DID YOU READ

Nostalgia and the Academy Awards

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The Academy Awards are one week away and, at this point, it looks like the big winners will be the French silent movie tribute “The Artist,” the American tribute to French silent movies “Hugo,” and other films, like “The Help” and “Midnight in Paris,” set in or obsessed with the past. Clearly, this year’s Oscars are all about nostalgia. But why? In The Los Angeles Times, Neal Gabler locates the origin of this trend in the neurotic minds of Hollywood executives who, he writes, are “full of self-loathing”:

“We tend to think that the denizens of the film industry luxuriate in the popcorn movies they deliver to us, that they love the bombast that is now the primary reason people go to the movies. Indeed, the stereotype of the movie mogul is still a man or woman who cares more about money than prestige, and who boasts, as a writer once remarked of Columbia Pictures head Harry Cohn when Cohn said a movie wasn’t any good because he kept wiggling in his seat, that the whole world is ‘wired to his ass.’ They are us — only richer.”

Gabler believes that as the movie industry’s offerings have gotten dumber, its need for respectability has intensified. That led to the situation we have now: where, Gabler explains, the studios pump out only two kinds of movies: blockbusters and “anti-blockbusters.” These films, like “The Artist” or “Hugo” or “War Horse” don’t just steep in the world of the past, they celebrate the past in order to denigrate the present. “The Artist,” for example, is a story about the tragedy of innovation. Its hero is a silent film actor at the top of his game. When Hollywood introduces sound, and the actor — the artist! — refuses to make the transition, he is nearly destroyed. But even more importantly, the beauty of silent film was destroyed, and it’s that beauty that “The Artist” seeks to resurrect and honor.

Gabler has certainly identified a legitimate trend amongst this year’s Academy Award nominees. He’s a smart guy too; Gabler wrote “Walt Disney: The Triumph of the American Imagination,” one of the finest biographies in recent memory. But I’m not sure he’s reading this trend correctly. Is the nostalgia amongst a wide swath of 2012 Oscar nominees a reaction against mainstream Hollywood or an expansion of it?

After all, cinematic nostalgia was not simply limited to awards pictures last year: it was the predominant theme in all kinds of films. Just about everything Hollywood makes these days is indebted to something that has come before. It might be something based on an old television series or or a landmark series of books or a toy popular with children in the 1980s. Don’t forget all the prequels to sci-fi classics or comic book movies. Then there’s the big-screen adaptation of the old cartoon and the big-screen adaptation of the old cartoon and, of course, the big-screen adaptation of the old cartoon. Even so-called “original” films look like prior works, from Steven Spielberg movies to James Bond adventures. The trick is the same every time — take an existing property with a built-in fanbase and gussy it up with new effects to capture the imagination of a new audience and recapture the imagination of the old audience who loved it even before it looked good.

Gabler says that the Oscars’ “sudden burst of nostalgia” may be “a demonstration of the self-contempt of an industry that is finally tired of itself.” But the same impulse fueling a film like “War Horse” — which Gabler cites as an example of an old-fashioned anti-blockbuster — is basically the same impulse fueling a film like “Cowboys & Aliens” — a new-fangled action spectacular. Like “War Horse,” “Cowboys & Aliens” is indebted to the works of John Ford (as well as the works of other nostalgia icons like George Pal and Ray Harryhausen) — and like “War Horse” it’s also about “primal communions” between boy and father, man and horse. “War Horse” might be soppy melodrama and “Cowboys & Aliens” might be a noisy bore, but the cloth they’re cut from is not all that different. And both came from the same man: director and executive producer (respectively) Steven Spielberg.

Maybe Hollywood is full of self-loathing; in my experience, most people and most industries are. But I’m not sure the presumed popularity amongst Oscar voters of “The Artist,” “Hugo,” and others is indicative of that self-loathing. It seems equally likely that nostalgia’s Oscar dominance this year simply reflects nostalgia’s dominance across all kinds of filmmaking disciplines. Most of the nostalgic movies mentioned above were huge hits; I selected them from this list of the highest grossing films of 2011. If we looked back over the past couple years, we’d find similar results. Old is the new new. And money is still money.

What do you make of all the nostalgic films at this year’s Academy Awards? Tell us in the comments below or write to us on Facebook and Twitter.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
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Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
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Awkward Dancing

Because every dad needs a signature move.
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Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
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Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
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Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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