Oscar 2013: The Secret Life of Walter Mitty (spoilers)

Steve Conrad’s The Secret Life of Walter Mitty (script version from March 2011), is a whimsical tale about a man who must find himself and preserve his dignity in the face of his whole world collapsing.  Walter’s job title is practical asset manager and he’s in charge of maintaining the pictures taken by the Life magazine photo staff.  As the company is in transition from downsizing and shifting over to an online business model, Walter must locate a missing negative that is intended to produce the cover photo for the final print issue.  The photographer says that it best captures "The Absolute Quintessence of Life."  It’s a fantastical tale, where during his search, Walter falls in daydreams that take him all over the planet. 

The script’s themes include the struggle with one’s ordinariness, while finding value in what comprises our day-to-day lives.  Walter takes himself and contributions for granted, which are epitomized in the vanilla dating profile he tries to improve throughout the story.  The masses are dwarfed by the accomplishments of the few making a reach for relevancy often futile as dictated by the world he lives in.  There’s a cold, Kafkaesque tinge to the environment he lives in during the unforgiving corporate takeover of his company.  Changing technology instigates the premise of this story where we have the hero chasing after a dated form of photography (symbolized in the missing negative) in the age of the now towering and common digital format that is closing in on Walter’s livelihood.  The script reads like a valentine to media’s yesteryear, much like Kevin Macdonald’s State of Play (2009) starring Russell Crowe and Rachel McAdams. 

The whimsical script is interspersed with actual footage like the protests at the 2000 Democratic National Convention in Los Angeles which substitutes in for a present-day G8 conference that Walter finds himself in the middle of, not unlike a scene from Forrest Gump.  There is also A LOT of built-in product placement for companies like eHarmony, Starbucks, Subaru, Fiji water, Avis, Orange Julius, IHOP, Four Seasons, and Nikon (naturally); it reminded me of that infamous seen from Wayne's World mocking intrusive advertising.  The script is occasional confusing, but mostly incredibly easy to follow as Walter, at least in his mind, traipses back and fourth from his home-base in New York City to various international locations.  Conrad provides various exotic locales, and the transitions are handled mostly smoothly. 

The writing is fast and sharp (“What does Quintessence mean?” is met with “Like the best ever” a couple of times).  When a coworker learns that the negative is missing, he comments, “That’s not going to go over well with the new asshole.”  Sarcasm is cleverly expressed.  When Walter tries to explain how he found himself in his current occupation, “When I became an adult I thought that would be possibly a good thing to have.  Because I keep getting bills from places.”    Charming tone, really, and it’s easy to imagine Stiller in the title role.  This will with no doubts be a crowd-pleaser and a film to take the whole family to.  It’s a moving, understated script that offers cinema goers something different, meaningful, and optimistic for a change that kind of reminded me of the animated feature Up. And, with so much emphasis placed on just how great the missing photo is, the end result slyly lives up to the expectations.  

A lot has been changed in the script, I imagine, judging from the production photos.  We see there’s a shot of Wiig in a cop uniform, Stiller and Adam Scott fighting over a plastic doll, and sparring in the streets of New York City, so it seems that perhaps more hijinks were added.  There were stills of elderly versions of Walter and Cheryl together reminiscent of the Thurber story. I’m guessing that they added some bookend scenes and decided to frame the story and tell it in flashbacks perhaps; additionally, they probably pushed more of a completed circle with the romantic angle.

Oscar Prospects

Earlier this year, I read a few bloggers getting very excited over some footage of The Secret Life of Walter Mitty being shown at CinemaCon.  I had the foolish urge to be one of the first to declare it the Best Picture winner no one saw coming.  It wasn’t too long before I had to temper my forecast.  After all, it wasn’t going to have many categories help get it there.  Outside of a minuscule shot that Shirley MacLaine could get into the supporting actress category, Mitty won’t have the acting branch to lend it any weight (which would be incredibly helpful to a movie of this genre).  The delightful screenplay by Steve Conrad (The Pursuit of Happyness, The Weather Man), however, is a possibility in what is shaping up to be kind of a weak year, though it’s hardly adapted.  James Thurber ultra-short story is nothing like the script, other than it’s about a man who daydreams of fantastical adventures.  Mitty is pretty original.  However, it does bear some resemblance to the 1947 Danny Kaye Version, but sounds also quite different.  The script feels a bit light weight, but it also has a a nice resonance with what being a person in a first-world nation is like today.  What gives me some pause are the production photos.  I imagine a great deal has been changed in the script with more a broad comic angle added.  However, Ben Stiller continues to make a name for himself as a director and this project will in no doubt raise his profile, as this is more serious and earnest than anything he's directed thus far.  It’s easy to forget that he has worked with an assortment of auteurs which include, but aren’t limited to, the likes of David O. Russell, Noah Baumbach, and Wes Anderson, and their collective elective spirit may have rubbed off on him.  A directing nod seems unlikely, but not unheard of.  Its main attention will be focused in the technical categories.  From the trailer and stills, Stuart Dryburgh (The Piano), visual effects, the sound categories, and makeup all have a somewhat of a way in.  But the film will have to be seen as a major technical achievement in order to find its way into the Best Picture race, as well as become a box-office phenom.  

Plot Summary (spoilers)

Part of the opening credits, Walter Mitty (Ben Stiller) goes over his to-do list and then waits on a street corner on his way to work, like any other day.  His head explodes, and out of it emerges various images which represent his thoughts, many of which are actually from Life magazine (Walter’s employer) cover photos.   At a coffee shop, he consults with an eHarmony counselor Todd Mahar and they discuss how he has shared little information about himself thus far.  The profile of coworker Cheryl Melhoff (Kristen Wiig) catches his eye.  One of the images from his head—his mother’s piano—falls from the sky and lands on 53^rdstreet.  He bumps into his associate Roy, who tells him that Life has been bought out.  In an elevator, he talks about with acquisitions manager Gary Mannheim (Terence Bernie Hines), as well as Ted Hendricks (Adam Scott), who was responsible for the purchase.  They also discuss Walter’s position, which is liaison to the photographers. 

In his office, one of those photographs Sean O’Connell (Sean Penn) has left a leather wallet as a gift to Walter with a note that makes a reference to the final photo batch he was leaving him, which included negative twelve that captured “The Absolute Quintessence of Life.”  When Walter can’t actually find that important negative, he overhears Ted having a conversation with an editor about putting it on the final cover for Life.  He discusses it with colleague Tim Naughton (Jonathan C. Daly).  Ted talks to Walter and some executives.  Walter examines a print from Sean's last roll that could be a clue and discusses with Cheryl how Sean is unreachable by email and cell, as he imagines he’s somewhere in Bahrain.  They discuss Walter’s position at the company, as well as their plans for the weekend.  But, the conversation turns back to the imminent layoffs, as Life is going online.  Later, Walter briefly imagines himself in Yemen running alongside Sean getting pummeled by protesters throwing shows.  He chats again with Todd about the blandness of his profile.  Cheryl helps Walter along with her son Rich (Marcus Antturi) push his mother’s piano down a street in Manhattan using skateboards and leave it in his sister’s parking garage space.  When he’s alone, he tries the skateboard out.  With the help of Tim, they figure out that one of the negatives has an association to Nuuk, Greenland.  On his way to work, he imagines himself being cheered on by French cyclists for his consistent promptness at work.  His mom Edna (Shirley MacLaine) visits him.  Life holds a conference meeting to inform everyone that the rumors are true and Life, as they know it, will change.  Layoffs will happen.  Ted makes an announcement that the final cover will be the best one ever.  Walter approaches Ted about the lost negative, but changes his mind when he overhears him on the phone discussing how great it will be. 

Walter imagines himself off on a plane to Greenland, where he engages in local customs, while trying to locate the source of the photo.  The next day a cabbie informs Walter that she’s also the queen.  They observe musk oxen in migration, as well talk to a captain whose boat was captured by Sean in a photo, and postal clerk.  From a photo, Walter recognizes the thumb of a helicopter pilot who flew Sean around just a couple days before.  Walter reluctantly joins the pilot who must fly to a ship carrying Sean to deliver radio parts.  While attempting to board a life craft near the shipping vessel, Walter falls into the sea, loses the radio parts, and comes near a porpoise as well as a shark.  After climbing out of the ocean, Walter learns that Sean was taking pictures of Chilean stevedores and finds himself back at some parking lot.  In some clementine cake wrapping, Walter finds a clue of Sean’s next destination: an Icelandic volcano.  He takes a call from Todd.  After Walter gets dropped off in a kayak to finish the final leg of the trip, giant-sized versions of Cheryl and Rich appear.  They play a game of seeing who can hold their breath under water longest.  When Rich becomes a little scared, Cheryl reassures him by singing Bob Marley’s “Three Little Birds.”   Suddenly, Walter finds himself in the way of several athletes competing in a Reykjavik triathlon.  Once ashore, he takes a cab and receives a call from his mother about the piano getting towed.  

He takes a plane back to NYC to rescue the instrument from the impound lot.  After having difficulties   The retirement home administrator goes over options with Walter and his sister Odessa (Kathryn Hahn).  The whole endeavor is draining Walter’s bank account.  Odessa gives him a couple of nostalgic birthday gifts, which include a Stretch Armstrong doll and a writing tablet.  At the Time-Life Building, Walter bumps into Ted.  Ted later finds out that the negative is lost and threatens to fire Walter.  His mother visits him at work again.  She coincidentally drops the obscure names Walter found in Sean’s last note, and figures out Sean is in Somalia.  He starts to hallucinate again and imagines himself as the young boy in the YouTube sensation “David After the Dentist.”  There’s a montage of past covers from Life.  

with a mover, he takes the piano and carries it on his back through traffic and on the subway to his mom’s apartment building, where movers lift it up to her new home only for everyone to realize it won’t fit.

