In Contention

Tag: Atlantic City

  • ‘Wrestler’: Is Golden Lion just the beginning?

    As Kris just reported, Darren Aronosky’s “The Wrestler” has won the Golden Lion at the Venice Film Festival. No surprise there — in what was widely deemed a lukewarm festival, Aronofsky’s film, which only screened yesterday on the Lido, was one of the few outright critical sensations.

    What is surprising is that Mickey Rourke, whose lauded comeback performance is the predominant source of the film’s buzz, missed out on the Best Actor prize, which went to Italy’s Silvio Orlando for “Giovanna’s Father.”

    Perhaps the jury wanted to spread the love. Perhaps after wins for David Strathairn, Ben Affleck and Brad Pitt in the last three years, they felt American actors had been sufficiently rewarded for a while. Prize or no prize, however, this recognition for the film — to which his performance is so integral — makes it quite clear that Rourke is on the awards trail.

    But what of the film itself? In years past, the Golden Lion has been the start of a healthy awards-season run for a couple of films — examples include “Atlantic City,” “Vera Drake,” and most notably, “Brokeback Mountain.”

    It’s no guarantee of future glory, though. In 1996, Neil Jordan’s lavishly mounted biopic “Michael Collins” seemed poised for an awards sweep after it took the Golden Lion and its star, Liam Neeson, nabbed the Best Actor prize. But the film never quite clicked with other awards bodies — and on Oscar nomination morning, all that awaited it was a pair of technical nods.

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  • On the Candian cinema

    With the recent announcement of Paul Gross’s “Passchendaele” as the opening night film at this year’s Toronto International Film Festival (and honor traditionally handed to a Canadian endeavor), I thought I’d dedicate some space to the best of Canadian cinema.  But first, a history of sorts.

    Growing up in Ontario, Canada, I fell in love with cinema at a very young age. I loved watching those old Universal monster movies on Friday nights, or the Sunday afternoon Big Show of the Week, which was usually yet another showing of “Man of a Thousand Faces” or “Red River.” Essentially, I grew up on American films, and I believe American cinema is the most exciting on the globe.

    I say this as a Canadian who loves our national cinema, as a critic who has access to Canadian films that are often never released, and as a huge supporter of the Canadian film industry. As long as the government controls what is happening with the money that makes these films, we will never have as strong an industry as we could, and it will be forever difficult to get a film made in this country.

    Ask Sarah Polley, a national treasure and world-reknowned actress who struggled to get funds to make “Away from Her,” one of the best reviewed films of last year. The reason films get made at all is through government grants and funding. It is a dangerous catch 22.

    The first Canadian that mad an impact on me was “Goin’ Down the Road,” a wonderful picture made in 1970 by director Don Shebib (who attended film school with Francis Coppola). His picture was about Canadians, for Canadians made by Canadians and dealt with plights recognized by Canadians. But of course one did not have to be Canadian to enjoy it. In fact, the film played for more than a year in New York City in 1970 when films lasted longer than two months in theaters. More than the great documentaries from the National Film Board, this film seemed to announce to the world that Canada had a filmmaking community waiting to be unleashed.

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