded the release of "Burnt by the Sun 2," sequel to the film that won director Nikita Mikhalkov an Oscar in 1994.
Mikhalkov is best buddies with Vladimir Putin, Russia’s all-powerful prime minister, and was given limitless funds and press attention. But the film was panned by critics, who noted its over-sentimentality, bad acting and factual inaccuracies, among other horrors.
Uchitel’s film is said to succeed where Mikhalkov’s failed — keeping the blockbuster special effects but adding nuance and humility to a dark and complicated subject. As the film’s hero, a former tank driver named Ignat, finds his way through post-war life in a Siberian settlement peopled by so-called “enemies of the state” — those who somehow (or somehow didn’t) offend the Stalinist regime — he stumbles into love affairs that are grim reminders of the recent past. He’s been driven to the edge of the world, and the edge of existence.
It all sounds very depressing — but would it be a true example of Russian culture if it didn’t?
— Miriam Elder in Moscow
"Biutiful" (Mexico): It’s a world of complicated connections; tragic tears; repressive regimes; pained protagonists; harrowed anti-heroes; struggling souls; and melancholy moments.
Such is the universe that Mexican director Alejandro Gonzalez Inarritu paints in his first trilogy of feature films — "Amores Perros," "21 Grams" and "Babel" — and this lurid landscape takes on a new vivid form in his fourth movie "Biutiful" (from the Spanish pronunciation of "beautiful.")
Mexican director Alejandro Gonzalez Inarritu at the London Film Festival on Oct. 26, 2010 in London.
(Samir Hussein/Getty Images)
This time his tale is told in Barcelona, Spain, among immigrant workers, poor Spaniards and broken families. At the center of these beautifully shot mean streets is acclaimed actor Javier Bardem, a hustler and single father dying of cancer.
But the issues explored in the drama — of immigration, fatherhood, repentance — could be playing out in Mexico City, Los Angeles or London. It’s a story about the raw human condition.
Gonzalez Inarritu’s uncompromising style provokes a broad variety of reactions. Some (including actor Sean Penn) think he is a genius among the best directors on the planet. Others complain he is just depressing — though perhaps they don’t quite get the optimism in his film’s melancholy conclusions.
In his native Mexico, the 47-year-old Gonzalez Inarritu is celebrated as the most important national director of his generation. Amores Perros in 2000 put new Mexican cinema on the map, signaling a revival of the golden age that the industry enjoyed in the 1940s and 1950s when actors such as Pedro Infante shone on the silver screen.
Since that debut filmed in Mexico City, Gonzalez Inarritu has taken his movies to international locations, from Tokyo to San Diego to Morocco and brought in big name stars including Brad Pitt and Benicio del Toro.
But his use of the global stage has not undermined his popularity at home. He premiered "Biutiful" at the Morelia film festival to a hero's welcome. And the movie — which some argue is his best work — sparked renewed hopes that a Mexican cinematic vision could finally gain the top prizes.
— Ioan Grillo in Mexico City