In Contention

Tag: Kristin Scott Thomas

  • Evening Standard Awards go their own way

    “What is it about the British?” a reader asked in one of last week’s comment threads. “They can’t quite make a film of current topical interest or [sic] lacks some historical or classical literary backdrop to give it a sense of importance.”

    The comment is one of many “typical British film” jabs I’ve read since “The King’s Speech” asserted itself as the Oscar frontrunner, and it would have annoyed me no end even if I wasn’t part-British myself: to boil down an entire national cinema to awards-baiting prestige period fare is as unfair and ill-informed as suggesting that Hollywood only makes Michael Bay movies.

    In the last 24 hours, however, two sets of honors have acted as handy rebuttals to this narrow perception of UK cinema. I’ll devote an individual post to Time Out’s tremendous 100 Best British Films list later today, but last night’s London Evening Standard Film Awards, to which I was lucky enough to be invited, were a welcome celebration of the kind of diverse, adventurous British artistry — ranging from sci-fi to comedy to experimental indies — that idle BAFTA voters can’t be bothered to nominate.

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  • Evening Standard Award nominees, take two

    A couple of weeks ago, we reported on the nominations for the London Evening Standard Awards — a juried critics’ honor devoted to British films and talent. As it turns out, that “nominee” list was a bit of a false alarm; rather, it was a rough longlist of names considered by the jury that the Standard released prematurely.

    The official nominations for the awards were announced today, and I have to say, it’s my favorite such list I’ve seen all season. This year’s jury can’t be accused of playing it safe: it’s certainly ballsy to omit “The King’s Speech” in the top race.

    In its place, I’m thrilled to see my #1 film of 2010, Sylvain Chomet’s “The Illusionist,” as well as Peter Mullan’s riveting youth drama “Neds,” which I reviewed back in October. Add in due respect for Mike Leigh, and I don’t think the field could better represent the year in British film.

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  • ‘Never Let Me Go’ tops London Evening Standard noms

    The London Evening Standard Awards, a particularly bijou set of critics’ honors reserved for British titles and talent, tend to swerve a little left of the expected — chosen as they are by a jury of six disparate, but equally opinionated, critics. So it is this year: obviously “The King’s Speech” and “Another Year” feature heavily, but the list is peppered with pleasing examples of independent thinking.

    Indeed, this jury has given a sharp reprimand to the recent BIFA Awards by including Peter Mullan’s lavishly praised indie “Neds” in their Best Film lineup, a highly diverse selection that also includes Sylvain Chomet’s animated wonder “The Illusionist” (yay), Matthew Vaughan’s divisive comic adaptation “Kick-Ass” (boo) and Clio Barnard’s performance-documentary hybrid “The Arbor.”

    Frozen out in the Oscar race, “Never Let Me Go” nonetheless had a good day here with a leading five nods, thanks largely to the jury’s regard for all three of its leads.

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  • LONDON: French femmes on form

    “I think the French have always enjoyed older women, and they’re right to do so,” Kristin Scott Thomas told me in an interview nearly two years ago, when asked about the range of opportunities for actresses over 40 in the French film industry. “A life has been lived. There’s so much more at stake. The French get that, and as an actor, I’m glad for it.”

    She’s right, of course. Whereas every Hollywood victory for a middle-aged actress — be it Sandra Bullock’s Oscar win, Meryl Streep’s box-office clout or the year-long buzz for the two-pronged attack of “The Kids Are All Right” — is accompanied by assorted talking heads and op-eds proclaiming the significance of the achievement, the French see nothing especially remarkable about a fiftysomething woman headlining a major production.

    Leading ladies in that country tend to remain so for their whole careers — and remain busy at that, dipping into character and ensemble roles while being regularly rewarded with generous individual showcases. This year alone, we’ve seen Juliette Binoche take Best Actress at Cannes for the elaborate thespian gymnastics of “Certified Copy,” while Catherine Deneuve earned plaudits at Venice for “Potiche,” a frothy crowdpleaser that is essentially one huge valentine to the actress.

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  • Why we should be watching Kristin Scott Thomas

    Hey, did you know I’m something of a Kristin Scott Thomas fan? If you didn’t, chances are you only just met me. Welcome. The precis version is that I think she’s one of the few great contemporary actresses currently working on career-peak form, and in two languages to boot. The non-precis version — well, dig around.

    It’s been nearly 14 years since her lone Oscar nomination for “The English Patient”; she’s more than due for her second, and while she narrowly missed it in 2008 for her French-speaking turn in “I’ve Loved You So Long,” I’m wondering if this year’s wide-open Best Supporting Actress race might prove more conducive.

    I’m referring, of course, to her expertly brittle but moving performance as John Lennon’s aunt (and guardian) Mimi Smith in Sam Taylor Wood’s biopic “Nowhere Boy,” which opens Stateside tomorrow. US moviegoers are getting quite a fix of Scott Thomas lately. Last week, French romantic thriller “Leaving” — showcasing even more impressive work by the actress as a neglected housewife in an updated “Madame Bovary”-style melodrama — hit theaters, drawing mixed reviews but further critical huzzahs for her performance.

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  • James Cameron tops Guardian’s “most powerful” list

    There has been some debate this morning in the British corner of the Twitterverse about the merits of The Guardian’s inaugural Film Power 100 list, which claims to represent the 100 industry figures current wielding the most power over, and influence on, UK filmgoers.

    It’s an ungainly and frequently baffling collection of names, mashing together actors, directors, moguls and journalists, but as readers pick away at the inclusion of this star over that — and non-Brits scratch their heads and wonder who the hell Claudia Winkleman is — few are arguing with the paper’s #1 choice: the long-dormant but mightily resurrected James Cameron. They explain his selection as follows:

    [H]e is almost the entire reason why [3D] is no longer viewed exclusively as a sideshow gimmick … No film-maker has taken a more passionate interest and involvement in cinema technology than this Canadian-born writer-director-producer, who pushed 3D and computer-generated character creation to a point of sophistication that would enable him to make his Pocahontas-goes-science-fiction extravaganza.

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  • ‘A Prophet’ tops César nominations

    Kristin Scott Thomas in LeavingWhat a shocker, right? In the nominations for France’s premier film awards, Jacques Audiard’s Oscar contender leads the field with a massive 13 bids. (Look out for my interview with Audiard, coming soon.)

    It’s nice to finally see some love for Niels Arestrup’s astonishing work in the film, but when a contemporary prison drama can nail down a nomination for Best Costume Design, a sweep is afoot.

    That said, the Césars don’t always go to plan: last year saw heavyweights like “The Class” and “I’ve Loved You So Long” upset by “Séraphine,” the film that went on to take Best Actress awards from two of America’s most prestigious critics’ circles. It’s always worth keeping an eye on titles that do well here.

    I’m surprised that Alain Resnais’s “Wild Grass” didn’t do better here: the New Wave veteran’s critically beloved new effort scored a Best Film nomination, but little else, with Resnais himself snubbed in the Best Director race.

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  • 10/30 Oscarweb Round-up

    Sotigui Kouyate and Brenda Blethyn in London River• Brian Lowry on how The Ten is an Oscarcast producer’s nightmare. [Variety]

    • With Hugh Jackman out, Jeff Wells thinks the Oscars need to skew younger with their host. [Hollywood Elsewhere]

    • The producers of “London River” launch a deserved Oscar campaign for Brenda Blethyn, despite still lacking US distribution. [Notes on a Season]

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  • SHORT TAKE: “Nowhere Boy” (**1/2)

    Nowhere BoyLondon Film Festival

    A bright, slight, mostly enjoyable portrait of the formative years of John Lennon, artist-turned-filmmaker Sam Taylor-Wood’s “Nowhere Boy” opens with a nudge-nudge tease, as the singular opening chord of “A Hard Day’s Night” reverberates through the theater over a shot of the 18 year-old Lennon running to school.

