I don’t smoke weed, but if I did, I’d spend today getting high and watching a marathon of movies that are (supposedly) better when you’re stoned. Why? Because it’s 4/20, the high holy day for marijuana fans. You’ve probably seen a billion of these lists, which recommend the same bunch of psychedelic classics beloved by stoners everywhere. So, instead of including such obvious choices as 2001: A Space Odyssey, Willy Wonka & the Chocolate Factory, and other familiar titles, I’ve picked some alternatives to the usual 4/20 favorites, because after awhile, the same old visuals just don’t do it for me — I mean, those sick, degenerate reefer addicts — anymore.
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Today’s clip isn’t exactly film-related, but it does tie into Kevin’s list from earlier about unsuccessful movie prophecies. Plus, its title somewhat references Back to the Future, and anything paying tribute to BTTF immediately sparks my interest (this tie-in may have even influenced my vote for president). The comedy short comes from FunnyorDie.com and stars Paul Scheer of Human Giant (and Bride Wars, just to make this more movie-related) in two roles. One role, really, but its divided into two parts, “Alex” and “Future Alex.” And the whole thing is a play on the idea of fashions of the future.
Anyway, the video made me think of the Oscars’ usual ignorance of science-fiction costumes, particularly of designs for films set in the future (meaning Star Wars‘ win in the category was apparently okay). Why wasn’t Jean-Paul Gaultier nominated for The Fifth Element? And what about Milena Canonero for A Clockwork Orange? Of course, even more disappointing than those snubs was the failure to nominate Joanna Johnston for Back to the Future Part II, a film so visionary in its futuristic fashions that fans campaigned to have Nike produce a pair of sneakers similar to those seen in the movie. Maybe we won’t have self-drying clothes in 6 years, but what a great concept and what a great execution of that idea in Marty McFly’s jacket. Much better work than anything seen in Driving Miss Daisy, that’s for sure.
If only we could go back in time and change the Academy’s mind.
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It’s only a couple of short weeks before the 2008 Oscar nominees are announced, and the internet is abuzz with prognostications. One hotly debated topic is whether or not Wall-E can pull off a Best Picture nomination, or even a win. It would be the second animated film to be nominated in the category, after Beauty and the Beast, which got the honor before the Animated Feature prize existed. Will the stodgy old Academy seat Wall-E at the kid’s table, giving it an easy win in the animation category, or will it be allowed to play with the big boys?
A best pic nomination for Wall-E would be a rare honor for animation in general, but it would also be a long over due rarity for another reason: Wall-E would only be the second best pic nominated film in the history of the Oscars to be set in the future. The only one to date is A Clockwork Orange. When you consider how many nominees are period pieces (I didn’t care to count), this represents a massive bias on the part of the Academy. It’s clear that they love the past, but they hate the future.
What would the history of the Academy Awards look like if the Hollywood elite wasn’t terrified of speculative fiction? Below, seven movies about the future that should have been nominated for Best Picture:
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When I received the press release announcing The Film Society of Lincoln Center’s series “Lindsay Anderson: Revolutionary Romantic” (running from 8/15-8/21) I thought, well, that should be a fascinating retro. But then I noticed that Anderson’s quintessential discovery Malcolm McDowell would also be on hand to premiere his and Mike Kaplan’s Never Apologize: A Personal Visit with Lindsay Anderson and I thought, well, that should be…hot!
For over 20 years I’ve had a thing for McDowell – or, more precisely, the proudly nihilistic Alex he brought to life from the notorious Burgess book, if not as much so for Mick Travis, the embryonic Alex he created in Anderson’s classic trilogy. I first saw A Clockwork Orange around the age of ten (note to liberal academics attempting to enlighten their young offspring through art films – Kubrick? Not a good idea) and again later in high school. It was this teenage viewing of McDowell as the violent anarchist leader of a group of hoods, who is ultimately “rehabilitated” by an equally sadistic society, that stuck with me. So much so, that as all the other chicks in my small town dressed as Wonder Woman or Elvira or some similar character with adolescent sex appeal for Halloween, I anointed myself leader of my own band of droogs, eyelash and codpiece included. If you could overlook the raping and pillaging, Alex was one undeniably steamy paradox: a brilliant, sophisticated thug with precise lilting diction and a taste for Beethoven. And I wanted to be a – nonviolent – troublemaker outsmarting evil authority, too!
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