A few weeks ago, I was lucky enough to have a once in a lifetime experience that any film fan or music nerd would kill for. I got to see John Williams conducting some of his most iconic film music, live with my hometown orchestra, the Indianapolis Symphony Orchestra. I don’t want to exaggerate, but I rank it up there with some of the best experiences of my life.
Not a bad view of the orchestra.
For those who do not know who John Williams is (but who reading my film-nerd blog wouldn’t?), he has composed some of the most iconic film music in the last fifty years. You know his work even if you think you don’t. Music from Star Wars, Jurassic Park and Jaws are staples in our culture. You can’t even watch the Olympics without his music being played every commercial break. He has been nominated for over fifty Academy Awards and has won five. You can only imagine how much I geeked out when I actually got tickets, and believe me, it was a longshot actually getting them. It sold out in minutes.
The night of the concert, I was nineteen weeks pregnant, proudly sporting my baby bump as I waddled downtown in my fanciest pair of comfy shoes and a new Star Wars scarf. Outside the Hilbert Theater, we were greeted by men dressed as rebel pilots from Star Wars. Inside, the place was a buzz, filled with people for the sold out show. Along the lobby were movie posters of the various films Williams’ music is featured. All around, were other people in costumes, and lucky patrons decked out and taking pictures with them. I was able to snag a selfie with Boba Fett and a few others. Darth Vader and R2D2 were very popular.
As time came for the concert to start, you could feel the anticipation in the air. When John Williams came out, the whole audience burst into applause and stood. We were all so incredibly honored that he chose our city, our orchestra for this wonderful event. All the money made from the evening would go right back to the Indianapolis Symphony Orchestra.
Photo taken by my wonderful husband.
Then, finally, came the music. I had heard some of these pieces a thousand times, but hearing them live, coming straight from Williams’ direction was amazing. The music felt so alive, organic and thriving more than it does in a theater or out of speakers. And without the film’s images to distract, you’re able to focus on subtle nuances. I think Williams is a fan of bringing out the lower brass section out, or perhaps there was a very enthusiastic trombonist. I can’t blame him. And the way Williams would sometimes cut the orchestra off with a slow dip of his hand until the music seemed to just fade away was magical.
One piece that blew me away like never before was his selections from Close Encounters of the Third Kind. I have loved this film since I was a kid, but the first time I saw it and heard this music was probably over an old, scratchy VHS borrowed from the library. To hear this music live, it felt so much more powerful. It was raw and almost primal in a way that I did not expect and it was one of the most beautiful things I had ever heard (second only to my son’s first laugh). I soaked up every note and silently wept the entire song. I should’ve known to bring tissues.
In between songs, Williams would often tell us a little story about working with Spielberg or how the music came to be. One of my favorites came as he introduced the music from the Indiana Jones movies. He was about do a piece from Indiana Jones and the Last Crusade entitled Scherzo for Motorcycle. Williams explained that he only named the piece after seeing the completed film. He said he was so proud of this fun piece he wrote to go with the scene where Indy and his father are being chased by Nazi’s on motorcycles, but when he saw it completed, there were all these loud motorcycle sound effects over his music and he felt like the joke was on him. Scherzo means joke, so Joke for Motorcycle. It was nice to hear the music without rumbling engines and explosions.
Selfie with Boba Fett!
Knowing his audience so well, Williams saved all the music he chose from the Star Wars films until the very end. Before he began, he enjoyed telling us how much he enjoyed writing music for Daisy Ridley’s character in The Force Awakens. When he introduced Rey’s Theme, he gushed on about how much he loved raising her up in the film. He said that before he agreed to write the music for The Last Jedi, he made sure Daisy would be in the film again. It was so sweet to see how much he loves his work and working with certain actors and characters.
As the last song was wrapping up, Throne Room and Finale from Star Wars, I clung to every note and wished it wouldn’t end. When it finished, the audience gave a loud, long standing ovation. None of us were ready to go home, we ached for more. And Williams delivered! He came out and performed Han and the Princess and then ended the night with The Imperial March, which ended in another standing ovation. We still wouldn’t sit. He graciously came back to bow over and over, he received flowers, waved to us as long as he could. And finally, as we just wouldn’t stop clapping for him, he put his hands together, leaned to the side and mimed that he needed to sleep. We laughed as we cheered. We were so thankful that he gave us such a fantastic evening.
