By MCN Editor editor@moviecitynews.com

National Society Of Film Critics 2010 Awards & Statements

Best Picture: The Social Network

Best Director: David Fincher, The Social Network

Best Actor: Jesse Eisenberg, The Social Network

Best Actress: Giovanna Mezzogiorno, Vincere

Best Supporting Actor: Geoffrey Rush, The King’s Speech

Best Supporting Actress: Olivia Williams, The Ghost Writer

Best Nonfiction Film: Inside Job

Best Screenplay: The Social Network

Best Foreign Language Film: Carlos

Best Cinematography: True Grit

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FILM HERITAGE AWARDS:

  1. The Film Foundation (on its 20-year anniversary)
  2. “Chaplin at Keystone” (Flicker Alley)
  3. “Elia Kazan Collection” (Fox)
  4. John Ford’s “Upstream” (1927), one of 75 films recently found in the New Zealand Film Archive and repatriated to the U.S. with the cooperation of the National Film Preservation Foundation
  5. “On the Bowery” (Restored by Davide Pozzi of the Cineteca del Comune di Bologna’s L’Immagine Ritrovata in cooperation with the Rogosin Heritage and Anthology Film Archives and distributed by Milestone.)
  6. “Word Is Out”  (Restored by Ross Lipman for the UCLA Film & Television Archive and the Outfest Legacy Project and distributed by Milestone.)

“The meeting was dedicated to the memory of our colleague Peter Brunette.”

STATEMENT ON THE MPAA RATINGS SYSTEM

The members of the National Society of Film Critics applaud the recent decision by the Classification & Ratings Administration of the Motion Picture Association of America to change the rating of “Blue Valentine” from NC-17 to R. But several other recent decisions by CARA have been allowed to stand, and these call into question the integrity and legitimacy of that office as it is presently constituted.

“The King’s Speech,” the drama about King George VI’s attempt to overcome his speech impediment, was rated R for “language,” specifically, several moments where the King is instructed by his speech therapist to swear to relieve the pressure of his stammer.

“The Tillman Story,” the documentary about the military cover-up of the death of Corporal Pat Tillman in Afghanistan, was similarly rated R for “language.” In the case of that film the offending content is the agitated language of soldiers in combat fearing for their lives.

“A Film Unfinished,” which contains footage taken by the Nazis inside the Warsaw Ghetto, was given an R for “disturbing images of Holocaust atrocities, including graphic nudity.”

In the case of the documentaries “The Tillman Story” and “A Film Unfinished,” this amounts to CARA assigning a rating to reality.

In an editorial on the MPAA’s web site, Joan Graves, the head of CARA, claims,  “These ratings are purely informational.”

This is simply untrue.

An R rating restricts who can get in to see a film and thus its potential earnings. An NC-17 rating, such as was originally assigned to “Blue Valentine,” will keep a film out of many theater chains and can deny its being advertised on most television networks and in many newspapers.

This can have an especially damaging effect on the earning potential of independently made films, such as those mentioned above, which do not have access to the large advertising budgets at the disposal of the major studios — studios, which, as CARA’s record indicates, have received much more lenient ratings for similar content.

Another damaging inconsistency is CARA’s record of judging sexual content more harshly than it does violence. We by no means advocate condemning violence in movies, and we do not believe we are doing so by pointing out that there is no equivalence between an R given to the most explicit horror images and the same rating given to a drama in which King George VI utters a four letter word. And certainly no equivalence to a historical document showing the emaciated bodies of dead Jews in the Warsaw Ghetto.

Despite Ms. Graves’ contention that CARA decisions are “purely informational,” it’s clear that the board has become an agency of de facto censorship. There is a difference between giving parents the information they need to make a decision as to which films they want their children to see, and a system whose decisions make it harder for adults — and their children — to see films clearly meant for them.

The National Society of Film Critics believes that CARA has for too long demonstrated these inconsistencies and has refused to explain itself.  We would like to believe that the major studios who constitute the membership of the MPAA care enough about the availability of movies to recognize that the ratings system should be open and consistent, not arbitrary and unfair, and that films from independent distributors should be judged by the same criteria as their own releases. It has become a system that enforces the kind of moral policing that, when it was founded in 1968, it was intended to prevent.

STATEMENT ON JAILED IRANIAN DIRECTORS
On December 18, 2010, an Iranian court sentenced Jafar Panahi and Mohammad Rasoulof to six years in prison and banned both from filmmaking for 20 years for “colluding in gatherings and making propaganda against the regime.”

The members of the National Society of Film Critics add their voices to those of the many other individuals and organizations who have protested this injustice. We strongly urge the Iranian government to release both artists, whose work can only further the advancement of such values as justice, compassion, tolerance, and human dignity. Jafar Panahi’s films in particular have won international awards, earned the accolades of critics all over the world, and delighted and inspired audiences everywhere they are shown.

Not only does the court’s decision impose an outrageous penalty on artists whose sole crime is telling the truth, but it deprives Iran and the world of future works by filmmakers of outstanding talent and vision.

We intend our protest to affirm the value of artistic expression and the power of cinema to transcend political differences and unite people in their common humanity. We hope that the Iranian government will recognize the wisdom of releasing Mr. Panahi and Mr. Rasoulof immediately in the name of these universal principles.

3 Responses to “National Society Of Film Critics 2010 Awards & Statements”

  1. EOTW says:

    Wow. NOTHING makes fear mongering, religious despots quake in their shoes like the condemnation of film critics.

  2. yancyskancy says:

    Yeah, I’m sure other critical bodies supported the sentencing. :) Nice gesture anyway.

    Also, it’s always nice to see some awards go to a couple of folks who are out of the Oscar “conversation.”

  3. movieman says:

    If “Vincere” had been given an awards marketing push by, say, Sony Classics or the Weinsteins, Mezzogiorno would have been a lock for a Best Actress nomination. It’s an extraordinary performance, and infinitely superior to (for example) Marion Cotillard’s (Oscar-winning) “La Vie En Rose” performance.
    Glad to see that one of the crix groups remembered her.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas