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| 2001: Opening Weekends & Nonlinear Storytelling |
by Jonathan Cornwell |
| Analysis(January 31, 2002) |
2001 was not a great year for movies, but it was better than many critics give it credit for. As always, there were some truly memorable films that are worth seeking out.
Of course, the year was shaken by the events surrounding September 11, but it seemingly didn't discourage viewers
from finding solace in the form of excursions to various fantasy worlds made available through motion pictures. 2001
was an alarmingly disappointing year in terms of quality compared to quantity, as evidenced by the many braindead
features foisted on the unsuspecting public in the first half of the year. But, as many other critics have pointed out in their
reflections of the past year in film, as long as movie-goers support those endeavors, Hollywood executives will keep
churning them out for all they're worth.
The movie industry is changing in regard to its marketing strategy, since the opening weekend of a movie is critical to
it's profitability. If a movie doesn't do well in its first weekend, it's going to lose a lot of money. Most financially successful
films this year had big opening weekends, then quickly dropped off in subsequent weeks. As a result, expect to see
marketing campaigns for films begin much earlier than previously seen. This could result in some backlash if a highly
exposed film is a dud, dropping a film's bottom line even further into the red.
But make no mistake, Hollywood is still making astronomical profits by turning out lukewarm pictures with idiotic
storylines and boring characters. Films such as Rush Hour 2, The Mummy Returns, and Pearl Harbor are proof that
intelligent plots aren't necessary in order to make a lot of money. Instead, flashly action scenes, coupled with insulting
character development and spoonfed clichés are all any screenwriter needs to be successful. It makes me wonder if
people are even interested in being challenged at the theater any more. Most are content to observe a film in a trance-like
state, provoked only by one obvious "twist" in each mundane plotline. And, of course, they consider it to be a masterpiece.
It's truly saddening for movie critics to watch.
Despite the numerous examples of bad films in 2001, there were some admirable efforts to be seen. Unfortunately, most
never see them because of their unwillingness to enter an art house or smaller theater to discover these small treasures.
In fact, no less than seven of my top ten films of the year were considered "limited releases" or smaller independent
features. That doesn't mean there are no worthwhile pictures to be found in local cineplexes, but it does indicate that
most of the better pictures appearing in America today requires a little more investigation than driving to your usual
theater palace. Films like Memento, Amelie, or even In the Bedroom were seen by very few people simply because they
are not made easily accessible to the average movie-goer. That, in its simplest form, is the movie industry's biggest
downfall.
Lamentations aside, there were some impressive performances in 2001, which are highlighted below. Many actors today
must find a balance between the big budget payday and more creative work in the smaller films that they're interested
in. The same can be said for some directors and producers as well. The objective - get the money-makers out of the
way as fast as possible in order to get back to real filmmaking. I've always viewed effective films as those that can
entertain while challenging its audience to perceive what's taking place in the minds of its characters and story. Maybe
that's not the most popular definition for movie watching, but for me it's certainly the most sensible.
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| Best Performances |
As always, determining a year's best performances in each major category (Actor, Actress, Supporting Actor, Supporting
Actress) is a daunting task. However, there are usually a few can't-miss performances that are easy to identify. In this
section, I have selected the top five performances in each category, in order of excellence. Obviously, these are subjective
choices, but a strong argument can be made for each name listed below.
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| Best Actor | Best Actress | Best Supporting Actor | Best Supporting Actress |
| Best Actor |
1. Tom Wilkinson, In the Bedroom
There are many reasons for his stunning performance in arguably the year's best film. The ability to play an emotionally-
unstable character with the forcefulness and subtlety that is obvious in Wilkinson's turn as a grief-stricken father is a gift that
few actors possess. Although normalcy is apparent on the surface, a burgeoning rage is brewing just beneath the surface.
Wilkinson's range is severly tested in emotionally-charged scenes with Sissy Spacek that few could pull off so naturally.
His believability, more than anything else, is what shines through an unforgettable performance that's the year's best.
2. Guy Pearce, Memento
Pearce's effective turn as a confused character in Memento proves his talent as an actor. Although impressive in
previous roles in quality films such as L.A. Confidential, Pearce stands on his own here, completely vulnerable to the story's
direction. His role is crucial in making Memento unforgettable, and he accomplishes this difficult task. Of course,
living up to newfound high expectations in the future will be interesting to watch.
3. Haley Joel Osment, A.I. Artificial Intelligence
There are many reasons for his stunning performance in arguably the year's best film. The ability to play an emotionally-
unstable character with the forcefulness and subtlety that is obvious in Wilkinson's turn as a grief-stricken father is a gift that
few actors possess. Although normalcy is apparent on the surface, a burgeoning rage is brewing just beneath the surface.
Wilkinson's range is severly tested in emotionally-charged scenes with Sissy Spacek that few could pull off so naturally.
4. Billy Bob Thornton, The Man Who Wasn't There
Many feel that Thornton's turn as Ed Crane is the year's best. If not for the above performances, I'd agree. However,
his incredibly relaxed, easygoing style is the perfect fit for a character that seems lost in a sea of shady characters. I
don't remember Thornton in a bad role in his career, further evidence of his unique talent to completely inhabit any
character he plays. Although I think his performance in Sling Blade is still his definitive role, this effort is probably on par with
his best work.
5. Russell Crowe, A Beautiful Mind
Fresh off an Oscar win for his turn in last year's Best Picture winner, Gladiator, Crowe has surprisingly elevated his
acting to another level with his portrayal of Dr. Nash in Ron Howard's A Beautiful Mind. Capturing the heart of such a
character is a very difficult endeavor, but Crowe realizes it with a pizazz that's all his own. He also successfully plays off another
great performance, by Jennifer Connelly, to enhance an already gripping story. It's quite possible he will win back-to-back
Oscars for Best Actor in March.
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| Best Actress |
1. Naomi Watts, Mulholland Dr.
In easily the most difficult acting category to evaluate, Watts' stunning performance in Mulholland Dr. is maybe not at the
level of Spacek's riveting turn in In the Bedroom, but there's something magical about her effort here as the best
actress of 2001. She's so completely given over to her character that we believe she's really Betty, a wide-eyed,
stardom-seeking actress bubbling with talent. Obviously, she's pleasing to the eye as well, but it takes more than just beauty
to fully realize such a conflicted character, which is only realized at the film's conclusion. Her follow-up performance will be
highly anticipated.
2. Sissy Spacek, In the Bedroom
Spacek's performance is so good that many have already given her the Oscar for Best Actress. It's hard to disagree
considering her unbelievable acting ability in a grieving, angry mother in In the Bedroom. It towers over any other work
she's done, and that's saying something considering her impressive career. It's hard to imagine a better visualization of
her character, complete with a rage that's hard to forget.
3. Tilda Swinton, The Deep End
Swinton's portrayal of a woman who is driven to protect a child that has perpetrated an unspeakable act is one of the more
riveting efforts of the year. The emotional peaks and valleys are communicated with only facial expressions, as feelings
of pride and helplessness overtake her shaken demeanor. As she attempts to cover up her actions with each successive
action, she only drives the stake of guilt further into her mind, making her character one of the more conflicted of the year.
4. Halle Berry, Monster's Ball
This is the role that gives Halle Berry the ability to garner bigger parts in big budget films. Known for some less than
impressive roles in the past, she shattered those perceptions with a haunting performance as a broken, lonely mother who
must cope with successive tragedies in a short period of time. She gives body and soul to this part, and the results are
evident.
5. Nicole Kidman, Moulin Rouge and The Others
 
Kidman is maybe a sentimental choice for an Oscar, but she richly deserves a shot at it considering she gives two
remarkable performances in the same year. First, in Moulin Rouge, she's the tragic object of affection for everyone in
turn-of-the-century-Paris. Then, in The Others, she gives a hauntingly effective performance as a woman trying to shield
her children from supposed ghosts in her house. Kidman's a talented actress who has finally emerged from ex-husband's (Tom Cruise)
shadow.
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| Best Supporting Actor |
1. Steve Buscemi, Ghost World
Buscemi's perfect role comes in the form of Seymour, a downtrodden malcontent who longs for companionship. His wise
cracks and general skepticism of others plays to his natural ability to inhabit characters that seem disgusted at the hand
they were dealt in life. Buscemi has been a popular character actor in the past, but he flourishes with Seymour, which is
the perfect match for Thora Birch's self-pitying Enid. Together, they form the heart of Ghost World.
2. Jim Broadbent, Iris
Broadbent's bubbly, ever-loving performance as Iris Murdoch's patient husband who must endure the affects of Alzheimer's
disease on his wife is unmistakable in its ability to put a face on those who must face the disease. His brilliance here is
clearly seen in the quieter, more subtle moments of Iris. His love for his wife is unfailing, even in the darkest reaches
of despair.
3. Ian McKellan, Fellowship of the Ring
The Fellowship of the Ring would not have been near the success it is if not for the steadying hand of McKellan's Gandalf during
its long running length. His character is wise and acute to the perils that lie ahead, leading a team of trusting warriors and
hobbits through the world of Mordor. He brings a gravity to a character that must show sympathy and even trust in the
people that surround him. It's a performance that's more important to its film than any other in this category.
4. Geoffrey Rush, The Tailor of Panama
The Tailor of Panama wouldn't have been the same without Rush's definitive Harry, a character that ebbs self-reliance
in a world that rewards the corrupt. His give-and-take with Brosnan's Andy further illustrates that he must be on top
of his game to portray a convincing good-hearted man who must do what's necessary to protect his business and family.
