BIFA: The King's (Acceptance) Speech and Other Oscar Matters

You guys. I'm so not (quite) ready for this. It's only November 1st and in English language cinema we've already had at least three awards lineups outside of the film festivals: NY's Gotham Awards, Australia's AFI, and now BIFA... which translates to the British Independent Film Awards.

BIFA considers Oscar-buzzing Lesley Manville as "Supporting"

It will surprise virtually no one that the Oscar hopeful Brit films like The King's Speech (and all of its actors), Made in Dagenham and Another Year are in play for various prizes. It may surprise some that the indifferently received Never Let Me Go, the divisive Kick-Ass, and the largely undiscussed Brighton Rock received multiple nominations as well.

A complete list of nominees (with Oscar-adjacent comments) follows after the jump but I shan't clog the main page with these über long lists that each awards groups hands out.

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Take Three: Rosamund Pike

Craig here. It's Sunday. It's Take Three time.

Today: Rosamund Pike

Take One: An(ti) Education?

Earlier this year two great 1960s booze-soaked lushes missed out on Supporting Actress Oscar nods: Julianne Moore's Charley in A Single Man and Pike's Helen in An Education (2009). I'd personally have slotted both in the running had I sole ownership of the voting ballots. Similarly with her performance in The Libertine (see below) Pike sneaks in and very nearly scoops the film out of the hands of her co-stars. But, as with Moore, maybe her screen time wasn't quite enough to grab the Academy's full attention. No matter - Pike was the freshest and most lively presence in the film, Oscar nom or no.

Helen comes on like a Bright Young Thing - albeit dimly lit - full of the joys of life. But she wasn't all just boozy bewilderment though. She had some chirpy advice for novice It-girl Jenny (Carey Mulligan), which she dispensed through the fog of gin and the haze of cigarette smoke in the bars and boudoirs of swinging-‘60s London.

Party girl: Pike disses dictionary-loving debutante Jenny in An Education

She’s the current It-Girl of her group, so feels lightly threatened when new upstart Jenny enters their social orbit. But she’s oh-so polite with her perky put-downs. She’s flippant with Jenny because she knows her role as the in-thing of the group could very well be usurped. But she becomes her friend and confidant regardless, offering to take her shopping in Chelsea and introduces her to the wider social circle; she was Jenny’s role model in all things Chic and Now. Both girls are relatively privileged, but Helen is from the school-of-life-experience, the flip side to Jenny’s education-seeking debutante. She’s older and more versed in the particulars of partying and all things cultured, and she wards off life’s troubles with just the right amount of savoir-faire. It’s a nicely balanced, note-perfect performance (appearing sophisticated and dim at the same time can’t be easy) and Pike shines each time she’s on screen.

She don't need no education: Pike as Helen in An Education

Take Two: Sex, drugs and dribbling

I’m not sure in what kind of light people hold up Laurence Dunmore’s The Libertine (2004) as it rarely receives mention these days (especially for a Johnny Depp film). It was a serio-comic one-off, an artful period piece - imagine Peter Greenaway directing astride a whoopee cushion - about infamously louche rake and poet John Wilmot, 2nd Earl of Rochester (Depp); he’s being courted by King Charles II (John Malkovich) to write a be-all-and-end-all play for him. But as Rochester's reputation attests, and history dictates, it was frolicking naked actors, oversize phalluses and nose-eroding syphilis that were the order of the day.

Pike played Rochester’s long-suffering wife, Elizabeth Malet - and between John’s infatuation with actress Elizabeth Barry (Samantha Morton) and all his whoring and orgies, suffer long and hard she does. But she remained quite the loyal companion to the end - though she chose her moment wisely to out-deprave the much-depraved Rochester.

Picture-perfect by the picture window: Pike in The Libertine

Pike valiantly holds her own amongst strong thespian company; she's brilliant casting in the role. She’s the hidden gem of the film and gives a cracking performance in its most unassuming and least (initially) noticeable part. Malet is prim, vain and oh-so-comely; a picture-perfect thing of 17th-Century beauty; the very essence of a regal wife. Pike nails her scenes with apt restraint. But what surprises - in a late scene, when both Malet and Rochester have reached an absolute personal and social nadir - is how she convincingly reconfigures her performance to show how Malet sinks a level or seven when she denigrates the degenerate Earl with just a flagon of wine and a baleful spike in her heart.