Walter takes a flight to Dubai and hitchhikes with some Danish teens.  They visit a skate park and then spend the night at a hostel.  He travels to Mogadishu, where violence has broken out in the streets.  He briefly talks to Sean, who is swept away by a helicopter along with some Korean soldiers.  On a Chinese freighter headed back to NYC, Sean calls Todd.  He visits Cheryl and turns into a cubicle and gives Rich an Arabic skateboard.  Cheryl comforts Rich when he wipes out.  At Time-Life, Walter learns he has been fired, as well as Ted.  Walter takes his concerns to Steve Penders and holds a conversation while he plays squash with a colleague.  He returns home while wearing loupes and realizes that his mother took the mysterious picture and the subject as her piano.  She’s there and tells him that she had a visit with Sean and that he’s on his way to Nepal.  Walter and Edna also have a heart-to-heart.  While walking the streets, he imagines everyone wearing the outfit they would put on if they were working in their dream job.  

While sitting in the lavatory on a flight to Nepal, he tosses away the wallet Sean gave him.  He takes a bus to a remote village, where a guide offers to take him to Sean.  Walter receives a call from Todd.  He finally finds Sean, who is taking pictures of snow leopards and informs him that the missing negative was in the wallet.  He talks to his sister over the phone after flying into Los Angeles, and then proceeds to the downtown area where protesters are speaking out about the G8 conference.  For a moment, everyone resembles Morgan Freeman.  The Danish teens are in attendance.  Walter spots Steve’s supervisor Mark Chatham in Los Angeles, who doesn’t know who he is.  He grabs a megaphone to draw attention to his lost briefcase during a skirmish.  Tear-gas is thrown and he’s pummeled with nightsticks, and Walter keeps repeating, “I’m a man,” to which the crowd begins to repeat.  All of this is televised nationally.  Rage Against the Machine is there holding a concert.  They perform “Bulls on Parade.”  Another riot breaks out.  A police officer takes Walter down and arrests him.  Of all people, Todd bails him out.  They eat at IHOP.  He receives a call from the airlines informing him that they located his wallet containing the negative and they send a driver out to return it to him.  Todd takes him to the Four Seasons where Mark Chatham is staying and asks him for severance pay having worked for the company for nine years. 

He visits Time-Life and collects his severance, and then handles the transfer of his mother’s piano.  He discovers that the final issue of Life is a picture of him looking at photos--the common man who helped make Life magazine what it was--and chats with Cheryl.  Roll Credits. 

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Oscar 2013: Grace of Monaco (spoilers)

I had my reservations about reading Arash Amel’s Grace of Monaco (draft version August 2011), and plodding through the script, I can’t say that they were all that much put to rest.  But, afterwards, I realized, if the story was true (artistic liberties aside), I felt like I got a fun little lesson about Grace Kelly post-Hollywood and Monaco.  Six years after her marriage to Prince Rainier, we find Kelly straddling the fence between her old and new lives.  Hollywood beckons (and manifests itself initially, for these purposes, as Alfred Hitchcock) and she finds herself yearning to be needed for her talents, as with her current royal position she is put to little practical use.  Her husband is juggling France’s dissatisfaction with their generous tax policies against the desire to be more self-sufficient and providing for the welfare of his citizenry.  It’s not until the municipality comes under threat, where Kelly discovers what she’s made of and is able to make more direct and bold decisions regarding her past and future.

An adoring picture of Princess Grace using her American sensibilities and Hollywood training to save Monaco from the clutches of the parental France.  Arash Amel’s script provides a composite of the different challenges Kelly faced early on in her role as a Princess, by giving the scenes an everyday context.  She deals with motherhood, as well finding comfort in her place in society, with all of the official and tedious protocols one must follow.  She’s not afraid to speak her mind in the company of men regarding politics (this is still the early 1960s), and she’s more proactive about her figurehead role of socialite than her peers, with whom she’s considered an outsider both for her views and her inability to assimilate to the Monegasque language and way of life.

The subject matter feels like White People Problems, even further, 1% People Problems.  Seems kind of absurd to care about a story like this (royalty in peril), but it’s interesting.  It’s always difficult to empathize with characters who are so obscenely privileged, but Amel keeps his focus on the very down-to-earth and American-bred Kelly.  It’s her plucky spirit and underdog status that is key to audience interest.  The script gives her all kinds of adversaries, as well as a confident in Father Tucker, a Catholic priest that has been with Rainier since his ascension to power and with whom she trusts.  The scenes play out rather rudimentarily, as we watch Grace transform from a reactive character to someone who takes charge with what’s at her disposal.  A subplot involving a rat in the ranks adds some intrigue.  There’s a harmless and fun innocence where it’s easy for one to agree to join along.  There’s also a long line of celebrity cameos, that seems to be the rage these days.