When Mr. Williams visited my hometown, he had just celebrated his 86th birthday. Understandably, there were times as he stepped up and down from the podium that he seemed a little unsteady. I think the whole audience was praying he wouldn’t fall at one point. But as he conducted, his whole body moving with the music, he was ageless. Saying he was like a duck in water is too simple, but it works. It was such an honor to see him, to see him work in such a lovely environment and I’m sure most of us will never see it again. To see him conduct some of his latest Oscar nominated music was a truly rare treat, one that I’ve proudly told my son about already. If I’m lucky, one day I can tell my grand kids about it. And they can roll their eyes and call me an old nerd. I don’t mind. It was amazing.
Original Score: While I’m always rooting for John Williams, I think this comes down to The Shape of Water and Phantom Thread. Coin toss: Phantom Thread
Sound Editing: Dunkirk
Original Screenplay: It’s hard for me to pick, they’re all so great. Get Out
Actor: Will the Academy award Day-Lewis in his final role or finally aknowldege Oldman? I say it’s Gary Oldman’s time
To be honest, I was not looking forward to seeing The Post, which is surprising since I am usually anxiously awaiting Steven Spielberg’s films. While I do appreciate the genre, there’s just something about films featuring hardworking, honest journalists fighting against the man that doesn’t excite me. Maybe it was Spielberg’s craftsmanship, or Streep’s intriguing character, or the way the events in the film seem to parallel recent news, but The Post has grown on me in two days in ways that All The President’s Men or Spotlight have not in years.
In the film, The Washington Post is at a crossroads. It is being led by a woman, Kay Graham (Meryl Streep) a first for a major newspaper. And a huge story about how the past few presidents, including current president Nixon have been lying to the public about the war in Vietnam has just fallen on their reporters’ desks. The problem is, The New York Times published about this story earlier, and is now being barred by the president for writing more about it. Should The Post risk backlash and even collusion by running their piece? 
Streeps performance as Kay Graham humanizes this film as she tries to navigate what is traditionally a man’s role. She feels out of place in her position of power because that’s what she’s been taught to feel. Yet she rises to the occasion well, even if she is secretly second guessing herself at every turn. Streep’s performance is the only other Oscar nomination The Post received besides Best Picture. 
What makes this film so important, and what truly clenched it’s Best Picture nomination, is how this true story resonates with recent news under the Trump administration. The way Nixon and journalists butt heads in the film is very much like Trump’s cries and tweets of fake news at every turn. The Post shows how the government has tried to silence the press before and lost. Spielberg knew that this is the time to make The Post so he made it very quickly. While that rapid production may not have produced one of his best or most memorable films, it has solidified a spot in film history.
There are few things that many women universally love and covet, but Phantom Thread focuses on two: beautiful things to wear and the love of a man. Both can make a woman feel lovely, wanted and desired. However, if anything comes between her and the things or person who makes her feel this way, retaliation is expected.
In 1950s London, Reynolds Woodcock (Daniel Day-Lewis) is a renowned dressmaker. When he meets Alma (Vicky Krieps), a waitress, he takes her out and before the night is over, he is making her a lovely new dress. She becomes his muse and lover, well dressed on his arm, living and working alongside him and his ever present sister, Cyril (Lesley Manville). But the novelty of Alma’s presence begins to wane, and she can sense it wearing on Reynold’s and straining his lifestyle.
The relationship between Alma and Reynolds is very odd. It’s romantic, gothically romantic, but not seem very loving. It can be very professional at times, with Alma helping to make and model dresses. And there is some intangible bond between the two, something that connects Alma’s strong will and Reynold’s fastidiousness in a way that can only work for them. It can leave many baffled.