Pike providing solid 17th Century support in The Libertine

She matches Depp’s outré outbursts word for word, swigging booze manfully, and letting it drool down her face as she vents abuse at him. She gets a literal taste of his hedonism - and spits it back at him tenfold. Pike showed Malet was a force to be reckoned with: push a lady like her too far and social standing goes flying out the window. This intense scene, balanced with her earlier moments of serene, ladylike composure, made for a compelling, no-holds-barred performance. Pike proved she was much more than just a Bond girl here.

Take Three: Pike, the game player

But it’s not all Doom and gloom with Pike. A year later she teleported to Mars to find out what went wrong with some genetically-dubious human-mutant-hybrid shenanigans in Andrzej Bartkowiak’s 2005 film of the much-loved computer game. So ok, maybe it was a bit gloomy - she was called Dr. Samantha Grimm after all. But compared with chasing a syphilitic, silver-nosed Johnny Depp around 17th-Century England, sparring with space monsters was a breeze. Anyway, Doom has all to do with military superhumans, mutant devils and Grunts. Or SuperhumanMutantMilitaryGrunts. Or something. Either way, the red planet is not the only Rock Pike has to contend with: thick-necked actor-wrestler Dwayne Johnson joins the mission and adds a spoke in the works.

Mars or Johnson? Pike ponders which Rock to escape from first in Doom

As far as Pike’s performance goes, she gives it the exact amount of gusto required. It ain’t Shakespeare; but Pike knows this. She’s a game player - and how well she thesps is indicated by how frequently she stares at The Rock to seemingly determine just how different or not he actually looks after he’s turned into a SuperMutantMilitaryGrunt. And she did get to say, “10% of the human genome is still unmapped. Some say it's the genetic blueprint for the soul,” with a straight face and make it sound like everyone’s lives depended on it.

But the great thing about Pike’s part in Doom is that she’s not one to sniff at a daft sci-fi flick here and there (see Surrogates for further proof); she’s not above the occasional fun genre role. And I love her all the more for it. She gives the likes of Doom, Surrogates and Fracture as much actorly attention as she does Pride & Prejudice. In fact, I always thought Pike and Keira Knightley should’ve swapped P&P roles; Pike was a better fit for Lizzie Bennett in my view.

Here comes the science bit: Grimm times for Pike in Doom

Knightley got the sole acting Oscar nod in that film: an unfair neglect of Pike’s wonderful support, especially as both Emma Thompson (lead) and Kate Winslet (supporting) got nominations for that earlier Austen adaptation, Sense and Sensibility. Priding one actress over another with prejudice? Maybe. But some rising stars get awards adulation more than others - though I do hope that Pike gets raised to the heights Winslet and co. have been privy to for many a year at some future point.

But there’s one trick Hollywood really missed! One role that’s a perfect match for Pike’s equal opps dabbling in all things both literary and genre-based: she’d have been perfect casting for Pride & Prejudice & Zombies. For the love of mutant Austen, why was she not considered for the role?

don't wanna link, don't wanna touch...

♪ ... just smoke one cigarette and hush
don't call my name, don't call my name, Roberto ♫

Stuff No One Told Me Love this. Disney and Porn = eternal human frustration.
MNPP Everything you ever need to know about life... you can learn from Psycho (1960)
Antagony & Ecstasy looks back at the evolution of Warren Beatty's Dick Tracy in a summer blockbuster history series
Cinematical Paul Rudd, soon to be the Idiot Brother, gets four fine funny actresses as co-stars

Emma Frost illustration by Adam Hughes

Movie|Line the angsty drama of 'how will Sandra bullock follow that Oscar?' Methinks her team is thinking too hard. Nobody wants her doing prestige pics.
Socialite's Life Matthew Morrison (Glee) recording a solo CD. I'd be thrilled to buy this (his voice is amazing -- check out the CD of Light in the Piazza for proof) but for the fact that he's gettin JustinTimberlakey with it. Yawn.
What's Good/ What Blows the dismaying punishment of Charlie Sheen.
Cinematical Michael Fassbender has his choice of two supervillain roles. Which will he go with? Either way he ends up opposite a fine actor (James McAvoy in X-Men: First Class or Jamie Bell in Spider-Man)
Empire speaking of X-Men... seems that Rosamund Pike may be up for the part of Emma Frost, the White Queen. Now that is a casting decision I can really get behind. Love both the actress and the character.
I Need My Fix True Blood season premiere brings the stars out. Is there a more attractive cast on television?
The Big Picture looks at the critic vs. audience divide on Splice.
Boing Boing more on recent silent film discoveries. I always get so excited to hear about found films
In Contention could "Shine" be an Original Song hopeful at the Oscars? I'm still struggling to understand what everyone else sees in that highly praised Waiting for Superman documentary (I didn't like it) but I agree that it's probably going to be up for the doc Oscar.

More on Lady Gaga's "Alejandro"
my piece yesterday in case you missed it
Low Resolution "Instantly Dated Thoughts"
The Critical Condition "Theft and/or Borrowing"
The Critical Condition ...and an interesting follow up piece about the cultural awakenings that happen in our youth.
Flavor Pill "Guide to Madonna References"
Rolling Stone director Steven Klein talks about the video, avoids the Madonna question.
popbytes (I do a brief weekly column here now). The video got me thinking about freaky movie nuns.
Guardian rounds up the groups claiming offense.
The Atlantic Katy Perry vs. Lady Gaga "The Battle of the Bras"

An Education on the Ensemble Class

In trying to keep up with DVD promises, I've given An Education (2009) a second look. First thing I noticed the second time through was a vaguely wary expression on Carey Mulligan's face the very first time you see her. Before she has anything to be worried about.


It's as if she knows that this is not a post about how great she is!

One of the chief and actually insightful digs at the movie, from certain unconvinced parties, is that director Lone Scherfig is so enamored of Mulligan's Jenny (and yes there's plenty to be enamored of) that she passes up numerous opportunities to complicate the movie. Our relationship to the youthful arrogance of the protagonist really does need a tougher investigation. Jenny really does need to be told. [Has she been told? Tell her. Oh snap!] This is the reason I love every tiny bitter morsel from Emma Thompson as the stern headmistress. More please.

But it wasn't just Scherfig that had trouble looking away from Mulligan's star-is-born turn. How else to explain the curious little attention the film received outside of its Actress and Best Picture bids. The film has amazing costume work, smart art direction and terrific original songs. Regarding this last bit, there's zero excuse for the Academy's music branch to pass up "You've Got Me Wrapped Around Your Little Finger".



The song even gets a showcase scene and is intertwined with the narrative, something they're actually supposed to be looking for when they vote. The characters even sing it in the car while driving.

But the best thing about the film is for sure the ensemble play. Scherfig makes some fine shot sequence choices to accentuate the interplay between her "clever" foursome of lovers: Jenny & David (Carey Mulligan & Peter Sarsgaard) and the highly flavorful duo of Danny & Helen (Dominic Cooper & Rosamund Pike). One early scene of the foursome in a bar offers audiences the rare opportunity to watch four actors acting simultaneously. I watched this scene four times in a row to look at each performance and they're all fully engaged. Oh the joy of medium shots!


Only after we're already made some observations about their group dynamic does the more generic cross cutting, shot / reverse shot pattern, take over (you know the pattern, it's the way 99% of movies film every single conversatzzzzzzz zzz zzz). I love how the scene begins with Helen holding bitchy court -- she theorizes that college girls might be born ugly -- but as soon as she's turned her attention's Jenny's way, "books?", Scherfig zeroes in and the blocking changes. The two men begin to flank Jenny, gradually pushing Helen right out of the frame. Scherfig sees what's happening to the group dynamic (fresh meat!) and illustrates accordingly.

One of the most interesting textural bits in the movie is how nearly every character -- not just Jenny -- swoons for any sort of flattering attention; They're all hungry flowers, leaning towards sunlight or water. Dominic Cooper excepted, as he seems very self contained.

I've already expressed my love for Pike with a Supporting Actress nomination but there are other magical things happening within the ensemble, too. Unfortunately the acting isn't always consistent. Alfred Molina and Cara Seymour, for example, both have smart moments as Jenny's eagerly gullible parents, but they swing a little too broadly at other times.

I don't know if it's that stinging late film appearance by Sally Hawkins in a pivotal role but the film makes me think of a Mike Leigh movie.

What?!? Yes, that's a bizarre reference point. Hear me out.

The character work in An Education doesn't have the depth or discipline of Leigh's standard six months worth of improv and rehearsals, and the movie absolutely doesn't have the same high art tone or deep insights. I know that. An Education just zips merrily along, charging through even its darkest moments without considering them too carefully. It's paced and styled for the multiplex, even if it never fully crossed over with mainstream audiences. But I think of Mike Leigh because his movies by their very design always feel a bit ephemeral. You're hyper aware that had his camera swung to the left or right, or left that scene earlier to follow an exiting character, a completely separate and equally interesting movie would be waiting for you on the other side.

An Education is strong enough during its best moments to make me believe or at least fantasize that there's a few movies just off to either side or behind it, should the writers, actors, and director have decided to go another way with it. On second viewing this is the order in which I'd like to see those movies.

• The Miseducation of Helen, a biopic, in which Rosamund Pike takes center stage. Was she always this dim and devilish? How hard does she have to work to keep Danny's (Cooper) attentions and keep herself swathed in the fur and finery he provides? (I'm guessing there's been a procession of Danny types.)
  
• The Art of the Steal a prequel, in which Danny (Cooper) and David (Sarsgaard) begin working together. An Education never looks closely at this relationship but if you stop to think about it for just a minute, it sure needs looking at. What is the power balance really like? Does it seesaw back and forth?
• The Prime of Miss Stubbs in which we follow this entire school year from the exhausted well meaning perspective of Jenny's teacher (Olivia Williams) and the headmistress (Emma Thompson) becomes the defacto secondary lead.
  
• Educating Graham in which we follow awkward Graham (the sympathetic Matthew Beard) as he grows into a fine writer and learns that Jenny wasn't everything. There are plenty of interesting girls in college and they're less pretentious about it.
  

To close I'd just like to share this Graham-related dialogue exchange that I love but had completely forgotten about. Jenny's dad has already fallen for David's con artist charm, however age inappropriate he may be, and takes the opportunity to disparage Jenny's young friend.

Jack, Jenny's Father: Better than that young man you brought home for tea.

Marjorie, her mother: [thinks the comparison is unfair] David's a lot older than Graham.


Jack: Graham could live to be 200 years old and you'll never see him swanning around with famous authors.

Jenny: Graham might become a famous author for all you know!

Jack: Becoming one isn't the same as knowing one. That shows you're well connected.

Some people's fathers...

I love this tiny crumb of a suggestion that Jenny does like the age appropriate but unsophisticated Graham. She's just not into him in that way. That said she doesn't seem to enjoy the ribbing he gets from both her parents and friends. Perhaps she knows somewhere deep inside that she's not that much more extraordinary than him... she's just a little further along in her Education.
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Top Ten: Actresses For the New Decade

Tuesday Top Ten: for the list maker in me and the list lover in you

We spend a lot of time with the older ladies here at TFE -- the working legends as the case may be. So for a change of pace, some quality time with the young and still-rising. What follows is a list of the ten whose next decade on screen we're most intrigued to watch develop. The cut off for this list was 33 years of age because starting right about there... well, that's a HUGE time for actresses (many win Oscars or give career defining performances at 33/34). Let's look at the actresses who haven't reached that important time yet.

10 Actresses (Under 33) Whose Next Decade We Eagerly Await

disclaimer: This list includes English language actresses only since American distribution of foreign films is so problematic. It can be hard to follow full careers but we could definitely use more Ludivine Sagnier (30), Tang Wei (30) and Ok-bin Kim (23) in our lives.

