As Cool As A Fruitstand

…and maybe as strange. A movie blog.

Keeping up with the Muriels

Posted by Hedwig on February 16, 2008


The Anniversary Awards for 1957, 1982 and 1997 have been announced, and now we’re finally getting to 2007, starting with Cinematic Breakthrough. My votes in that category were:

  1. Julie Delpy as a writer/director (who ended up at 14, with 1 other vote)
  2. James Marsden as a comedic/musical actor (seriously, who’d have thought he was funny? Nobody else was surprised, apparently, as he only got my vote)
  3. Tony Gilroy as a director (got two other votes, putting him at #9)
  4. Kelly McDonald (and I was the only one! Though maybe the other voters already discovered her before)
  5. Andrew Dominik (who also got my vote alone)

Votes were spread pretty wide, maybe because the category is so broad, but there was one clear winner. Check out who that was here.

3 Responses to “Keeping up with the Muriels”

  1. Kaj said

    I’m quite puzzled by the fact that Boogie Nights is voted best film of 1997, and P.T. Anderson gets two votes for best breakthrough in 2007. Wait, I’m even more puzzled by the fact that The Coens and Fincher also made the list. But I guess that doesn’t have much to do with your votes.

    I think I understand though, why Marsden and McDonald didn’t get any other votes. Marsden was a bigger star going into 2007 then at the end of the year, and although he was a revelation (He actually can act, comically even), that technically isn’t really a breakthrough. But that’s semantics, really. As for McDonald, well, that is technically a breakthrough, but it’s not a large part and I guess Bardem, Jones, Brolin and Harrelson take much more of the spotlight in the film. Glad you didn’t let such factors play into your decisions.

  2. Speaking for myself, I voted for the Coens (not #1) simply because the category description also included people who took their craft to another level and I feel that applies to the Coens and PTA as well.

  3. sarcastig said

    I don’t know, what I used as a criterion (but of course that’s wholly personal) is that I counted things as a breakthrough only if I was surprised. I think No Country For Old Men may very well be the best film the Coens ever made, but in a way it felt like they were simply delivering on a promise, finally making THE movie they had in them all along. I haven’t seen There Will Be Blood (2 more days!), but I feel like it’s the same for PTA: every cinephile suspected he was destined for greatness, it was just a matter of when he would finally make THAT movie.

    The surprise factor is where my vote for James Marsden especially came from. I’ve known his name for something like 5, 6 years; I just never thought he was even remotely interesting. I thought he was just another bland pretty boy with great cheekbones (and great other cheeks, too). I certainly never suspected he was funny.

    The same thing goes for McDonald. After seeing No Country for Old Men I looked her up on imdb and found out I’d seen her in 3 or 4 movies already. She’d just never made an impression, but in this film, she definitely does.

    Anyhow, I like that Paul’s categories are so broad. It makes for surprises, and I much prefer that to the overly reductionist approach used by the Academy, which led amongst other things to the exclusion of The Band’s Visit for foreign film and of Johnny Greenwood’s apparently great score for original score.

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