As mentioned in Wednesday’s post, guessing which shorts will win an Academy Award is often the hardest part of Oscar office pools. The Academy of Motion Picture Arts and Sciences has been handing out Oscars for animated and live action shorts since 1931, and for documentary shorts since 1941. Few mainstream viewers ever see these titles, making predictions about them the equivalent of playing darts while blindfolded.
Animated shorts tend to be easier to judge than live-action shorts. Cartoons are either funny, beautiful, compelling—or not. Live-action shorts, on the other hand, are more like miniature versions of feature films. As such, they can range from abstract and experimental to conservative, even classical in style, and from melodramatic to slapstick in approach. In judging them, you have to take into account a wider range of expectations than for cartoons.
As I’ve argued before, television has taken over the role once played by shorts. Without commercials, broadcast sitcoms are about 22 minutes long, roughly the same length as a two-reel short. For better or worse, the five nominees for live-action shorts are essentially television shows. More ambitious, perhaps, and in some cases with classier actors and production values, but all in all they are surprisingly, even disappointingly, conventional. Some are tall tales spun out a bit too long, some are sentimental to a fault, but frankly none moved me as much as a typical episode of The Good Wife.
In alphabetical order:
Pentecost, written and directed by Peter McDonald. Financed in part by the Irish Film Board, this short comedy takes place in a small parish in 1977. The archbishop is coming to visit, and disgraced altar boy Damien Lynch is given a chance to redeem himself as thurifer during Mass. Before the service, a sexton gives a pep talk to the servers, much as a coach would do to athletes before a game. McDonald throws in an underdeveloped subplot about soccer, but this is a very slender piece whose ending might mean more to Irish viewers still breaking free from the grip of the Roman Catholic Church.
Raju, directed by Max Zähle. If anything cries out “Oscar bait” among the live-action nominees, it’s this crisis of liberal guilt. A European couple adopts an Indian child only to uncover troubling inconsistencies in the youth’s background. Shot on location in Calcutta, Raju has a gritty look and feel to go along with its manipulative story line. The film might have been more persuasive as a documentary, but then director Zähle wouldn’t have had the opportunity to focus so deeply on his characters’ emotions.
The Shore, written and directed by Terry George. Financed in part by the Northern Ireland Film Commission, The Shore is a story of forgiveness and reconciliation played out among the vernal landscapes of suburban Belfast. As a teenager, Joe flees the “troubles” in Northern Ireland for the U.S., returning 25 years later to confront the people he left behind. With his haunted eyes and mournful visage, the accomplished actor Ciarán Hinds (who has a supporting role in Tinker Tailor Soldier Spy) is perfectly cast as the stoic Joe. Terry George, who earned Oscar nominations for writing In the Name of the Father and Hotel Rwanda, wraps up the sentimental plot a little too patly, but The Shore is still a polished if middlebrow piece of entertainment.
Time Freak, written and directed by Andrew Bowler, moves quickly and engagingly in telling a tall tale about time travel. Starring Michael Nathanson as a science geek obsessed with detail, the film reworks the great feature comedy Groundhog Day to pretty good effect. Bowler draws his characters and settings with sharp strokes, but Time Freak is a one-joke idea that, unlike Groundhog Day, never develops beyond its cute gimmick.
Tuba Atlantic, directed by Hallvar Witzø. My personal favorite among the nominees, but then I love Norway so much I watch television shows like Fjellfolk even though I don’t speak the language. Scandinavian humor is an acquired taste, and a comedy about a lonely, bitter farmer with six days left to live will strike many as too dark and morbid. Oskar (played by Edvard Hægstad) wants to die alone, but the local Jesus Club has sent Inger (Ingrid Viken), a blond teenager, to be his “Angel of Death.” Naive but determined, Inger consults a Road to Death guidebook about the five stages of dying before dispensing advice (and sleeping pills). Oskar, meanwhile, must decide whether to contact his long-estranged brother Jon before it’s too late. The premise behind Tuba Atlantic may be grim, but the film succeeds due to its understated acting and agreeably deadpan jokes.