First things first. I share Jada Pinkett Smith and Spike Lee’s consternation over this year’s #OscarsSoWhite snub. Seems to be a pattern. A baffling black-white one.
And I was so looking forward to seeing Concussion, certain that Will Smith would be nominated for his transformation into a serious Nigerian. The trailer alone — that small furrow of his brow — seemed award-winning. Nothing’s stopping me from seeing the movie still … except time. Can’t possibly cram it in this month if I don’t hafta. This controversy puts the “cuss” in Concussion. On MLK Day, no less.
Four days since nominations were announced, my movie-viewing score stands at 8/37+0/15, or 22%. In the past few days, I rewatched Spotlight and Steve Jobs (to share the experience with my parents) and picked up Brooklyn, The Big Short, The Danish Girl and Room.
Besides acting inequities and lily-white actors, other patterns are popping up from film to film.
For instance, the name Joy. Not a common female name, yet three honored movies feature Joy protagonists: Inside Out, Joy, obs, and Room. In the latter two, Joy seems ironically named, as neither character is particularly joyful, though I have yet to experience Joy.
In Inside Out, Sadness plays a vital supporting role to Joy — brings to mind Stevie Wonder’s hit Joy Inside My Tears. The Disney/Pixar animated feature is a teaching tool to help kids name and access their emotions and realize there is no joy without sadness.
Speaking of kids, another echo is the 5-year-old‘s perspective, from Jack in Room and when we first meet Lisa in Steve Jobs. Also, remember when Lisa weaves through the puffy-cloud racks of tutus backstage at one of her dad’s dog-and-pony shows? That dreamy indoor landscape is echoed by a tutu array at Ulla’s humble theater in The Danish Girl. I’ve looked at tutus from both sides now.
Another theme/meme, this time between The Danish Girl and Brooklyn: Lili (Eddie Redmayne) finally blooms, abandoning the painter she was and finding frilly work as a sales counter girl, gossipy and giggly with the other gals, selling perfume … same as Irish immigrant Ellis (Saoirse Ronan), eventually a no-nonsense accountant who first struggles to fit in through a department store job, selling nylons and such — nylons! Lili’s gateway drug! Eventually both fair-skinned lasses feel comfortable in their own skins, but they’re like sisters on the journey. Ellis hardly speaks and Lili mostly whispers.
Then there’s the iPod. The Big Short opens with narrator Ryan Gosling introducing us to banking ghoul Lewis Ranieri: “You might not know who he is,” he drones, “but he changed your life more than Michael Jordan, the iPod and YouTube put together.” Hey! Point for an African-American icon! A historical montage flashes past, with images of — hello! — the first Macintosh, which is a co-star of Steve Jobs; the first iMac, also making a cameo in Steve Jobs; and a haunting image of the WTC twin towers with a large bird (is it a plane?) dodging past.
No spoilers here, but the dawning of the iPod in Steve Jobs was an emotional peak for me. The device did, in fact, transform my life. Seems poignant, with 2015’s streaming music wars all but killing our beloved iPod. And though the twin towers are but a footnote both in The Big Short and Spotlight, they register melancholy whenever glimpsed.
Visual and thematic cross-references like these, themes and memes, likely jump out only to Oscar marathoners — proof there’s nothing new under the sun, nor the Klieg lights, in the same awards season. It takes cluster viewing to suss out creative parallels.
Can one get a concussion from watching too many movies too fast?