Oscar Prospects

It’s easy to understand why Nicole Kidman chose to do this movie, as it’s such a complete story that probably few people are aware of.  Though, I do wonder about its awards potential, particularly for Kidman.  Playing a beautiful princess struggling with a Monegasque accent doesn’t strike me as baity as say, a mother grieving the loss of her young child, or physically transforming oneself into a turn-of-the-century dowdy writer.  Perhaps in a weak year, Kidman would have no problem campaigning her way into the lead actress category.  But, this year, the deck is stacked, and her man Harvey Weinstein places priority already on August: Osage County’s Meryl Streep and Philomena’s Judi Dench (two actresses with whom he has a longer positive history with than most).  Granted, Dench wasn’t yet in the picture when he scooped up the distribution rights to Monaco.  But, he also had a colead in Julia Roberts with Streep, with a slew of supporting actress possibilities.  So, in retrospect, it now feels odd to have been so bullish on Kidman all along, and strange for Weinstein to take such a gamble (though, as of lately, he has been accused more than once of scooping up potential award contenders just to keep the competition at bay). 

Perhaps Kidman will find a charm in Kelly that will be undeniable to audiences, yet she’s not known to convey warm personalities that attract a crowd; her main assets are her mysterious allure and acting range.  Comparisons have been made to My Week With Marilyn.  However weak the script, Michelle Williams had the opportunity to inhabit the icon.  Despite the familiarity and missing some technical marks, she captured Monroe’s essence and delivered a convincing argument for a nomination, perhaps even a win.  Today’s audiences (at least, stateside), aren’t as familiar with Kelly, who came up in Hollywood around the same time only to make an earlier exit for Europe.  With Grace, there will be very little to measure her performance against.  With Williams, regardless of how good she was or wasn’t, there was at least a tool of comparison in the public consciousness.  Some are also predicting a hot mess like last year’s Hitchcock (who is a character in this movie).  But, one thing you can say about both the Marilyn and Hitchcock films, regardless of quality, they both featured compelling lead actress turns. 

At present, it appears Kidman will have to fight tooth and nail for the fifth slot (the others more than likely occupied by Streep, Dench, Cate Blanchett, and Sandra Bullock).  And it seems that it would require a force to be reckoned from Kidman to pull up any other categories for attention.  Though, I do wonder if French costume designer Gigi Lapage has a shot.  This is also a weak year for the period drama which some of the technical categories seem to fawn over, so perhaps production designer Dan Weil may have a chance.  Cinematographer Eric Gautier has worked on The Motorcycle Diaries and Into the Wild.  Tim Roth, Frank Langella, and Parker Posey have the most substantial supporting roles. 

Plot Summary (spoilers)

In December 1961, director Alfred Hitchcock (Roger Ashton-Griffiths) visits Princess Grace Kelly (Nicole Kidman) in her Monaco Palace while she holds a huge Christmas party.  He’s led by the testy lady-in-waiting Madge Tivey-Faucon (Parker Posey) to the garden hall holding the festivities.  When Hitchcock addresses Madge with madam, she corrects him.  “I do not run a bordello, Mr. Hitchcock.  If you must, it’s Ma’am.”  There, Grace is attended by her personal assistant Phyllis Blum (Flora Nicholson), and he offers her a role in Marnie with Sean Connery (though it’s through a reference to a completed version of Dr. No, which was just about to undergo filming, technically).  While unhappy and having a difficult time with her role as princess, she turns him down.  She celebrates the new year on board Aristotle Onassis’ (Robert Lindsay) yacht, docked in the bay.  In attendance are Maria Callas (Paz Vega), Rainier’s sister Princess Antoinette (Geraldine Somerville) and her husband Jean-Charles Rey (Nicholas Farrell), French President Charles de Gaulle (André Penvern) and his wife Yvonne Vendroux, de facto Prime Minister of Monaco Emile Pelletier (Oliver Rabourdin), and family confident Father Francis Tucker (Frank Langella), who married Grace and Rainier.  During a discussion about the war on Algeria and the OAS in France, Grace creates a minor disturbance with her American perspective on the matter.  Later after putting the children to bed, Madge warns Grace that if she tries to Americanize Rainier too much, she will lose favor from her subjects.

Pelletier and Jean Charles debate Monaco’s liberal tax policy, which France is losing businesses to, but benefits Monaco lack of commerce outside of gambling.  “Emile, does President de Gaulle really want the children of Monaco to grow up to be croupiers?”  France wants Monaco to compensate them with paying their own taxes.  Rainier strikes Pelletier and sends him back to France, where he informs de Gaulle on Monaco’s growing independence. 

At a Red Cross meeting, a frustrated Grace discusses a local orphanage with the other ladies, including Countess Baciochi (Jeanne Balibar), who’s more concerned with a ball that is happening later in the year.  While driving the windy mountainous roads of Monaco, Grace almost hits an old woman.  She confides in Tuck about her discontent with her life currently.  At home, everyone is watching de Gaulle’s announcement on television about placing a threatening ultimatum on Monaco.  If they don’t begin levying taxes on their people and business, France will impose economic sanctions and take it back by force.  On air, he calls French business offices located in Monaco for tax purposes only, but they naturally go unanswered.  Rainier believes they have a traitor amongst them for leaking names and telephone numbers.  He hires Hollywood agent Rupert Allan, Jr (Milo Ventimiglia) to do PR for them.  His people advise him to settle down and try a more amiable approach.  Over dinner, Rainier explains that Monaco just wants to take care of its people and not fund France’s war with Algeria.  He also gives Grace the approval to do Marnie. 