5. Hayden Christensen, Life as a House
Newcomer of the year goes to Hayden Christensen, whose conflicted and torn Sam is believable and unforced in a way
that only good actors can achieve. Although mostly known for his upcoming role as Anakin Skywalker in
Star Wars Episode II: Attack of the Clones, he wisely chose a more difficult role to establish himself as a viable actor
before being subjected to intense scrutiny which is inherent in taking on such a huge role.
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| Best Supporting Actress |
1. Jennifer Connelly, A Beautiful Mind
No other performance in this category left a more indelible mark on its audience. Connelly, who has gone largely unnoticed
over the last five or six years in Hollywood despite some terrific turns in Requiem for a Dream and Dark City, is hard to
miss here because of the the success of A Beautiful Mind. As good as her effort is here, it's still not at the level of her
gut-wrenching work in last year's Requiem, but rather an Oscar here would be a make-up award ala Judi Dench's honor a
few years ago. With these efforts, Connelly will become a hot property very quickly, and as a result her visibility will
skyrocket over the next few years. All in all, her time has finally come.
2. Marisa Thomei, In the Bedroom
Easily overlooked because of her castmates' (Tom Wilkinson, Sissy Spacek) amazing performances in In the Bedroom,
Thomei's effort is underappreciated because of the role she must play. She captures the horror and then remorse necessary
from her character, and successfully counterbalances Spacek's quiet rage. Her encounter with Spacek is one of the film's
best scenes - it's raw and shocking, and also her last in the story. She's had other quality performances, but none as important
as this one.
3. Maggie Smith, Gosford Park
This is almost a dual award with Helen Mirren (below), as both of their performances are heartfelt and crucial to the heart of
Gosford Park's intelligent screenplay. Smith is the older, snobbish aristrocat who speaks her mind regardless of its
consequences. She's so easy to watch you almost wish she had a larger role in the picture. She also has maybe the film's
best line when she quips, "No, no, don't encourage him", in regards to Jeremy Northam's piano playing and singing. Her
distinguished career is deserving of a sixth Oscar nomination.
4. Helen Mirren, Gosford Park
It's almost hard to believe that Mirren, known for her British stage acting, has never received an Oscar nomination. It will
almost certainly be awarded this time around with her portrayal as a hardened maid servant in Gosford Park. It
takes an unbearable situation to finally break her, resulting in a moving last act that propels the film to another level.
Sometimes persistance and hard work pay off, and here it's richly deserved.
5. Kate Winslet, Iris
It can't be easy to play a younger version of Judi Dench because the bar is set so high it's almost unattainable. But Winslet's
performance can be measured by the effectiveness of Dench's role, which, without her equally talented work, would not have
been as believable otherwise. Winslet is able to capture the spirit of Iris Murdoch's youth - carefree, happy, and irresitibly
attractive. It's one of those rare moments when you truly believe that an actor is playing a part that is very similar to their own
personality.
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| 2001 Top Ten |
Listed below are the top films of 2001 in reverse order:
Honorable Mention (alphabetical):
Amores Perros,
Audition,
A Beautiful Mind,
Gosford Park,
Innocence,
The Man Who Wasn't There,
Shrek
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10. Waking Life |
Jack Nicholson's simmering performance as a retired insurance man searching for meaning in life when his wife dies and
his distant daughter marries a waterbed salesmen was one of the year's most heartfelt and earnest character studies.
Nicholson resonates with understated purpose when he suddenly realizes what is truly important in his life. His newfound
correspondence with a "Feed the children" child in Africa further cements the idea that to make a postitive impact on someone else's
life is the definition of fulfillment.
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9. The Princess and the Warrior |
Inexplicably, many movie critics missed the point of this underrated, near masterful picture about love and the fates of
two people who are thrown together through one near-tragic event. Tom Tykwer (Run Lola Run) has a sense of freedom
in his directing that allows him to explore several issues about life without losing the delicate balance between existential
and realistic. Franka Potente returns to help bring the story to life with a moving performance that demands the viewer's
attention to the film's subject matter. Slow-moving at times, The Princess and the Warrior is a quiet yet powerful
examination of love's affect on a person who may not be willing to accept it.
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8. Amelie |
Arguably the most popular worldwide film in 2001, Amélie is a sweet story of the search for love in the harsh reality of
every day life. Audrey Tautou is one of the most popular actresses in the world today because of her deligtful performance
as Amelie, a woman who finds pleasure through helping others experience joy in their lives. In the process she learns what
true love is, and, by the film's end, has found it. If you're not a fan of subtitled movies, it may be time to step out of your
limited movie-going experiences. You won't regret it.
