Let’s see, so if someone told you about a year ago that Oscar-winner Sam Mendes was directing a WWI period drama consisting of mostly one-take shots from famed cinematographer Roger Deakins and it would feature a supporting cast including Benedict Cumberbatch, Mark Strong and Colin Firth, you’d probably think that film has all the ingredients to be a Best Picture contender. And that’s taking into consideration that, at the time, no one was aware Andrew Scott was going to be a “thing” after his role as the hot priest on “Fleabag” or that Richard Madden would be a rising star thanks to “Bodyguard,” “Rocketman” and his, um, ex-“roommate.” Technically, that constitutes what is known as Oscar bait, but considering how personal “1917” is to Mendes, that’s simply a favorable coincidence.
READ MORE: Leonardo DiCaprio praises Brad Pitt at rare “Once Upon A Time In Hollywood” Q&A
The Universal Pictures and DreamWorks Pictures production is inspired by the stories Mendes’ grandfather used to tell his grandkids about the Great War. Neither of the lead characters, Pte. Schofield (George McKay) and Pte. Blake (Dean-Charles Chapman, all grown up from ruling the Seven Kingdoms as “Game of Thrones'” Tommen Baratheon), are based on his grandfather, but the duo are the centerpiece of what turns out to be a considerable amount of friendly fire. Unfortunately, despite their strong work, this is one Best Picture player that likely won’t earn an acting nomination. The second collaboration of Mendes and Deakins, following “Skyfall,” should rake in a lot more in other categories, however.
Not only is Deakins a lock for his 15th Cinematography nomination, but it’s hard to find any other contender this season who could beat him after such an impressive achievement. Deakins’ work is extraordinary in helping Mendes fashion some of the most visually arresting sequences of the past year (and perhaps longer). Production Designer Dennis Gassner should deservedly pick up his sixth nomination and potentially win a second Academy Award. Thomas Newman, who has been nominated 14 times for Oscar without a win should land his 15th nod. A sentimental campaign to finally award him a deserved statue is likely in the cards. “1917” is also a genuine player in both Sound categories and Visual Effects. Editing (Lee Smith), Costumes (Jacquline Durran) and Original Screenplay (Mendes and Krysty Wilson-Cairns) are debatable.
“1917” could also find Mendes earning his first Directing nominations since winning for “American Beauty” in 2000. He faces considerable competition from Martin Scorsese (“The Irishman”), Quentin Tarantino (“Once Upon A Time in Hollywood”), Bong Joon-Ho (“Parasite”), Noah Baumbach (“Marriage Story”),and Greta Gerwig (“Little Women”), among others. And, again, Universal Pictures should follow up their “Green Book” win in February with another Best Picture nominee in 2020.
One movie that seems like a reach for a Best Picture nomination is Clint Eastwood’s “Richard Jewell.” We’re not sure what some other pundits and critics were smoking before they saw the true-life drama last week, but the post-screening hype was slightly ridiculous. The movie is fine. The drama is inert at times and Eastwood often has a fun Sam Rockwell to thank for keeping the audience engaged in the proceedings. We’re still not sure why Olivia Wilde‘s portrayal of Atlanta Journal-Constitution journalist Kathy Scruggs is so over the top and that screenwriter Billy Ray and Eastwood portray her in such a questionable manner (so much so that the paper has come out swinging against it). And he is more than solid, but a Best Actor nomination for Paul Walter Hauser? That seems like a serious stretch considering the competition. On the other hand, if it’s a hit Rockwell could possibly sneak into the Supporting Actor. Maybe. (And that’s a big maybe).
That brings us to the latest Best Picture rankings in the latest edition of the Contender Countdown and, surprise not much has changed.
November 24, 2019
1. “Once Upon A Time In Hollywood”
Just slightly in the lead, but that’s enough at the moment.
2. “Irishman”
If Netflix released its limited box office per screen would it be the frontrunner? Ponder.
3. “Marriage Story”
A win is possible, but it feels like just an acting, directing and screenplay play at this point.
4. “Jojo Rabbit”
Could Scarlett Johansson sneak into the Supporting Actress race for this one? Watch for it.
5. “Parasite”
At this point, NEON may have to make a Best Director win the priority.
6. “Little Women”
If it can land editing and directing nods people better watch out.
7. “1917”
Spectacularly made. Will be shocked if it doesn’t make the cut.
8. “The Farewell”
A24 will need to push the fact it will be on a massive number of year-end top 10 lists. This is where the bubble begins…
9. “Joker”
Todd Philips having to publicly refute a story he is working on a sequel made it a bumpy week in “Joker”-land.
10. “Bombshell”
Still think waiting to release formally in December was a huge mistake.
11. “Ford v. Ferrari”
Box office and a slew of great opening day reviews have put it seriously back in the conversation. The more money it makes, the better a shot it has to join the club.
12. “The Two Popes”
Reminder: The last time a studio had three films they distributed earn Best Picture nominations was over 60 years ago. Those are very tough odds for Netflix even if the movie is a genuine crowd-pleaser.
13. “Pain & Glory”
Consistently mentioned by members who have seen it. Of course, will enough of them see it by the time voting starts?
Best Picture
Best Actor
Best Actress
Best Supporting Actor
Best Supporting Actress
Best Director
