Marion Cotillard has received a surprise Best Actress nomination for Two Days, One Night. Photo: Getty
Show Hide image

The 2015 Oscar nominations: no surprises, but a few oddities

There is little to surprise a seasoned awards-watcher in this year’s nominations – Ryan Gilbey gives his verdict.

Radiohead said it best: No surprises, please. This year’s Oscar nominations were announced earlier today. Boyhood attracted six, of which Best Picture and Best Director (Richard Linklater) should be in the bag; it will be a disappointment also if Patricia Arquette doesn’t win Best Supporting Actress. It’s no risk to say that Michael Keaton will win Best Actor for Birdman, which got nine nominations. He certainly has no competition from this year’s other most deserving performer, Ralph Fiennes, who was overlooked in the same category for his impeccable comic tour-de-force in The Grand Budapest Hotel despite that movie matching Birdman’s tally of nominations.

I would be rooting for Birdman also to take Best Cinematography (for Emmanuel Lubezki) if it wouldn’t be altogether sweeter to see Dick Pope snatch the prize instead for his work on Mr Turner. That might go some way toward ameliorating the short shrift given to Mike Leigh’s stunning film by both the Oscars and the Baftas. And to making up for the mispronunciation of the cinematographer’s surname as “Poop”. Let’s just hope that Cheryl Boone Isaacs, who made the slip-up, never has to introduce the leader of the Catholic Church.

Any deviations from the widely-circulated predictions have been minor and unlikely to have much impact on the final results. Still, it gave the seasoned awards-watcher a minor fillip to find Marion Cotillard elbowing her way into a category (Best Actress) on which few “experts” had anticipated she would make an impression. I wasn’t a fan of the Dardenne brothers’ Two Days, One Night, but what strengths it possesses are mostly attributable to Cotillard’s dogged but never defeated performance as a woman fighting for her job and her dignity. It seems unlikely she will take the Oscar; Julianne Moore, who is subtle and compelling in Still Alice as a professor with early-onset Alzeheimer’s, would do well to start clearing a space now on her mantelpiece for the statuette. But, as with Cotillard’s character in Two Days, One Night, winning is immaterial. It’s just good to see her in the fight.

Cotillard aside, here are my Top Five oddities and anomalies in this year’s Oscar voting:

Best Supporting Actor in a Film That No One Liked But Everyone Will at Some Point Watch on an In-Flight Entertainment System: Robert Duvall in The Judge.

The “We Can’t Quite Follow What’s Going On But, Hey, Hats Off For Trying” Award for Most Foolhardy Screenplay Adaptation: Paul Thomas Anderson for adapting Thomas Pynchon’s Inherent Vice.

Best Adapted Screenplay That Makes a Mockery of the Term “Adapted”: Damian Chazelle for Whiplash, which was judged to be “adapted” because Chazelle made a short film including one scene from the movie in order to raise funding for the feature-length version. So even though the screenplay existed first, it was “adapted from” the short that came after. It’s time-travel conundrum worthy of Interstellar.

Best Picture Ignored in Other Categories and Therefore Standing Less Chance of Winning Than If It Hadn’t Been Nominated: the civil rights drama Selma. (Also nominated in the Liberal Guilt category.)

Best Supporting Actress named Meryl Streep: Meryl Streep for Into the Woods.

The Academy Awards ceremony takes place on 22 February.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

BBC
Show Hide image

Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit