Kate Winslet’s performance as a concentration camp guard in The Reader has been the subject of muchdebate over the past week, though little of the discussion has actually concerned her craft. The argument lies in whether or not this specific performance should be considered for the lead or supporting actress category. Furthermore, if Winslet ends up in the latter, will it be due to “category fraud?” That is not a legal term and this is not a legal issue, but it is an important topic for this year’s Oscars. The significance of the matter likely extends even to Winslet’s ability to sleep at night, as she may fear the high possibility of her becoming “the biggest loser among actresses in the history of the Academy Awards.”
Category fraud may be defined as an attempt to deceive Academy voters into believing a lead performance is supporting, or vice versa. Examples of category fraud seen in Oscar’s past may include recent supporting nominations given to Ethan Hawke, Jennifer Connelly and Cate Blanchett (for Training Day, A Beautiful Mind and Notes on a Scandal, respectively). Guy Lodge at In Contention and Dave Karger at Entertainment Weekly have both brought up the accusation regarding The Reader, not only for Winslet’s part but also for the Weinstein Co.’s general campaign for the film, which is pushing for supporting nominations all around for Winslet, David Kross, Ralph Fiennes and Lena Olin.
The problem for Lodge and Karger’s complaint is that category fraud can’t be applied to the supporting categories, because despite the Academy’s irritating penchant for category-defining rules for eligibility in other areas, there is really no precise distinction made regarding the separation of lead and supporting categories. …Read more
“Antoine’s the best. I couldn’t think of anybody better to direct this movie than Antoine Fuqua. He’s got a great sense of the characters. He’s not from New York, but he got out here and just wanted to be around everything Brooklyn, soak it up.”
That’s first-time screenwriter Michael Martin, in the midst of telling me his amazing Cinderella story, which begins with a tollbooth clerk from East New York writing an original screenplay called Brooklyn’s Finest and ends with the script being produced by Paramount with Mr. Fuqua (Training Day) directing.
I knew nothing of that story when I discovered the film shooting in my Brooklyn neighborhood last month. My first reaction to the sight of a huge Hollywood crew and thugged-out extras in gold chains was, another bigass Ho’wood King-Kong-ain’t-got-nuthin perp pageant. But, hanging out with the crew–the friendliest and most accessible I’ve ever observed– I wanted to believe that these nice people weren’t just here for pulp plunder.
Midday, May 27, 2008. I was on the edge of East NY, Brooklyn, looking for a shop that sold $10 Boost phone cards. Not the $20 ones– what am I, Trump?
Somebody told me to go over to Pitkin Avenue in Brownsville, across the L train tracks. Once there, I stumbled across a great commotion at the Vad Dyke Houses housing project. Crowds were gathered and men with walkie talkies darted about. A crime scene. No, a movie shoot. I went up to a short black woman with dreads, a headset and a hardware store full of items hanging from her cargo pants.
“What’s shooting?” I asked. “Brooklyn’s Finest, a movie,” she said. “Cop stuff, huh?” “Well, sorta. It’s the director who did Training Day, Antoine Fuqua.” “Ah, Fuqua,” I said, remembering how much I love that director’s tactile widescreen compositions but mostly loathe his vision of humanity.
Never mind. I had my digital recorder on me, so I whipped it out and decided to play Film Journalist with the cute P.A. “Can I interview you?”
Oh, Keanu Reeves, must you continue playing cops? I’d rather you did more Shakespeare, in which you’re actually more believable. But no, after Point Break(I consider FBI agents to be cops) and Speed, you have to go and do Street Kings and try to make us accept you as one of the hardest vice detectives to ever grace the big screen. Want a cookie? Or an Oscar? Even if you do pull off the equivalent of what Ethan Hawke did in Training Day, you’re not going to get the notice of the Academy. The only thing keeping you from being the least likely actor to be taken seriously as a tough undercover officer is the existence of Paul Walker, whose performance in The Fast and the Furiousmakes you look like Dirty Harry.
Speaking of Training Day and The Fast and the Furious, the screenwriter behind those two movies, David Ayer, is the director of Street Kings. Fortunately, he didn’t write this one. The guys who did write it are L.A. Confidentialnovelist James Ellroy, who also came up with the original story, Equilibriumwriter-director Kurt Wimmer and an apparent newcomer named Jamie Moss. Co-starring in the film, some of whom are sure to make Reeves’ acting appear even worse, are Forest Whitaker, Hugh Laurie, Chris Evans (if you saw Sunshine, you know he’s actually a pretty good actor), Common, Jay Mohr, John Corbett, Cedric the Entertainer, The Game and Naomie Harris. OK, enough ragging on Reeves. But despite the appealing names of Ellroy and Whitaker, this still looks like a generic cops-and-gangstas movie. I’d rather just wait for Keanu as Klaatu later this year.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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