runners up: Abbie Cornish (27) must prove that Bright Star wasn't a fluke; Anna Kendrick (24) needs to do a musical comedy; Saoirse Ronan (15) we actually expect she'll be more crucial to the decade after this; Zooey Deschanel (30) needs to branch out from or subvert that Whimsical Love Interest rut; Kerry Washington (32) it's not too late Hollywood -- CAST HER NOW!; Zoe Saldana (31) will that double blockbuster year lead to anything substantial?; Maggie Gyllenhaal (32) if and only if she recaptures that Happy Endings/Secretary edge; Keira Knightley (25) but only if she wows in a modern piece soon; Mia Wasikowska (20) a flavor of the year or in the for the long haul?; Romola Garai (27) did we see the depth we thought we saw in Atonement? It's hard to tell; Perversely, we're excluding An Education's Carey Mulligan (24) from the following list because we laid it on a little thick about her future the other day. *backing away slowly*


10 AMANDA SEYFRIED (24)
Gets more beautiful every year. How is this possible? And she's still a few years away from the age of "canonical beauty" and still a decade away from the peak years of Actressing.
Trouble spot: Coasting on beauty. With her beauty that'll be tempting. (See: Mamma Mia!)
What we'd love to see: The return of her Mean Girls comedic timing. But until then, an erotic thriller Chloe sounds like a smart diversion.

9 ARI GRAYNOR (27)
After stealing Nick and Norah's Infinite Playlist out from under its adorable leads with the power of pure hilarity, she wowed from the sidelines of Whip It and then stole entire chunks of Holy Rollers, too. With all this Grand Theft Movie, someone really ought to hand her a lead role and let her fight off hungry supporting players instead of the other way around.
Trouble spot: They haven't really made movies about funny girls in quite a long while. Hollywood wants its Romantic Comedy leads more Cute than Gut-Busting and the girls in male driven comedy are just window dressing rather than comediennes in their own right. She needs her own What's Up, Doc? But they don't make those!
What we'd love to see: A lead role, period. Or a killer "funny" supporting role in a serious movie, like the one Anna Kendrick landed for Up in the Air.

8 ELLEN PAGE (23)
People are fond of hating on Juno so if you're one of those types, direct your hate her way. See, if she hadn't been so damn good in it, nobody but nobody would've cared. Whip It proved again that she's more than capable of carrying and elevating a film. We worry about Inception ...by which we mean her part in it (Chris Nolan is great at many things... but hasn't shown any particular skill with actresses) and we worry that Page won't have the fortitude to be herself (if you don't like dresses don't girlie it up for the red carpet... pants never hurt the stardom of Hepburn or Dietrich) and being yourself is really the only way to make a concrete and lasting mark.
Trouble spot: Ubiquitous endorsement deal. Those are great for bank but bad for acting careers (see: Catherine Zeta-Jones and Scarlett Johansson)
What we'd love to see: An auteur using her as muse.



7 NATALIE PORTMAN (28)
I almost left Queen Amidala off of this list on the grounds that we might have seen it all already. She's already been in our lives for 15 years. But then, taking a look at her upcoming filmography which includes Darren Aronofsky's cool-sounding ballet thriller Black Swan and the potentially awesome / potentially disastrous Pride and Prejudice and Zombies (2011) Natalie looks to be taking her share of risks. She may be ruling the screen far better than she ever ruled her tiny corner of the Empire.
Trouble spot: Tends to bore in f/x epics. Keeps doing them. Thor is also on the way.
What we'd love to see: Black Swan. Right. Now.

6 DAKOTA FANNING (16)
In truth there aren't a lot of good roles out there for teenagers. Plus, Dakota doesn't seem all that likely as a candidate for high school comedies. But even at 6 she seemed preternaturally wise so was there ever any danger that she couldn't transition from child to adult star? That said, is she trying to transition too soon with her work in The Runaways (sex scenes, drug use, etcetera)? Whatever, she's completely watchable in it. And you have to be completely watchable for long-term stardom.
Trouble spot: Natural ability isn't everything and if she coasts on it rather than pushes herself to mature as an actor...
What we'd love to see: A mother/daughter drama with a formidable actress as co-star.


