Oscar Nominations
Best Director - Bennett Miller
Best Original Screenplay - E. Max Frye and Dan Futterman
Best Lead Actor - Steve Carrell
Best Supporting Actor - Mark Ruffalo
Makeup and Hairstyling
The Academy is taking a lot of flak for some of its
nomination choices this year (and rightly so), but one place where they haven’t
messed up is in the deserved recognition of Foxcatcher. As one of the darkest and most lurid pieces
of cinema this year, Foxcatcher shows
us an astounding amount of range from actors not known for their serious
performances, and meanwhile delves into the events leading up to one of the
most shocking and bizarre events in U.S. athletic history. Director Bennett Miller has crafted a
slow-burning drama that will captivate you with its understated intensity, and
not only does he deserve a spot on the Best Director docket, but this film
should have ended up on the Best Picture roster.
For those unfamiliar with the Foxcatcher shooting, this film
tells the story of John du Pont, heir apparent to one of the richest families
in the U.S. during the 1980’s. He
converted his Foxcatcher ranch into a training ground for world class wrestlers, with his
eyes set on taking a team to the Olympics, even though he himself had no
experience competing in the sport himself.
The infamous shooting is that of his assistant coach, Dave Schultz,
which happened without any apparent cause and has been the subject of inquiry
and rationalization ever since. Du Pont
was later diagnosed with paranoid schizophrenia, and while the film does
portray his paranoid tendencies, there are other hinted-at rationales as to
what plagued du Pont’s sick mind.
Steve Carrell plays a tragically villainous du Pont, a man
struggling to find his place in a world of privilege and cloistered pampering
and ultimately becomes destructive because of it. Though the film is not blatantly symbolic
about this point, it is hard to ignore that du Pont lives in a time when
capitalist venture is deemed to be stronger than ever and the captains of
industry are perpetually patting themselves on the back for their success and
affluence. Du Pont, though, only has the
latter, for his fortune was inherited, not earned, and he has no personal success of
which to speak. Combine that with an
obsession with wrestling that stems from an impliedly repressed homosexuality,
and Carrell becomes the embodiment of the dangers of capitalist excess wrapped
in a layer of quiet psychosis.
Channing Tatum makes an incredible performance as Mark
Schultz, brother to du Pont’s victim and original focal point of du Pont’s
obsession. Audience perspective
initially comes from Mark, as he is lulled into the world of promises and
extravagance that du Pont offers, only to be shunned at du Pont’s eccentric
whim. Through his eyes, we see things
come to a gradual boil, with only his brother trying to warn him that this
situation may not be the path to glory, but instead damnation. Mark Ruffalo is great as ever playing Dave
Schultz, having completely physically transformed himself for the role to the
point of near unrecognizability. He
carries the girth and stature of a wrestler with nuance and seeming ease, and
his contribution is just as appreciated as Tatum’s or Carrell’s.
Even knowing how Foxcatcher
ends from having knowledge of the event that inspired it, the dramatic tension
in this film is perhaps the best realized this year. It is darkly subtle in its build-up, and as
far as making you feel a steady unease goes, few films are as effective. See it for the tension. See it for the acting. See it if you love movies. This is one of the films the Academy was
right to honor.
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