Grace meets with Delavenne (Yves Jacques), Emile Cornet, and George Lukomski, and informs them, much to their chagrin, that once matters are resolved with France, she’ll be doing the film with Hitchcock.  While bathing her children, she discovers that her daughter Caroline has been biting son Albert.  During a press conference for the new opening of an orphanage wing in the hospital, Grace is surprised by a question about Marnie.  Word has leaked, and she realizes that someone in her camp is trying to sabotage the palace by making it look unstable and weak.  She confides in Father Tucker who insists they figure out the culprit without Rainier’s knowledge. 

It’s now July 1962, and at a party, Grace feels more and more alienated as she watches a television program highlight how uncommitted and out of place she is in Monaco.  Rainer’s deliberations with de Gaulle do not go well, as they both throw their opponent’s weaknesses in each other’s face.  Onassis suggests hiring Allan full-time and start a PR campaign against France, as well as putting a tighter reign on Grace.  Maria Callas gives her advice while they go riding.  While dining with everyone including stepmother Princess Ghislaine, Rainier starts to chide Grace and asks her to retire from acting.  She fires back.  Later, Father Tucker visits her while she watches her wedding video. 

France begins to implement its blockade, which includes border constrictions on Monaco’s citizens.  Rainier discovers his municipality draped in barbed wire.  Father Tucker invites Grace to tea with Count Fernando D’Aillieres (Derek Jacobi), who is to help educate her in the ways of Monaco.  Rainier accepts marital advice from Tucker while plotting how to react to France.  Grace’s exhaustive lessons begin.  Madge realizes Grace may suspect her as a spy; Phyllis, in turn, keeps a close eye on Madge.  Rainier works tirelessly to court world opinion and favor.  While practicing the local dialect Monegasque in the marketplace, Grace draws attention to herself from the passerby’s.  Later, she ingratiates herself with the French troops.  Phyllis shares with Grace what she has discovered about the suspected duplicitous Madge.  She finds Father Tucker later in a drunken stupor, who must leave Monaco to be with his ailing brother in America, and advises her she must remain strong for Rainier during what is to be a difficult time for Monaco.  De Gaulle and his wife are attacked by gunmen in Paris.  Madge is caught exchanging envelopes with a mystery man.  Grace and Rainier attend a dinner, where Allan informs her of the attempt made on de Gaulle’s life.  She begins to suspect something is afoot and can’t trust anyone around her.  It turns out Madge was on the palace’s side and reveals that she procured information that Jean-Charles and Antoinette were the spies.  They were in cahoots with de Gaulle to assume the throne.  Grace and Rainier reconcile. 

The next day, she calls Hitchcock to turn down the role.  Tucker has left Monaco.  Grace and Rainier summon Antoinette and banish her from the kingdom, but not before she and her husband do one last favor.  When Antoinette asks Grace how long she thinks she’ll last, she responds, “Long enough to see the back of you, dear.  Or would you prefer being guillotined for treason?”  Grace goes forward with the ladies of the Red Cross to plan the autumnal charity ball.  Amidst the military lockdown, she flies with ladies to Paris to go shopping.  Invitations to the ball are sent around the world.  Grace uses the attention of the press to announce the ball.  De Gaulle confers with Jean-Charles and tells Pelletier that he will attend. 

On the evening of the ball, there are all kinds of notables in attendance like Cary Grant and U.S. Defense Secretary Robert McNamara.  Grace makes a heartened speech, which is at first blankly received, but then elicits a resounding applause.  De Gaulle congratulates her and she later reads a fond note left by Tucker.  The end titles wrap matters up.  Grace saved Monaco.  The end. 

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Oscar 2013: Rush (spoilers)

Peter Morgan’s Rush (I just read the script from an April 2011 version) dives into one of the greatest, nail-biting sports rivalries in world history involving Formula 1 drivers Niki Lauda and James Hunt.  The story begins during the pivotal Grand Prix race in 1976 Nürburgring, Germany, which involves a harrowing accident, before taking us back in time six years to give us a little backstory.  We learn rather bluntly the contrasting personalities between the two athletes.  The flawlessly attractive Hunt brims over with confidence and oozes ease; he doesn’t know the definition of working hard, nor has time to care.  Lauda, on the other hand, is teeming with the hunger to push himself, and the script plays up a rather stereotypical Austrian business sense and practicality.  He’s crafty, full of knowledge, and knows precisely when to play what card in everyday matters; in normal circumstances, he keeps his emotions guarded and in check.  Hunt lives in the moment and enjoys life, where Lauda is constantly thinking of the future and looking out for himself and those under his care.  They have both had rather fortunate starts in life, and it’s Lauda’s quest for glory (and the monetary rewards that would bring) in a field he most excels and his belief in himself and potential that sparks the catalyst in Hunt’s soul to manifest himself as a worthy adversary. 

Morgan uses a hospital setting to make the transfer back in time, while rudimentary, is also quite harmless.  He even inconsistently includes voiceover narration at time that is surprisingly not very distracting.  The writing and structure have an artificial feel, especially considering that the supporting characters aren’t multidimensional (or treated as significant, really) and sometimes a little obvious, yet, simultaneously, everything feels weirdly authentic.  It’s hard to imagine a film like this being written any other way.  If all the important facts contained in this script are true, Morgan is fortunate enough to have the power of reality as his muse.  Yet, his rather swift and clean method of storytelling is oddly reminiscent of Lauda himself.  Though, there is one point where we get a scene with the voice of Richard Burton (which, I'm assuming must have happened, or else why throw it in other than out of feeling enamored), which felt completely out-of-place.   Perhaps its intent was to dwarf Hunt and highlight his emerging inadequacies, but it felt more like a stunt cameo.  

My only main qualm essentially was towards the end when a setback and rehabilitation process seemingly defies the passage of time in the context of the story.  But, I imagine this, as well as other shortcomings could hopefully be fixed with the nuance in the direction.  It’s an engrossing script, full of intensity that one can barely even begin to imagine on the big screen.  While the subject matter of Formula 1 racing isn’t an area that demands my attention, the human interest in Morgan’s script and his detailing of this amazing story touches on a rivalry theme that audiences aren’t unfamiliar with (Amadeus, even Black Swan to a lesser extent).

Oscar Prospects

Morgan has been nominated for Frost/Nixon, as well as The Queen, and is much in demand for more prestigious projects (he also cowrote the script for Howard’s next film starring Chris Hemsworth, an 1800s whaling drama).  He also acts as producer on Rush.  Ron Howard has a surprisingly diverse genre of movies under his belt.  Besides comedies and Dan Brown adaptations, he’s done western (The Missing), fantasy (Willow), family (The Grinch), and romance epic (Far and Away); he’s dealt with cars before (his directorial debut Grand Theft Auto) as well as sports drama (Cinderella Man) and action (Backdraft).  When it comes to the cross section of where Oscar and commercial success meet, however, the space drama Apollo 13 and A Beautiful Mind have been his biggest successes.  He also managed major competitive bids for Frost/Nixon including Best Picture five years ago.  Cinderella Man also collected its share of nods in 2005. 

The early word has been quite promising.  Variety stopped short of calling it the best picture of the year. 

EW thought Howard hasn’t outgrown more juvenile cinematic interests.  The best parts of the movie are the racing, which are all inventively filmed.  The characters and rivalry are painted with broad strokes, and the supporting cast is one-dimensional, but all is redeemed in the third act, including a portion I was hesitant about (the rehabilitation process).  They gave it a “B” grade.

THR predicted limited rewards for domestic box-office, but anticipates an international jackpot.  Cites Morgan’s screenplay elevating the characters above the “serviceable” action, pointing out that Mantle’s “grubby” cinematography is appropriate for the time era and technological condition of the racecars.  Thinks hardcore F1 fans may object to extreme portrayal of Hunt.  Liked the performances. 

Guardian: Offers “great human drama” and “one of the fastest, most enjoyable rides you will take this year.”  For all its emphasis on cars, “it’s a racing film that lets you forget the racing.”  Hemsworth only works in the context of the movie’s flash and style.  4/5 stars. 

At this point, with Rush about to enter limited release in less than a week, the locks would be sound effects editing/mixing, and Daniel P. Hanley (Howard’s go-to editor who has four nominations under him, including a win for Apollo 13)/Mike Hill (his partner on all of those films), and Daniel Brühl, a German character actor whose highest profile role stateside thus far has been in Inglourious Basterds, campaigned as supporting actor (despite being a lead) are almost sure things.  I should note that the main poster shrewdly has Hemsworth front and center.  Even though the movie is about two drivers, the marketing, by default of displaying the “bigger star” is also conveniently placing Brühl in a more “supportive” position.

That wouldn’t be a bad place to start when making a case for Best Picture.  In fact, if it doesn’t get in, I imagine it just barely missing.  Score (Hans Zimmer, who is also behind 12 Years a Slave) and makeup would also be in play here, and perhaps even visual effects.  Cinematographer is Anthony Dod Mantle who won for Slumdog Millionaire and also stands a chance (this would be his first prestige project since). 

But a full windfall of nominations is likely going to be incumbent on box-office.  Ron Howard, while a respected veteran, isn’t a big name like Steven Spielberg, who draws a crowd.  Even his Da Vinci franchise, while it cleaned house internationally, fell short domestically.  In fact, his last three films failed to make their budget back in the U.S.  At $38M, thankfully, Rush’s bar is seemingly set low.  Even Universal’s lowest grossing Fast/Furious film has cleared $60M, and the more comparable dramatic-interest Days of Thunder made $83M (I remember it having the label “Top Gun on wheels” attached to it and then falling short of people’s expectations), albeit over two decades ago and with a huge star.  The tendency for a lot is to be hesitant about this film’s commercial prospects, which I think is warranted.  I hope this film does build an audience, as it deserves one.  But, stranger things have happened, so it wouldn’t be out of the ordinary for audiences to reject a well-done, finely tune piece of dramatic entertainment.  Yet, I blindly believe they will accept it for some odd reason (they’re likely to overseas, anyway, where Formula 1 is an easier sell). 

