A very Steven Spielberg-ian and Tony Kushner-ian film that was a brilliantly directed and smartly written homage to film and the magic - and power - of cinema. Superbly acted by the ever luminescent Michelle Williams, highly underrated Paul Dani and the scene stealing Judd Hirsch, but ultimately it was newcomer Gabriel LaBelle with his fresh-faced earnesty and wide-eyed wonder to filmmaking that anchored the film.
Technically, the crafts were on point. Brilliant editing by Michael Kahn and Sarah Broshar, gorgeous and stunning cinematography by Janusz Kaminski, and a lovely, befittingly moving score by the great John Williams.
The story by Spielberg and Kushner was deceptively simple but belied a complicated exploration of artistic and personal sacrifice and individual and societal responsibility and expectations - albeit y Hollywood-fied. And perhaps where they might have over-reached a bit, resulting in a beautiful, beautiful, achingly sincere film that might have just been a tad indulgent and lacked the searing bite of brutal emotional honesty - something that Spielberg is not particularly well known for.
Williams had the showiest role and as great an actress that she is, it were her quieter scenes that really shone. The histrionic moments just needed a bit reigning in. If she had stayed in the Best Supporting Actress race, the
Oscar would have been hers to lose, but now as a possible Best Actress contender, even a nomination may not be a sure thing.
Hirsch would likely get a Best Supporting Actor nomination with Dano as a long shot, and Hirsch was infinitely better than front runner Ke Huy Quan. And if there was Best Newcomer, LaBelle would be in the running.
As for Best Picture and Best Director, it may very well be 2010 again with James Cameron and “Avatar” versus, this time, Steven Spielberg and “The Fabelmans”. Who knows? More films to watch and see what new narratives may emerge in the next three months.
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