This early morning's post will consist of a conversation about The Social Network, both of its own cinematic merits and its narrative this upcoming awards season.
Generally, people are trying to frame many of the major categories as if it's already over. The Social Nework, David Fincher, Colin Firth, Natalie Portman, and Aaron Sorkin. I do think it'd be an awful shame if that were the case, but I do think one thing is obvious: two films stand ahead of the pack to go vis-à-vis each other as it stands now for the top prize, and those are The Social Network and The King's Speech.
Numbers-wise, I posted the other day that The King's Speech had the numbers and pedigree to give it the edge between the two films. It didn't take long soon after to realize that, surface level, yes, it does seem hard to debate. But here's the thing it doesn't really have: the narrative. The Social Network has been framed as a generational event. Essential viewing. Speaks to a young generation as well as to that of all basic human instincts. Critics who aren't Armond White have monumentally supported the film with a tremendous 98 score on metacritic, zooming past Toy Story 3 as the best reviewed of the year.
Plus, it's not as if The Social Network doesn't have a leg to stand on in the Academy demographics. In fact, it has more than enough to win. Fincher's name will inspire more out of the directors than Tom Hooper. If there's any lock in the major categories its Aaron Sorkin for his complex, interweaving out-of-sequential order screenplay. It seems like a heavy favorite to take the SAG Ensemble Award and will probably come out of it with 1-3 acting nominations (most sure is Andrew Garfield, though Eisenberg and Timberlake have a considerable shot as well). So it's got the biggest demographics: the actors (though would still have to catch up to The King's Speech safe 3 acting nominations as of right now).
It's got the major bases covered. Out of techs, a few things seem to be pretty sure: that Roger Deakins will finally win his long overdue Cinematography statuette for True Grit (a kickass trailer included in the previews for The Social Network), heavy leanings in costumes and art direction for The King's Speech, and The Social Network's editing prize. It's as baity in editing as techs get, not only weaving together three simultaneous storylines but jumping back and forth between present and past. It could probably ride a wave of love over to a cinematography nomination as well with its various blurs and cold tones that keeps the viewer on their feet. It is very likely to see love out of the sound categories in both mixing and editing, and perhaps even Dave Navarro for Best Original Score. And, who knows, could even get visual effects with Fincher's usually subtle touches of CGI.
That itself could take it well beyond double-digit nominations, but the most important touch of all is the narrative that has already been set and put into play. It should be populist enough in a year that seems to be dominated by big Hollywood, tracking very well for this weekend with enough good word-of-mouth to sustain strong legs throughout the entire awards season only fueled by the more awards it will win. It has the critics on their side and could sweep the three majors (NY/LA/NSFC). But it's the way people are talking about it.
There have been doubts, however, that not all Academy members will respond well to it. It's a little too "fresh," little too "hip." They're referring to the ever large segment of older Academy voters, for whom the film is certainly not made for. But I would say that's one aspect equal in importance to all the others mentioned where The Social Network seems destined to ace in and dominate, and more than capable of overcoming that obstacle. It looks like its Fincher's turn to win this year, Sorkin's in the lead to win, its editing is in the lead to win, and Andrew Garfield looks like he may very well be able to stand on his own against long time heavy weights like Christian Bale, Sam Rockwell, Mark Ruffalo and Geoffrey Rush.
Can he win? At this point in doesn't seem all that likely with reviews not seeming to single him out more than any other member of the cast, but as far as I can tell, I won't see a better performance in the category this year. In a film brimming with mechanized characters rendered more robotically distant and cold due to technology and online social networks, he's the only one who brings a semblance of humanity. Written very sympathetically, you ache as he remains a loyal and faithful loving friend to Mark — at one time, each other's only close friend. The tension in his performance builds up throughout to the point where it boils over and is released at the climax of this already breakneck-paced film that he takes complete control over. Never histrionic, only real.
It's not as if he doesn't have a chance to win. Geoffrey Rush seems poised to be very friendly with critics this year. Christian Bale and Sam Rockwell will be pushed to get their first acting nominations in the categories but Rockwell's film doesn't quite have the reviews to keep it a very widely seen film nor widely recognized in other categories. I don't think The Fighter will, either. I think Garfield's age might be holding him back but he'll just need a Golden Globe to keep his name in the game, or even one of the major critics prizes (and not just the "breakthrough awards" that he'll be fighting for against Jennifer Lawrence).
Besides, leaving the film, the only thing anyone around me on all sides were talking about exiting the theater was his performance. They checked the credits to check his name — "Andrew Garfield...he was amaaaaazing!" He's a crowd favorite, for sure. And in a film billed as a once-in-a-generation event, being that much of a standout that he dominates the conversation about the film to many afterward is a very good sign that many seeing the film in Hollywood will feel the same way. Besides, he's an attractive young man (see: above). It will soon be revealed to people through interviews that he is, in fact, English (adding to his appeal and how much he impresses people with his undetectable accent in the film). He will also be shown to be absolutely adorable if not slightly geeky (see: his rendition of The Gregory Brothers' "Bed Intrusion Song"). People are looking forward to his reboot of Spider-Man. The kid's a star. That's the fact of the matter. And, very likely, he'll end up winning an Oscar one day. This very bloody well could be and, likely, should be the year.
So, there's that. He has a chance for the win, and if I have anything to do with it, then he will win.
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