Sound Effects Editing > Sound Effects Mixing > Supporting Actor > Editing > Makeup > Score > Screenplay > Best Picture > Cinematography > Visual Effects > Director

Plot Summary (spoilers)

It’s the 1^st of August, 1976.  Niki Lauda (Daniel Brühl) prepares for a Grand Prix in Nürburgring, Germany, along with James Hunt (Chris Hemsworth) and Jochen Mass (Cris Penfold).  Lauda chooses to go on wets instead of slicks on a day that just saw the end of a rain, which turns out to be a bad decision prompting him to pull over into the pits and change to dry tyres.  After gaining momentum from being behind, he crashes and finds himself engulfed in flames.  He’s eventually saved and taken to the hospital.  Six years earlier, Hunt enters a hospital with minor injuries sustained from a fight which resulted from sleeping with another man’s wife.  He has quite the swagger and ends up turning a nurse’s examination into a tryst back at his apartment.  He explains women’s attraction to race-drivers are because they are close to death with each event, and “the more alive you feel … the more alive you are,” in the context of being that much closer to a victory.    

The current formula 3 driver takes Nurse Gemma (Natalie Dormer) to the Crystal Palace Race Track in London and introduces her to his team of Doc Postlethwaite (Jamie de Courcey), Bubbles Horsely, and Alexander Hesketh (Christian McKay).  They toast to that day’s event and Hunt vomits to clear himself of pre-race jitters.  During the race, he cuts Lauda off by the slimmest of margins, leaving him no choice but to brake and is sent into a tailspin.  An ambulance is stalled on the track and forces a restart and a short fight between Hunt and Lauda ensues.  In the second start, Hunt speeds off, but Lauda catches up.  Hunt rams into Lauda causing them both to spin.  Hunt recuperates, but Lauda is left facing the wrong direction in a stalled car.  Before he can vacate, another driver careen’s over the nose of his vehicle.  He escapes, but a second driver smashes into his car.  Lauda barely gets off the track with his life from other oncoming racers, and the cars slam into one another and creates a huge wreckage.  Much to Lauda’s dismay, Hunt is awarded the winner of the race.

In Vienna, Lauda explains in voiceover how he approaches racing like a business.  With his lawyer, he meets with Louis Stanley at an airport café and offers him 2.5 million Austrian schillings in exchange for a car, team of mechanics, and a place on his team, as well as a stake in winnings (we as an audience might temporarily find that a bit off-putting, as it appears Lauda is basically buying his way into Formula 1).  In London, Hunt wins an award.  At a club, his team explains to him that Lauda is bypassing Formula 2 and on his way to Formula 1. 

The track manager Agnes Bonnet (Joséphine de La Baume) greets Lauda at the Paul Ricard Circuit in Marseilles, France, and mistakes her for a receptionist.  At a BRM workshop, Stanley introduces Lauda to the team including Jean-Pierre Beltoise, and Clay Regazzoni (Pierfrancesco Favino).  A mechanic shows Lauda his car, a P160 identical to Regazzoni’s, but heavier than Lauda expected.  Lauda challenges Stanley to let Regazzoni drive his car, which he think will result in a faster time.  Stanley takes him up on the challenge is shocked with the results and asks Lauda for the secret.  Lauda uses it as collateral and renegotiates their original deal.  Lauda flirts with Bonnet.  Regazzoni reveals to Lauda that Bonnet just had her heart broken by Hunt.  Lauda ends up standing her up.

Hunt drives out to Easton Neston owned by Hesketh, where he’s introduced to his new car, the March 731 and an unsponsored place in Formula 1.  Hunt’s team arrives at the Belgian Grand Prix, the Nivelles-Baulers Circuit, two weeks later making a very loud and flashy impression.  However, a horrific and fatal accident resulting in a decapitated driver and stealing their attention, leaves Hunt a bundles of nerves.  Lauda and Hunt have a brief pre-race standoff.  Lauda ends up beating Hunt rather effortlessly and takes 2^nd place.  Later, Bubbles give Hunt a dress-down and informs him he’s going to change his ways in all areas of his life if he’s going to excel at Formula 1.  At Easton Neston, he’s surprised by Suzy Miller (Olivia Wilde) while practicing visualization techniques for the upcoming Monaco race.  They get married.  That day, his team informs him that Lauda has signed with Ferrari, following along with Regazzoni.  In northern Italy, Lauda prepares with Enzo Ferrari and his team.  They hold a press conference.  While driving, Regazzoni educates Lauda on Ferrari, but his practical, cold, individualistic spirit is too much for him.  Feeling like an outsider at a fancy party, Lauda hitches a ride with departing guest Marlene Knaus (Alexandra Maria Lara), who is on her way to Ibiza and offers to drop him off in Maranello.  He uses his automotive acumen to inform her all the different things the matter with her car’s operation.  Lauda tries to fix the car when it breaks down.  They hitchhike and find a group of guys who recognize Lauda.  They have Lauda drive and he shows off his skills much to their pleasure.