5 ROSAMUND PIKE (31)
"Books?" Pike was doing so much for An Education's decadent trajectory as the dim adoptive sister type "Helen" and she was doing it so very differently than she did the lovely sister act in Pride & Prejudice that we want to see how far her versatility goes.
Trouble spot: People who do great work in thankless roles, don't always get thanked (hence the adjective).
What we'd love to see: Joe Wright dump Keira Knightley as muse and focus on Rosamund. (Are they ever getting married or are they kaput? I can't keep up with these things)

4 MICHELLE WILLIAMS (29)
She's made such a potent dramatic mark in cinema that people barely mention Dawson's Creek anymore. Which is quite a feat if you think about it. She's terrific in the upcoming marital disintegration drama Blue Valentine (2010) she but that probably doesn't surprise you to hear after the tears she wrung as an emotionally paralyzed wife in Brokeback Mountain (2005) and a lost drifter in Wendy & Lucy (2008).
Trouble spot: Being seen as relentlessly dour and one-note given the heavy filmography.
What we'd love to see: A spiky comedy as palate cleanser. We know she can do it (see Dick, 1999)

3 EMILY BLUNT (27)
Is she a great work-in-progress or a limited beauty? She can play earnest period (The Young Victoria), brutal comedy (The Devil Wears Prada) and dangerous sexuality (Summer of Love) with nearly equal aplomb. But can she do more than one thing at once? All the greats can and that's exactly what's missing in her filmography: the signature role that brings all her parts together with a big starry ka-boom!
Trouble spot: Potential overexposure. She survived The Wolfman just fine (no really, she did) but did she need to do it in the first place? Not every role is right for the hot actress of the moment and you don't want to end up like Scarlett Johansson (renowned for beauty and suddenly not respected much as an actress despite some early displays of skill)
What we'd love to see: Her turn as The Black Widow in Iron... oh, damn!

2 REBECCA HALL (27)
A lot of the actresses on this list have been hot for some time. At least of few of them will have peaked by now, dashing our hopes at a richer decade to come. Not so with Rebecca who was so sympathetic in The Prestige, so humorously put-out in Vicky Cristina Barcelona, so arm candy in Frost/Nixon and so self-effacing in Please Give. In short, we literally can't imagine that she's already peaked.
Trouble spot: No defined persona. That can be an asset but sometimes casting directors want you to stay in your box.
What we'd love to see: Anything.


1 ANNE HATHAWAY (27)
We love. Simple as that. And more every year, too.
Trouble spots: As if.
What we'd love to see: Everything she'd like to show us. And definitely another performance as masterful as that Rachel Getting Married turn.
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What's your list look like? Loving actresses is for everyone so share it and comment on this one. You know what to do.
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BIFA Nominees: Abbie Cornish, Michael Fassbender and More

Oh, agony! The British Independent Film Award nominations have arrived (in October? Damn that’s early) to serve up the dread reminder that there is no such thing as ‘day and date” releases outside of rare mega blockbusters. I suppose I should thank the celluloid cosmos. In a way the erratic nature of film distribution helps me to continue living my blissfully delusional life wherein I pretend that people would actually flock to more challenging higher quality international cinema if they only had access to it and could see it and talk about it at the same time. Isn’t this one reason that television is so popular? It’s communal. Movies are supposed to be communal but it doesn’t work out that way so much.

Michael Fassbender in Fish Tank

I have no idea when I’ll ever have a chance to see Fish Tank for example, which did very well with BIFA though I’d love to. Until it gets an itty bitty American release at two theaters and makes $270,000 instead of $27 million sometime in 2011 I can pretend that the whole world is looking forward to this gritty exceptionally well-reviewed drama. I can pretend that they’re in fact awaiting each new Michael Fassbender performance with an anticipation that borders on the sweaty and the feverish.

THE NOMINEES

Best British Independent Film: An Education (Lone Scherfig), Fish Tank (Andrea Arnold), In The Loop (Armando Iannucci), Moon (Duncan Jones) and Nowhere Boy (Sam Taylor-Wood)

Three of these films have received release in the states though In the Loop and Moon (video review) will have to wait for their DVD releases to catch on with the right audiences. An Education on the other hand is doing very well for itself as it slowly widens. The twinkly coming-of-age drama hasn’t lost any of its abundant Oscar buzz.

Best Director is the same lineup as this, minus Nowhere Boy’s Sam Taylor-Wood who is nominated for “Debut Director” instead. If you haven’t seen her short film Love You More about two teenagers, a new vinyl record, and their randy escalating sex romp and you get a chance, do! It was my vote for best short at the Nashville Film Festival this spring (Nick also loved it). Jane Campion nabbed the lone director spot from Wood with her exquisitely observed Bright Star. At times while watching Bright Star I worried that it was too insubstantial, not “too light” as in inconsequential but too delicate. But that very delicacy helps it to linger. I'm corrected. I keep feeling the film fluttering in the air beside me, like those butterflies Fanny collects. I already want to see it again.

