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The Power of the Dog among worthy winners as disgraced Golden Globes plays it safe | Golden Globes 2022

So the much-disgraced Golden Globes, derided for a scarcity of range and transparency in the voting membership, profitable TV protection cancelled, gravy-train derailed and the awards ceremony dwindled to a digital occasion on social media, carries paradoxically on with delivering a set of awards which might be in completely believable good style and never very a lot completely different from all the different un-disgraced awards ceremonies. Nevertheless, it was unhappy to see Paul Thomas Anderson’s dazzling comedy of transgression Licorice Pizza ignored, of which extra in a second.

Jane Campion’s good-looking, complicated and sensible western drama The Power of the Dog will get greatest image (drama) and greatest director, together with greatest supporting actor for the glorious Kodi Smit-McPhee, whereas Steven Spielberg’s superb, passionately respectful revival of West Aspect Story wins greatest image in the musical or comedy part, together with its breakout participant Ariana DeBose for greatest supporting actress and newcomer Rachel Zegler for greatest actress in musical/comedy.

Will Smith and Andrew Garfield win greatest actor in drama and musical/comedy respectively for King Richard – the story of Venus and Serena Williams’s demanding tennis-coach-dad Richard – and for tick, tick … BOOM!, about the troubled composer Jonathan Larson wherein function the eminently lovable Garfield gave an object performing lesson in relatability and emotional availability. Totally first rate selections, although I used to be sorry right here to see Mahershala Ali ignored for his glorious efficiency in Swan Music, and certainly Denzel Washington’s mighty interpretation of Shakespeare’s Macbeth. And the Globes’ glorious greatest international language record would absolutely move muster in the most demanding critics’ alternative discussion board with Ryûsuke Hamaguchi’s Drive My Automobile rising as the winner.

Hidetoshi Nishijima and Toko Miura in Drive My Car.
Hidetoshi Nishijima and Toko Miura in Drive My Automobile. {Photograph}: AP

The Power of the Dog, via that mysterious course of of awards-season groupthink, is rising as the single frontrunner, although there may hardly be a extra deserving beneficiary: a colossal tragic drama going down on a large plain, dominated by an nearly dreamlike home, surreally remoted on this huge panorama. Benedict Cumberbatch offers a fascinatingly spiky, confrontational, uningratiating efficiency as the cattleman in the grip of psychological turbulence he can not clarify and of which he’s maybe hardly even conscious, as he begins a spiteful duel along with his sister-in-law (fellow nominee Kirsten Dunst) and her son performed by Smit-McPhee.

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West Aspect Story, although a field workplace disappointment, and coolly obtained by some critics for its alleged failure to be radically completely different from the unique stage present and 1961 film model, appeared to me a stunning spectacle, whose each scene and dance sequence is offered with matchless aptitude and enthusiasm. This can be a magnificent image that basically ought to be seen on the huge display – and let’s hope its Globes success will enhance the field workplace.

Ariana DeBose (centre) with Ilda Mason and Ana Isabelle West Side Story.
Finest supporting actress winner Ariana DeBose (centre) with Ilda Mason and Ana Isabelle in West Aspect Story. {Photograph}: Niko Tavernise/AP

I cherished Kenneth Branagh’s heartfelt autobiographical film Belfast, about his early childhood in Northern Eire at the starting of the Troubles, for its heart-on-sleeve directness and the approach he challenged the tacit liberal consensus that Belfast and the Troubles can solely be represented in phrases of indignant despair. It was nice to see Branagh choose up greatest screenplay – however I’ve to say that right here, as in so many different classes, the very good Licorice Pizza (the 70s-set story of a hilariously pushy 15-year-old boy and his romantic obsession with a 25-year-old girl) was snubbed. Maybe it is a movie that confuses too many individuals, and its jagged, surreally satirical barbs at racism and antisemitism not simply accommodated into the up to date discourse.

And as for Nicole Kidman profitable greatest actress (drama) for her very peculiar impersonation of Lucille Ball in Aaron Sorkin’s strenuous Being the Ricardos, about the 50s TV hit I Love Lucy … effectively, huge fan of Kidman as I’m, this was not her best efficiency and he or she was arguably the weakest hyperlink in a class that included Kristen Stewart’s efficiency as Diana, Girl Gaga’s uproarious flip in Home of Gucci and Jessica Chastain in The Eyes of Tammy Faye. The Globe ought to actually have gone to Olivia Colman for her amazingly good and richly detailed efficiency in Maggie Gyllenhaal’s The Misplaced Daughter.

So – no backslapping, no boozy dinner, no outrageous presenter gags from Ricky Gervais, however a good, if mainstream, record of winners.

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