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7. In the Mood for Love |
In the Mood For Love came and went quickly in theaters because of its status as a foreign film, but for those who were
fortunate enough to see it, it's a haunting look at two characters and their inability to express love for one another. Made
in Hong Kong, it's a story that centers around two unhappily married people who find each other through the infidelity
of their spouses. They're connected through sadness, hope, and a need for companionship during an emotionally-draining
period in their lives. Tragically, their fates are intertwined but not necessarily tied together. It's a film that's worth searching
for diligently at a video store in the near future.
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6. Ghost World |
Ghost World seems made for those who feel out of place in today's easily-amused society. Not surprisingly, critics
loved its satirical humor that poked fun at many of society's silly norms. Two girls, Thora Birch and Scarlett Johansson,
are accompanied by likewise pessimist Steve Buscemi on a journey in search of meaning to an otherwise intolerable world.
Not surprisingly, they find it's possible that simple lives are preferable to complicated exursions into the unexplainable. In
the end, they just go with the flow.
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5. Mulholland Dr. |
Strange doesn't even begin to scratch the surface of David Lynch's latest visually-haunting but coherently-challenged motion
picture. Existentialism aside, Lynch is able to pull his audience into a bizarre world of interesting characters and attractive
storylines, even if he leaves it far behind during its final act. Universally acclaimed by critics, Mulholland Dr. is driven by
a need to explore the unknown aspects of human nature that lie buried beneath the surface of our conscious minds. Maybe
that's what Lynch is trying to discover here, but whether you like the film or not, you have to admire it for its boldness,
uniqueness, and wonderful visual flair. And, of course, for Naomi Watts' incredible performance.
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4. The Fellowship of the Ring |
Movies in the fantasy genre were more or less abandoned until Lord of the Rings began production a few years ago. With it
came unrealistic and impossible expectations for Tolkien's legendary fable of good vs. evil. The Fellowship of the Ring not
only meets those expectations, but is so impressive that it harkens back to the days of Star Wars in 1977 to match the
excitement generated by this film. It was refreshing to truly enjoy an intelligent story told in an intelligent way, with characters
and backdrops equal to the task. If the upcoming sequels are anything similar to the quality on display here, this could be
one of the best movie trilogies in cinematic history.
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3. Black Hawk Down |
Much in the tradition of other memorable war films such as Saving Private Ryan or The Thin Red Line, Black Hawk Down
successfully transforms the cold reality of death on the battlefield into a language we can understand. It permeates the
glossed over renditions of softened war scenes found in previous classics years ago. This new breed of war film is becoming
the norm in Hollywood, mainly to communicate that war is not a game, it's ugly and bleak. By showing us the futility of
past mistakes, accompanied with a fervent patriotism, films like this are etched in your mind long after you've left the theater.
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2. In the Bedroom |
Driven by one of the finest ensemble performances in recent memory, In the Bedroom sizzles from start to finish because
its actors give themselves completely to their roles. From Wilkinson's stunningly nuanced performance to Spacek's
spellbinding emotional breakdowns to Thomei's wonderful turn as a grieving girlfriend, acting simply doesn't get any better
than this. A story of grief and ultimately revenge, the film doesn't pander to its audience like so many similar storylines.
Smart and genuine, In the Bedroom leaves an indelible mark on its audience, one that is not easily forgotten.
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1. Memento |
Soon after its release early last year, Memento quickly gained a loyal following that spread the word about this small
independent feature from director Christopher Nolan. Using a unique nonlinear storytelling arc (in reverse), Nolan was able
to grip the audience from the first scene of the picture to its final riveting moments. When I first saw the picture, I knew
it would be very difficult to supplant as the year's finest motion picture. Brilliant directing, superb acting, and an ingenious
script combine to form the fulcrum of maybe the best film in the last five or six years. This film could spark similar
endeavors in filmmaking, thereby inspiring more movie-goers to seek out lesser known pictures not appearing at local
cineplexes. In any sense of the word, Memento is a masterpiece.
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| Other Superlatives |
Best Director: Christopher Nolan, Memento
Best Ensemble: Gosford Park
Best Original Screenplay: David Lynch, Mulholland Dr.
Best Adapted Screenplay: Christopher Nolan, Memento
Best Cinematography: Andrew Lesnie, Fellowship of the Ring
Best Foreign Language Film: In the Mood For Love
Best Original Score: Howard Shore, Fellowship of the Ring
Best Visual Effects: Jim Rygiel, Fellowship of the Ring
Best Art Direction: Ann-Marie Beauchamp & Ian Gracie, Moulin Rouge
Best Costume Design: Catherine Martin & Angus Strathie, Moulin Rouge
Best Editing: Dody Dorn, Memento
Best Sound: Michael Minkler, Myron Nettinga, Chris Munro, Black Hawk Down
Best Animated Film: Shrek
Best Breakthrough Performance: Naomi Watts, Mulholland Dr.
Best Breakthrough Filmmaker: Christopher Nolan, Memento
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