The Projector #29: A Handful of Miscellaneous Observations (Patreon)

by Keith Phipps

That was a weird Academy Awards, right? Largely good, but weird. On the one hand, some inevitable winners inevitably won: Joaquin Phoenix (who used the forum to offer a an extremely un-Joker-like plea for veganism), Renée Zellweger, Roger Deakins. On the other hand, Parasite? How strange and great was it that the evening turned into a celebration of a funny, surprising, exquisitely crafted Korean thriller about class divisions? Is this a turning point or a blip? Ultimately, who knows? The Academy awarded Green Book last year but Moonlight two years before that. We live in strange times, Oscars-wise.

Thanks to everyone who made it out to Filmspotting’s 15th anniversary party. It was fun talking to everyone and getting an in-person reminder that we have such smart, engaged listeners. Let’s do it again sometime. (In fact, we keep batting around the idea of doing a live taping of some kind — would you be interested in that?)

Also, seeing Rio Bravo on the big screen was great. We’ve got to find a way to talk about a Hawks film in a future episode, that one or another one. But is anyone making films reminiscent of Hawks at the moment? That might be a dumb question. He made so many different sorts of films. Yet I can’t remember the last time I thought of contemporary films I’d call “Hawskian.”

In our episode-planning session we briefly considered pairing a new film with Faster Pussycat, Kill, Kill. It didn’t work out, but it did lead me to this amazing trailer I’d never seen before (amazing mostly for its opening, but still amazing.) We should probably get around to this at some point (sorry if the embed doesn't work):

https://youtu.be/Nwe3Ikngwyk 

But all that lies ahead. This week we’re talking about The Piano, with its slippery symbolism, gorgeous images, and haunting score. And next week we’re talking about Portrait of a Lady on Fire, which is one to rush out and see as soon as you can.

In the meantime, here’s some reading material:

• Here’s the (not so enthusiastic) bell hooks essay Genevieve references in today's Piano episode.

• For The Ringer, Keith Phipps wrote about Martin Scorsese’s difficult history with the Oscars.

• At Polygon, Charlie Heller talked to Rian Johnson cinematographer Steve Yedlin about his fresh take on the digital vs. film debate.

• Also at Polygon, Jesse Hassenger explores the ways the Marvel Cinematic Universe has changed the nature of movie stardom.

• One more from Polygon: Petrana Radulovic on why the end of Parasite and the finale of Little Women aren’t so different.

• In the New York Times, Jenna Wortham talked to Dee Rees about navigating Hollywood and her new film, The Last Thing He Wanted.

• At The Hollywood Reporter, Scott Feinberg reflects on the career of the semi-forgotten marketing wizard, studio head, and Star Wars champion Ashley Boone Jr.

• At Vulture, Angelica Jade Bastien considered the career of Kirk Douglas, the last vestiges of Hollywood’s Golden Age, and the qualities that make that age look less-than-golden.

• Also at Vulture, Zach Schonfeld on the silent versions of Little Women you’ll never see.

• For Mel, Keith Phipps put together a playlist of great songs that lost Oscars.