by Ken Bakely
NOTE: I run an Oscar predictions contest every year, and the winner gets to select one film for me to review. This year, Rear Window was suggested. While writing, this piece started out as a traditional review, with a star rating and all, but slowly transformed into a more specific, contextualized essay. As a result, I’ve excised many aspects of my reviews, such as a detailed plot synopsis. This piece assumes that you’ve seen the movie, or are at least familiar with it. However, there are no spoilers.
If someone was going to remake Rear Window, I could only see one “in” – one reason to approach this content and try to rebuild it. Perhaps the one angle which Alfred Hitchcock did not take, but could prove intriguing, is to go deeper into the restrictions of its setting. The film takes place entirely within the line of sight of L.B. Jeffries (James Stewart), a photographer who finds himself strung up in a wheelchair. He’s spent the past several weeks confined to his apartment, staring out the window into the courtyard, where four other buildings meet. It’s a hot summer, and everyone has their windows wide open. You can see right in. He becomes convinced that one of his neighbors has committed a murder. Soon his girlfriend Lisa (Grace Kelly) and nurse Stella (Thelma Ritter) have been roped into his suspicions, and poke and prod on his behalf, as paranoid whims give way into increasingly precarious situations.
by Ken Bakely
NOTE: This will either be a stand-alone blog post or the start of a multi-part series detailing various suggestions for improving the Oscars. Whether or not there are sequels will depend on my enthusiasm for writing them and the web traffic performance of this installment.
I’ve made no bones about my distaste for the Academy Awards themselves. In that respect, I’m in good company, but I seem to be in more of a minority when it comes to my criticism for the structure of the ceremony itself. I consider myself something of a casual award show viewer, in the sense that I focus on the “major” ones: those that can be specifically named as synonymous with their industries, and don’t contain the word “choice” in the title. The Oscars seem to always stand out as the most endless of all of them. The Globes, Emmys, Tonys, and Grammys are usually pretty good at fitting into their allotted timeslots. Oscar ceremony producers seem to use the scheduled end time as a 30 minute warning.
by Ken Bakely
Between this and the Super Bowl, 2017 is a confusing year for people who turn off their TVs early.
The circumstances surrounding Moonlight winning Best Picture overpower the surprise that comes from the very notion of the film taking the trophy: this was, in any case, a tremendous upset. Every prognosticator, myself included, had predicted a victory for La La Land. Yet as the night went on, with the movie losing several categories seemingly tailor-made for it (sound awards and editing, etc.), a weakness emerged. But nobody could have foreseen how it all ended.