#oscars 55

[theoscarsproject]

The Flight of the Eagle (1982). In 1897 Swedish engineer S. A. Andrée with 2 colleagues prepares to fly over the North Pole in his balloon "Eagle".

The cinematography of this is so staggeringly haunting that it feels seared into my memory already - not just in the profound shots of North Pole isolation, but in the energy and life of the Sweden that the three men have left behind in their search for adventure and legacy. Overall, the film takes a minute to get going, but once it does, it feels relentless in the way these sorts of movies should, with just the right tinge of horror to sell the - - well - - horror of the situation. It's pretty great. 8/10.

[theoscarsproject]

Das Boot (1981). A German U-boat stalks the frigid waters of the North Atlantic as its young crew experience the sheer terror and claustrophobic life of a submariner in World War II.

It's always interesting to watch war films from the perspectives of the losing side, and WWII tends to generate particularly eviscerating ones. Like Land of Mine - another film I was profoundly affected by - Das Boot creates an unending sense of dread and tension, but where Land of Mine thrives in the open unknown, Das Boot excels in the claustrophia of the closed known. It's gutting and it feels senseless, which makes it a pretty perfect war film. 9/10.

[theoscarsproject]

Quest for Fire (1981). This story takes place in prehistoric time when three tribesmen search for a new fire source.

I don't know if I can say I enjoyed this film, but I respected it. The creative vision is really clear, and while it's often deliberately, primitively violent, it's also got real moments of breathtaking wonder in it, particularly around the titular fire. I kinda feel like it's the sort of thing that would be best watched on a big screen with an into-it cinema audience? It's pretty experiential, in that sense. 7/10.

[theoscarsproject]

Missing (1982). When an idealistic American writer disappears during the Chilean coup d'état in September 1973, his wife and father try to find him.

Oh, I loved this one. Jack Lemmon and Sissy Spacek always deliver, but they're emphatically, brilliantly human as father and daughter-in-law navigating hope and grief and desperation as they try to find the man who connects them. Moving and biting and a searing indictment on the US government. Really loved it. 8/10.

[theoscarsproject]

Tootsie (1982). Michael Dorsey, an unsuccessful actor, disguises himself as a woman in order to get a role on a trashy hospital soap.

This is one of the movies that really feels like a product of its time, and needs to be viewed that way. Is it messy with its approach to gender and sexuality? Definitely, but it's also well-intentioned and I think wanted to explore gender, sexuality and companionship in a way that must've felt exciting in '82. Plus the performances are genuinely pretty great, so looking at it as a bit of a time capsule isn't a bad way to spend two hours. 7/10,

[theoscarsproject]

Annie (1982). A spunky young orphan is taken in by a rich eccentric, much to the chagrin of the cantankerous woman who runs the orphanage.

With just enough cynicism to keep itself from being saccharine and an absolutely delightful soundtrack, there's a reason Annie's left her mark on pop culture. Some of the cinematography is pretty wonderful too. 7/10.

[theoscarsproject]

The Verdict (1982). An outcast, alcoholic Boston lawyer sees the chance to salvage his career and self-respect by taking a medical malpractice case to trial rather than settling.

Between Paul Newman and Sidney Lumet, this movie is soaked in talent, but I don't know! Something about it didn't quite work for me. Courtroom dramas are hard to pull off, but Lumet's basically the king of them, so it was a bummer that it didn't quite land. Still, the performances are great across the board, and the movie has its moments, but yeah, I wish I enjoyed this more than I did. 7/10.

[theoscarsproject]

Tron (1982). A computer hacker is abducted into the digital world and forced to participate in gladiatorial games where his only chance of escape is with the help of a heroic security program.

[Aretha Franklin voice] Great gowns, beautiful gowns. 3/10.