Back to the days when Tom Cruise hasn’t been that top-billed “film star”, he was once an actor when portraying Charlie Babbitt, a selfish chap who, upon learning about his estranged father’s death, finds out that he has a long-lost brother. Thing is, his way older brother, Raymond (Dustin Hoffman) is an autistic savant, who inherits most of their father’s wealth. There’s pure quality in young Cruise to encounter Hoffman, the powerhouse who went and brought home Best Actor prize in Oscars completing the film’s triumph (with Best Director, Best Original Screenplay and Best Picture victory).
Rain Man follows one of the most narrative about character development with myriads of jolts and sensitivity. A story about a man reconciles and, later, reconnects with his only family member is never an innovation; but, what if the whole story isn’t about the changing man, but the unchanged man instead? That’s where Rain Man makes differences. As much as it tells stories about Charlie’s effort ‘to reconnect’, it was never a story about him; it’s the story of Raymond. Continue reading Blindspot: Rain Man (1988)
“My name is Dances with Wolves. I have nothing to say to you. You are not worth talking to,” said John Dunbar.
By today’s standard, Kevin Costner’s Dances with Wolves would’ve been received differently, possibly with praise over the film’s respect to representation – the use of native people and native language to depict native American, Sioux and Pawnee. At the same time, it might also receive terrible backlash over its ‘white savior’-esque narrative by today’s critical audiences. However, it stormed of Academy Award in 1991 – nominated for 12 and win 7, including Best Picture. Continue reading Blindspot: Dances with Wolves (1990)
“I’ve killed women and children. I’ve killed just about everything that walks or crawled at one time or another,” said William Munny explaining who he was.
Clint Eastwood dedicated his final Western film as a director and an actor, Unforgiven, to the sub-genre that has made great name out of him. More, he specifically dedicated it to people whom he’ll be forever in debt with, Sergio Leone and Don Siegel. And, who knows that a devoted tribute would end up being a milestone to the modern-day Western film. And, who knows that this tribute would be Eastwood’s legacy. Continue reading Blindspot: Unforgiven (1992)
“Power is when we have every justification to kill, and we don’t,” said Oskar Schindler.
Based on a real story about Oskar Schindler – a German businessman who saved thousands of Jews in Nazi-occupied German during the World War II, Schindler’s List stormed the Oscars in 1994 with 12 nominations and won 7 of it, incl. Best Picture, Best Director for Steven Spielberg and Best Adapted Screenplay for Steven Zaillian. A story as epic as it is, narrated in 3-hour long black and white motion, is definitely a story of a lifetime; and I am pleased to finally watch it after nearly 24 years after it first screened. Continue reading Blindspot: Schindler’s List (1993)
“Every night I cut out my heart. But in the morning it was full again,” said Count Almásy.
In the 69th Academy Awards, Anthony Minghella’s The English Patient garnered 12 nominations and won 9 of them including Best Picture and Best Director, hence this post. Minghella’s tour de force practically owns it all and is praised as the film of the year in the same year as Fargo, Jerry Maguire,Shine et al. Clocking in at 162 minutes (as it was initially reportedly to have a 250-minute cut), this epic story is clearly ambitious and tough to watch for its lengthy duration; but, it really is worth the duration. Continue reading BLINDSPOT: The English Patient (1996)
“C’mon, Babe, why don’t we paint the town… and all that Jazz!” Velma Kelly sings on the stage.
In the 75th Academy Awards, Rob Marshall’s Chicago triumphed over with six winnings, including Best Picture, overpowering strong contenders like The Pianist, Gangs of New York, and Lord of the Rings: The Two Towers. Chicago becomes the second musical to win Best Picture after 1968’s Oliver!; and together with Moulin Rouge, it is responsible for the reemergence of musical film in modern days. Continue reading Blindspot: Chicago (2002)