It’s now 1975, in Monaco, Lauda races Hunt in a Ferrari 312T.  Hunt has improved, but Lauda wins, and begins a streak of sorts around the world.  The men exchange words after a race in Watkins Glen, New York, and it’s clear that Hunt is back to his old ways.  In Salzburg, Lauda and Marlene discuss Hunt.   Hesketh informs Hunt that they have run out of money and missed the sponsorship deadline.  On the phone, Hunt begs his brother Peter for a race.  He takes to drink and Suzy leaves him.  Hunt has a meeting at the at the McLaren headquarters with Teddy Mayer (Colin Stinton), John Hogan (Patrick Baladi), and Alastair Caldwell, about joining the Marlboro team.  Hogan calls Lauda in Salzburg and lets him know about Hunt’s plans. 

In Sao Paulo, Brazil, it’s the opening race of the Formula 1 season, for which Hunt won the qualifying placement for pole position in his McLaren M23, but chokes, leading Lauda to victory.  He continues to beat him in Kyalami, South Africa, and Long Beach, CA, Jarama, Spain, Zolder, Belgium, and Monaco, due sometimes to technicalities and vehicular failure on the part of Hunt’s racecar.  In the last race, they get into an argument where Hunt complains again about not having a level playing field.  At McClaren, Hunt learns that Suzy is rumored to be having an affair with Richard Burton.  He flies to NYC after her and ends up speaking with Burton, before divorcing Suzy.  His team calls him with the good news that his car is fixed. 

At the Paul Ricard Circuit in France, and Swedish Grand Prix, Hunt wins.  As well, his disqualification in Spain is overturned, and he earns another victory as a result.  He wins the British Grand Prix.  There’s a press conference afterwards.  Lauda and Marlene get married in Vienna.  They fly a plane, enjoy their honeymoon in Ibiza.  Marlene catches him during visualization techniques for the Nürburgring race and it’s clear he is becoming overly obsessive about winning the Formula 1 season. 

Now that we caught back up with the script’s introduction, it’s day of the race, and there’s an accident during a testing.  Lauda holds a driver’s meeting to vote for cancellation due to weather conditions, coupled with the treacherousness of the track.  His suggestion isn’t received well, especially by Hunt.  Lauda is overruled, led by a protest from the charismatic Hunt.  One of the drivers, Mass, puts dry tyres (or slicks) on his car.  Lauda goes on wets, and Hunt follows suit.  Both of them end up having to change to slicks due to the lack of traction.  Hunt is stopped by Lauda’s accident.  At the hospital, we learn that the unconscious Lauda has incurred possibly fatal burns to his lungs.  Lauda receives last rites (!), despite not yet being dead, as we learn from his POV.  He wakes up later.  It is clear that he will never be the same, as the accident has destroyed him physically, leaving him with no eyelids, and severely deformed.  Lauda goes through rehabilitation as he watches Hunt slowly catch up to him in points with each subsequent race, until he passes him in Watkins Glen.  There’s a painful scene where Lauda, who is in no condition to race, let alone function, puts on his helmet. 

At the Italian Grand Prix in Monza, Lauda surprises Hunt.  When Hunt expresses remorse about encouraging the German race to go on and feeling responsible for Lauda’s accident, he responds, “You’re equally responsible for me getting better.”  Incredibly, Lauda pulls ahead of Hunt in points.  At the Fuji Speedway in Japan, the final race of the season, Mario Andretti (Kristofer Dayne) wins pole position.  Another press conference is held where Hunt is visibly off his game, and Lauda is relentless with his quest to win.  Bubbles gives Hunt a pep talk.  Later, Lauda sends a stewardess to Hunt’s room.  A driver’s meeting is held on the day of the race, and it’s canceled due to poor weather conditions, but the Japanese Grand Prix goes on anyway.  Caldwell drills holes into Hunt’s helmet to let the condensation out.  Lauda and Hunt affectionately salute each other moments before the start.   The race begins and there is a montage of each racer’s mental thoughts and what they’ve been through and who they are as people.  Hunt ends up winning, though he’s unsure at first.  But, it turns out that Lauda had withdrew. 

Lauda visits a celebratory Hunt in Northern Italy.  Hunt seems to think that winning once against a physically disabled man is enough.  Lauda, as relentless as ever, looks forward to future races.  Ending placards let us know of each other’s fates.  Lauda would go on to be world champion twice.  And Lauda would die penniless at age 45.  Roll credits. 

Previous Editions:

American Hustle     August: Osage County     The Counselor     Elysium      Foxcatcher     Fruitvale Station     Grace of Monaco     Gravity     Labor Day     Out of the Furnace     Pacific Rim      Prisoners     Rush     Saving Mr. Banks     The Secret Life of Walter Mitty   

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