    That single-second strum, however, is all we get of the ubiquitous Beatles songbook, as Taylor-Wood and screenwriter Matt Greenhalgh (“Control”) go out of their way to distance their story from Fab Four iconography, even coyly dancing around any mention of the “B” word. “What do you call yourselves now?” Lennon’s weary Aunt Mimi (Kristin Scott Thomas) asks her nephew over breakfast, after he announces the band’s plans to travel to Hamburg. “Do you care?” is his tart reply.

    Even if this is a little too cute, it’s cause for commendation that the film largely avoids the contrived “inspiration” cues that usually plague the musical-biopic genre. A fleeting glimpse of the original Strawberry Fields house in Liverpool is about as on-the-nose as things get; we’re spared the mandatory montages of the artist scribbling lyrics in a battered notebook, and even the Beatles cuts performed towards the film’s end are authentic fledgling efforts. (Over-familiar 1950s rock n’ roll standards comprise the bulk of the soundtrack, while Goldfrapp’s incidental score hardly registers.)

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  • LONDON: ‘Chloe,’ ‘Leaving’

    Julianne Moore in ChloeI realize I’ve dropped the ball somewhat with my festival updates — between the to-and-fro of festival business, other writing tasks and the occasional impulse to have a personal life, a backlog longer than I care to count has accumulated of films yet to be discussed. Expect that to be partially rectified over a quieter weekend … even if I resort to “100 words or less” games.

    However, once more a pair of films seen in relatively close succession demand to be reviewed together. Atom Egoyan’s “Chloe” and Catherine Corsini’s French-language “Leaving” overlap in a number of ways.

    Both are slickly accessible thrillers revolving around marital infidelity, both use that as cover for a less mainstream investigation of middle-aged female sexuality, and both are anchored by formidable actresses — Julianne Moore and Kristin Scott Thomas, respectively — in full possession of their powers.

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  • The Great Performances: 1996

    Robert Carlyle in Trainspotting1996 was an odd year, a year when the independent cinema dominated the weak product emerging out of Hollywood. I am going to confess right off the top of this article (as I have numerous times before) that I was not a fan of “The English Patient,” which for me remains one of the most vastly over-appreciated films ever made.  I couldn’t stand Kristin Scott Thomas’s work, though I did enjoy the Dafoe/Binoche storyline.

    So with that out of the way, and firmly in mind, let’s go…

    The Best Actress race was clouded with the notion that Madonna was hell-bent on being nominated for her performance in “Evita,” which finally made it to the screen after years of starts and stops. Her performance split critics, but for me lacked the depth and edge that it was given on stage by Patti Lupone, and that Meryl Streep or Michelle Pfeiffer would have given the role. Her performance proved that Madonna should stop acting as she has little or no acting talent, and should stop making movies and trying to conquer Hollywood as she did the music industry.

    Honestly, the performance rarely rises above a really good community theater performance. Mercifully she was not nominated, but she did win the Golden Globe for Best Actress in a Comedy or Musical over the eventual Oscar winner, Frances McDormand in “Fargo.” The nominees for Best Actress included, McDormand, Kristin Scott-Thomas for the aforementionend “The English Patient,” Diane Keaton for “Marvin’s Room,” Brenda Blythyn in “Secrets and Lies,” and best of all, perhaps, Emily Watson in “Breaking the Waves.”

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  • ‘Seagull’ film going ahead with Mulligan and Scott Thomas

    Carey Mulligan as Nina in the Broadway production of The SeagullIn Carey Mulligan’s entry on Tuesday’s “best actors under 30” list, I mentioned her stunning turn on stage in the recent revival of Chekhov’s “The Seagull,” writing that “if/when anyone commits that to film, Mulligan will be unbeatable for Best Supporting Actress.”