And, underlining a 2009 theme you'll keep hearing about, 60% of their best picture nominees are directed by women. Oscar will find it very difficult to ignore female directors this year with Bright Star, An Education and The Hurt Locker in the awards mix.

Best Screenplay is the exact same lineup of film as Best Feature.

Best Actress Emily Blunt in The Young Victoria, Abbie Cornish in Bright Star, Katie Jarvis in Fish Tank, Carey Mulligan in An Education and Sophie Okonedo in Skin

Not content to let Keira Knightley and Michelle Pfeiffer have all the fun,
Emily Blunt beds Rupert Friend in The Young Victoria. He's got a lot
of action this year, huh?

The first of many for Mulligan? The first of several for Cornish? The first and last for Blunt? I’m just guessing except for that first bit. That's a given.

Best Actor: Aaron Johnson in Nowhere Boy, Andy Serkis in Sex & Drugs & Rock & Roll, Peter Capaldi in In The Loop, Sam Rockwell in Moon and Tom Hardy in Bronson

Despite their love for Bright Star, none for Ben Whishaw? Tis a pity but it’s the kind of role that men aren’t rewarded for… no matter how good they are. Romantic films tend to secure nominations for only the female half of the equation. It's a blindspot with most awards groups. On a far more traditionally awardable scale is Tom Hardy's physical transformation for Bronson. It’ll be interesting to see if the once slim actor can pick up any more steam for suddenly looking like the hulk. Will any American awards bodies watch the picture? I suppose I should get on that myself.

Best Supporting Actress: Anne-Marie Duff and Kristin Scott Thomas in Nowhere Boy, Kerry Fox in Bright Star, Rosamund Pike in An Education and Kierston Wareing in Fish Tank
Best Supporting Actor: Alfred Molina in An Education, Jim Broadbent in The Damned United John Henshaw in Looking For Eric, Michael Fassbender in Fish Tank and Tom Hollander in In The Loop

Both lists look solid but did BIFA voters only see about 8 films this year? Two surprises here for me were Rosamund Pike in An Education and Kerry Fox in Bright Star both of whom I thought were subtly elevating or at least amply filling out what could have been thankless roles (thankless in terms of awards magnetizing I mean) so I'm quite happy to be wrong. I thought Pike was spiking almost every scene in An Education with unexpected sidebar notes (by the end of the movie I wanted a sequel starring her and Dominic Cooper!) and I loved watching Fox’s near-silent gradations of growing respect / understanding of her daughter’s love affair in Bright Star.

Best Technical Achievement: Bright Star's cinematography by Greig Fraser, Bunny & The Bull's production design by Gary Williamson, Fish Tank's cinematography by Robbie Ryan, Moon's original score by Clint Mansell and production design by Tony Noble

It’s interesting to see technical achievements grouped together, thus revealing which elements voters think are making or breaking particular films, but it’s also dismissively coarse, since actors get 5 categories. It's not like acting or technical elements alone ever perform in a vacuum.

Best Foreign Film: Il Divo (Italy), The Hurt Locker (USA) Let The Right One In (Sweden), Sin Nombre and The Wrestler (USA)

I’ve included this category to come full circle to the point that no matter where you live, it’s a different year of cinema. I so wish we could all experience the cinema in unison. I haven’t yet seen Sin Nombre (I know I must) and I’m continually hearing good things about Il Divo so this looks like quite a strong category. You already know how good the other three films are.

Complete List of Nominees

Thoughts? Or don't you care about the "BIFA" (It's fun to say it out loud. Try it)
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Carey Mulligan in An Education...

just... WOW

The Best Actress race is more than on. We're still five plus months away from nominations but, for the moment, it looks like a Carey vs. Meryl showdown on March 7th, 2010. I'll update the charts soon.

P.S. The rest of the cast is also quite good -- I especially loved how spiky and vivid Rosamund Pike and Emma Thompson were in small roles.
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