The Beguiled (2017)

Now available to rent on Amazon, Apple, Google Play $4.99
Director: Sofia Coppola
Starring: Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning

Virginia. Three years into the civil war. A girl wanders the forest, looking for mushrooms, and comes across a wounded Union colonel, John McBurney (Colin Farrell), and takes him back to her school, the Seminary for Young Ladies. The school, run by the steely and pragmatic head-mistress Miss Martha (Nicole Kidman), only has a few students left and one teacher, Edwina (Kirsten Dunst), around. Everyone else has ditched the Seminary to be with their families, or perhaps had existentialist crises about the conflict of teaching/learning sewing / violin / French as the country is torn apart, causing them to wander country roads in search of meaning (my fan-fiction, not really within the movie). The school is a mansion on a small plantation, and has run into disrepair, as the civil war is raging outside the iron gates. At first, the ladies hide the charming Union soldier from the Confederates, who check in on the school. Later, they are confronted by the consequences of this “Christian-minded” action, as McBurney disrupts the equilibrium of this little community. I’m comfortable giving away this plot (for free!) as the film is not that interested in it. Instead, it luxuriates in the humid and tense atmosphere of a school being reclaimed by nature and repressed feelings. And there’s the crux.

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And Then There Were Ten: 2008, The Quote-Unquote Comedy

And Then There Were Ten – in which our intrepid hero goes back and expands the Academy Award Best Picture nominations to ten nominations, and goes about filling those hypothetical slots. This time – it’s 2008. Check out the previous entries here.

Chapter 4: The Quote-Unquote Comedy (A Three-Way Throwdown)

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It Happened One Night (1934) – first Best Picture comedy (image: AV Club)

The “Comedy.” If you’re even reading this multi-post treatise of speculative Oscarology, then you’re probably already aware that comedies generally get little respect in this arena. Since the successful days of comedy/musicals in the 1950s, nominations are hard to come by and wins are harder still for comedies. 2008 is no slouch in this judgment, with zero comedies nominated for BP – the funniest of the bunch is probably Slumdog Millionaire, but one would be hard pressed to consider that a chuckle fest – aside from the poo scene – poo is funny.

In this self-celebration of seriousness, comedies are ranked as less significant than traditional dramas. Why do they get less love in this respect than their other genre compatriots? I don’t know yet – so, an analysis of the nomination statistics is in order. And later on, I’ll create my own Sadness Index to figure out a winner.

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