    What I didn’t know is that “if” has definitely become a “when” in this case. I wrote when rumors of a “Seagull” movie surfaced in January, but the project was actually confirmed a month ago. (I was in Venice and missed the news; thanks to a helpful but nameless reader for pointing me to the news.)

    Anyway, with news as good as this, better late than never. The production is being brought to the screen with the cast and creative team largely unchanged.

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  • Aaron Johnson as John Lennon in ‘Nowhere Boy’

    Hat tip to The Playlist for digging up this newish still from one of my most anticipated films of the year, Sam Taylor-Wood’s “Nowhere Boy.” The film, a study of John Lennon’s early years, will premiere on the closing night of the London Film Festival in October. As Lennon, 19 year-old Aaron Johnson faces a tall order, but he looks suitably soft-faced and wistful:

    Aaron Johnson in Nowhere Boy

    (Moral guardians, lower your pitchforks: 19 year-olds can drink here.) Older images, including glimpses of Kristin Scott Thomas as Lennon’s Aunt Mimi and Thomas Sangster as Paul McCartney, after the cut.

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  • Lennon biopic ‘Nowhere Boy’ to close London fest

    Aaron Johnson as John Lennon in Nowhere Boy

    UPDATE: “Nowhere Boy” producer, Kevin Loader, addresses Jeff Wells’s concerns about the film’s non-appearance at earlier autumn festivals quite reasonably. He explains that the post-production schedule means the film simply won’t be complete in time for Venice or Toronto. I thought as much.

    This is an interesting development. Lately, the London Film Festival has chosen to wrap up with big-name films, many of them already powered by previous festival hype — “Slumdog Millionaire,” “Babel” and “Good Night, and Good Luck” have all been given the closing night slot in recent years.

    By comparison, the news of this year’s closing film, Sam Taylor-Wood’s debut feature “Nowhere Boy,” comes slightly out of left field. I’ve been eagerly anticipating Taylor-Wood’s portrait of the young John Lennon, which is being shepherded by The Weinstein Company, for a while now. For many others, however, I suspect it hasn’t really been on the radar.

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  • All in good taste

    There’s no real reason to pay attention to the Chlotrudis Awards,which took place on Sunday. After all, they’re a casually organised set of honours determined by an enthusiastic group of Boston-based film lovers — that apparently get mentioned on IMDB and precisely nowhere else.

    But hey, when their taste is this exemplary, they deserve a bit of notice. After all, in the thick of awards season, people actually bother with the innumerable, obscure regional critics’ awards and their largely yawnsome copycat choices. The Chlotrudis Awards, by contrast, go commendably against the grain.

    Any organisation that singles out the exceptional, Oscar-snubbed work of Kristin Scott Thomas and Elsa Zylberstein in “I’ve Loved You So Long” is in my good books, while “The Edge of Heaven” is a pretty fresh, adventurous choice for Best Picture of 2008. “Happy-Go-Lucky,” meanwhile, continues to generate affection, taking Supporting Actor kudos for Eddie Marsan and half a Best Director award — in another inspired move, Mike Leigh and Guy Maddin (“My Winnipeg”) tied for that honour.

    OK, so nobody really notices or cares about these awards, but it’s the principle that counts. I applaud them. Check out a full list of winners and nominees here, if you’re so inclined.

  • Five reasons to pay attention to ‘Nowhere Boy’

    1. It’s a biopic chronicling the formative years of one of popular music’s most gifted and fascinating icons. (How has it taken this long for a John Lennon project of any significance to come to fruition?)

    2. It’s the feature film debut of Sam Taylor Wood — the British conceptual artist, musician, photographer, Anthony Minghella protegee and all-purpose celebrity. Her media ubiquity could arouse wariness if her award-winning 2008 short, “Love You More,” hadn’t been really rather lovely indeed. As it is, she could just be this year’s Steve McQueen.

