Editor’s note: Two Life & Arts staff writers discuss big releases that are garnering buzz for the awards season. This week they focus on “12 Years A Slave.”
Colin McLaughlin: “12 Years A Slave.” Wow. Just wow. I’ve been doing my best not to jinx the movie or send people to see it with ridiculously high expectations, but I find it hard to see how anyone can be disappointed by Steve McQueen’s brutal examination of slavery. “12 Years” has yet to see a wide release, and so “Gravity” still looks like the film to beat. I don’t want to be like some other unnamed Oscar bloggers and state that “12 Years a Slave” is, without any doubt, this year’s Best Picture winner. At this early point in the race I think the question about this film isn’t, “Will it win?” but, “What could prevent it from winning?” Thoughts?
Lee Henry: Well, a week ago I would have had an answer for you, and that answer would have been “Saving Mr. Banks.” It was supposed to be the “King’s Speech” equivalent for this year: feel-good period piece based on a true story and featuring several beloved actors exchanging witty repartee. From what I’ve read, the movie only delivers on the last item. While that’s certainly enough to propel Emma Thompson and Tom Hanks into individual nominations, it’s not going to be enough to compete with “Gravity” and “12 Years.” Both Hanks and Thompson are Academy darlings with two wins under their belts, and both are as charming as anyone else in the business. Thompson has a much tougher category than Hanks though, who is being predicted by several pundits as a frontrunner to win.
CM: From what I’ve heard, “Saving Mr. Banks’” best bet is a supporting actor win for Hanks as Walt Disney. Not only will the role likely gain him a second nomination for this year, it also poses a serious threat to Michael Fassbender, whose role as the sadistic slave owner in “12 Years a Slave” had many calling the supporting actor race early. But Fassbender is giving the Academy the cold shoulder, refusing to campaign for supporting actor. We may see Hanks take home his third Oscar this year.
LH: Yeah, Fassbender had a nomination all but ensured and he’s ruined it by playing the “I’m an artist” card. He’s not thinking about how this move negatively affects “12 Years a Slave’s” momentum. Regardless of Fassbender’s anti-campaign strategy, I think he’ll still get in. The award for supporting actor seems to be becoming a three-man race between Fassbender, Hanks and Jared Leto for “Dallas Buyers Club.” We both saw “Dallas Buyers Club” over the weekend, and I think we can agree that his work as a male-to-female transgender HIV-positive drug addict is stellar. Now this may sound like an over-the-top made-for-Oscar role, but Leto owns it and creates a fully developed, tragically funny character.
CM: I see Leto as the real potential upset in the supporting actor category. He’s never been nominated and he’s not much of a household name, but he’s delivered a solid body of work over the last decade in movies like “Requiem for a Dream” and “Lord of War.” With Fassbender’s status now up in the air, this year’s supporting actor race could become a battle between young first-time nominee Leto and two-time winning legend Hanks. The most exciting races in recent years have been defined by the old versus the new.
LH: Agreed. Leto has an uphill battle ahead of him though. The Academy has rewarded women playing female-to-male transgender characters multiple times, most notably Hilary Swank in “Boys Don’t Cry,” but that’s never gone the other way. That’s a big hurdle for Leto to jump and he may not have the name recognition or actor cred. It all depends on how Focus markets him and his co-star, the equally awesome Matthew McConaughey.
CM: McConaughey’s physical transformation alone was impressive. But, he radically alters his body and still manages to deliver the best performance of his career. He’s completely overhauled his career in the last 18 months with strong, varied performances in “Mud,” “Bernie” and “Killer Joe,” and “Dallas Buyers Club” could be one that sends him home with the Oscar.