The opening credits of Call Me By Your Name feature images of ancient Greek and Roman statues. They are various depictions of young men, their naked likeness preserved smooth in stone with sensual curves. Anyone who’s seen Michelangelo’s David understands the concept. Throughout the film, our stars seem to take on the likeness of these statues. They often walk around clad in only thin shorts under the Italian summer sun and apricot trees. It isn’t meant to be arousing or explicit, but a natural depiction of life in its prime. 
In 1983, Elio (Timothée Chalamet) is seventeen and spending the summer with his parents in northern Italy. There isn’t much to do besides lounge, swim in the river, bike into town and read. Life here seems like an idyllic paradise away from the rest of the world. Elio’s father is a professor, studying and cataloging unearthed statues. For this task, a student comes to live with the family, Oliver (Armie Hammer). After a rocky start, Elio and Oliver strike up a friendship that slowly becomes more and more intimate and eventually sexual. 
Right now, Call Me By Your Name is nominated for four Academy Awards, including Best Picture. Timothée Chalamet is nominated for best actor in a leading role, his first ever nomination at just twenty-two years old. The film is also nominated for best adapted screenplay and for its best original song, Mystery of Love. 
Darkest Hour puts the first few weeks of Winston Churchill’s time as Prime Minister under a microscope. It is May 1940, and England’s politics are shaky as Neville Chamberlain is voted out as Prime Minister. Churchill is not the first choice, and has his political enemies, but is appointed next. With the fall of France, it looks as though Hitler and his Nazi army will take over all of Europe. Just across the channel, the entire British army is stranded at Dunkirk and surrounded by the invading German army. If nothing is done, the British army will be completely lost within days. Meanwhile, Churchill’s advisers are pushing for him to surrender to Hitler and attempt to negotiate peace, before it’s too late. How will Churchill pull his country up by its bootstraps, save their army and stand up in the face of doom and tyranny? 
Gary Oldman becomes completely immersed in his transformation into Winston Churchill. The flawless makeup done on him makes Oldman completely unrecognizable, I expect that award to be given easily. But just as impressive is Oldman’s acting, fleshing out Churchill not only as a historical figure, but as a man who seems larger than life at times. The fact that Oldman studied Churchill and his mannerisms over a year to prepare for this role shows his dedication to getting it right. I’ve also heard that he tried not to be influenced by other actor’s portrayals of the man and I think it has worked out well. While Oldman’s performance feels authentic, it is also unique compared to other films and shows about Churchill. 
A favorite scene of mine was towards the end when Churchill decides to ride the underground to Parliament. He escapes out of his personal car without his driver noticing and immerses himself within the bustling streets and busy people of London. A young woman helps him navigate the underground map and as he enters the train, a once hum-drum commute is suddenly shaken by his presence. But Churchill doesn’t lord his power and prestige over the people he serves, but rather strikes up conversations with everyone around him. He shakes hands, takes names and asks them all, children included, if they should consider negotiating peace with Hitler, or stand and fight. Thankfully, the people of London are much more influential on Churchill than his advisers.
Once the Oscar nominations were announced, there was a sudden backlash against The Boss Baby. How could such tripe be nominated for Best Animated Feature over popular franchise gems like The Lego Batman Movie or Cars 3? In my opinion, easily, like taking candy from a baby.
You see, Dreamworks’ The Boss Baby isn’t about a baby in a suit hungry for power. Not really anyway. The real story is about an imaginative seven-year-old named Tim and how he processes the news that he is going to be a big brother. As soon as his parents gently ask him if he’d like to have a baby brother, we are launched into Tim’s fantasy about where babies come from, how his new brother would arrive and how it would take over and change his family and his life. And the whole thing would be because of a big conspiracy, where a corporation of babies are competing for love against their rival: puppies.
For my growing family, The Boss Baby has become a favorite lately. It came on Netflix not long after my husband and I told our three-year-old that he’s going to be a big brother. While he has his own questions and worries, watching a story about a kid learning to love and accept the new baby, and his new role as a big brother is helpful. Sure, they have a rocky start, as I expect my son and his future sibling will, but my son always ends the movie with his hand on my belly, asking if the baby can feel him yet. It’s helping him bond already and the film’s message about love is strong enough that a three-year-old gets it.