    3. It is written by Matt Greenhaigh, who scored a home run with “Control,” another jagged, intimate portrait of a British rock legend. And anything or anyone connected with a film as brilliant as “Control” deserves our full attention. Fact.

    4. It stars Kristin Scott Thomas, inarguably one of the greatest thesps around these days, in the potentially rich role of Lennon’s loving but eternally disapproving aunt and guardian, Mimi Smith. It’s ideal casting, and Thomas carries a major IOU from this last awards season. Which brings me to my final point…

    5. Rights to the film have just been acquired by The Weinstein Company, with a view towards a year-end release.

    Harvey Weinstein reportedly “fell in love” with Greenhaigh’s script, which apparently focuses heavily on the emotionally charged custody battle between the aforementioned Smith and Lennon’s biological mother. It should be a meaty performance piece for Thomas and British TV actress Anne-Marie Duff (otherwise known as Mrs James McAvoy), and something tells me Weinstein might see a glimmer of awards potential there.

    It doesn’t hurt that that it’s being co-produced by Film4, which, between “Slumdog Millionaire,” “In Bruges,” “Happy-Go-Lucky” and “Hunger” had perhaps the most impressive slate of any production outfit last year.

    Okay, so it only started shooting on March 8, so there’s no way of knowing which way this one’s headed. Still one to keep an eye on, methinks.

  • ‘Wrestler’ rules London crix awards

    The London Film Critics’ Circle have just announced their winners, and I have to say they’ve done a pretty terrific job. (I discussed the nominations here.) The really heartening news is that “The Wrestler” finally has another Best Picture award to its credit, five months after taking the Golden Lion at Venice — who would have thought that it’d be left to the Europeans to give this quintessential piece of Americana its due?

    Naturally, Mickey Rourke took the Best Actor award too, while Kate Winslet added yet another trophy (awarded jointly for both her 2008 films) to her crowded mantlepiece. David Fincher was a somewhat surprising winner of the Best Director award, and “Waltz With Bashir” took yet another foreign-language gong.

    If you’re wondering where “Slumdog Millionaire” features in all of this, it ruled the roost in the British Film categories, taking Best British Film and Director, and also landing Screenwriter of the Year for Simon Beaufoy. In the British races, the Londoners like to have their cake and eat it — for example, Kristin Scott Thomas took a richly deserved award for Best British Actress, but beat Best Actress winner Winslet in the process.

    Meanwhile, I’m thrilled to see Michael Fassbender getting some hardware for his staggering work in “Hunger” (which also took the Breakthrough Filmmaker prize), while in the supporting race, Eddie Marsan is another thoroughly deserving victor. Good work all round, London critics.

    Full list of winners below the cut.

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  • Class act

    Jeff Wells has captured some of last night’s Kristin Scott Thomas Q&A at the Santa Barbara festival, and it’s well worth a look — as I found when I interviewed her back in December, she’s immensely forthright, considered and witty in her discussion of her craft. Truly one of the best in the game.

    Wells also offers some tidbits from an informal chat he enjoyed with Scott Thomas afterwards, the most intriguing of which is that “plans are afoot to shoot a film version of ‘The Seagull’ with the same Broadway cast.”

    If you caught the Royal Court revival of Chekhov’s play in either of its London or New York incarnations, chances are you’re as excited by that news as I am. If you didn’t, you should be excited anyway.

    Scott Thomas’ interpretation of Arkadina was possibly the greatest stage performance I have ever seen, and the prospect of it being immortalised on film, with the likes of Carey Mulligan (who killed as Nina in the same production) and Peter Sarsgaard strutting their stuff too, is tantalising indeed. (The production I saw had Chiwetel Ejiofor in place of Sarsgaard — hardly a bad tradeoff.)

    If it gets done, and done right, on screen, Scott Thomas could just nab the second Oscar nomination that so unfairly eluded her this year for her staggering work in “I’ve Loved You So Long.” Here’s hoping. Check out the interview here.