The LA Times‘ Tom O’Neil and the New York Post‘s Lou Lumenick must have been out for a cigarette break together, as they accomplish the journalistic voodoo of citing each others opinions on simultaneously published pieces. For O’Neil, these are the Gay/Socially Aware Globes:
"Capote," "Transamerica," "Breakfast on Pluto" and "Brokeback Mountain." Clearly, the Golden Globe nominations have a theme with a social message, which isn’t unusual. In liberal Hollywood, showbiz awards have often played a key role in the struggle for human rights. Perhaps the most dramatic example took place at the Globes in 1967 when award gurus assumed that "The Graduate" would sweep the gold derby. Instead, a curious plot twist occurred. While America’s cities burned during civil-rights riots, Globe voters sent protesters a clear signal of support by picking "In the Heat of the Night" as best drama picture.
Lumenick is among the crowd calling this year’s noms a snub of the major studios, which is sort of true, but not really. It was surprising that "Munich" and "King Kong" were left off the the Best Picture list, but of the other snubbed films he lists, "Capote" is technically an indie (Sony Pictures Classics), while "A History of Violence," which did get a nod, seems indie in tone but is actually released by New Line. The takeaway point being perhaps that no one can tell the fucking difference anymore â€” viva the age of the middle-budget (and -brow?) film.
Post-Globe nom: at the LA Times, Susan King talks to Michelle Williams and Mary McNamara interviews Pierce Brosnan, while over at the New York Times‘ Carpetbagger blog, Dave Carr chats up Rachel Weisz, and the AP (via USA Today) gathers reactions from Alanis Morrisette (who got a nod for her song "Wunderkind," on the "Lion, The Witch and The Wardrobe" soundtrack), Sarah Jessica Parker, Scarlett Johansson and others. And also at the LA Times, Patrick Goldstein talks to "Brokeback" screenwriters Larry McMurtry and Diana Ossana, possibly the only people involved with the film not currently being profiled in every publication in the country (we’ve got some really incisive insights into the film from the caterers we’re saving for a possible three part series later (don’t we wish)).
And is it time for the backlash to start yet? (Good lord, the Oscars are a fat eleven weeks away, that’s enough time for a backlash and a backlash backlash.) Lumenick thinks so, while Eugene Hernandez at indieWIRE tracks the amount of recent coverage they’ve done by themselves on the film, among it their story on the film’s awe-inspiring $109,485 per screen average in five theaters opening weekend. And, back at the LA Times, Robert W. Welkos and Elaine Dutka return to that question for the ages (or, at least, for until next weekend): how will it play in the red states?
Focus Co-President David Linde said it took time for people to embrace this kind of movie. By slowly releasing the film, he said, Focus hopes to build its word-of-mouth.
"This movie cannot be condensed into one line about gay cowboys," Linde said. "In our marketing, we are trying to get across the depth of the experience."
P’shaw, like "Love is a force of nature" is that much better a sell than, say, "Gay cowboys eating pudding." [Was ever a more profound truth uttered about independent film than that "South Park" line? Okay, yes. But it was so prescient!]
+ Will moviegoers embrace the Gay Globes? (Gold Derby)
+ TARNISHED GLOBES (NY Post)
+ Finding herself atop a ‘Mountain’ (LA Times)
+ Hey, the pretty boy can act too (LA Times)
+ The Gardenerâ€™s Blossom (Carpetbagger)
+ Reactions to Golden Globe nominations (USA Today)
+ Grumpy charms shine through (LA Times)
+ "Brokeback" overload (eugonline)
+ "Brokeback Mountain" Lassoes a Mammoth Limited Opening (indieWIRE)
+ Can ‘Brokeback Mountain’ Move the Heartland? (LA Times)