Don’t miss our 4 polls below! Results to be announced in March 2nd Displaced Dispatch! Enjoy!
When I first repatriated to the United States, I relished the chance to watch the Oscars again. For some reason — I’m not sure why, particularly as I was never a big movie buff — I regretted missing out on the pinnacle of Hollywood glamour during my years of living overseas, first in England and then in Japan.
It did not take long, however, before the novelty wore off. I grew bored with the dresses — they all seemed so same-y. And a tux is a tux is a tux.
I also grew bored with the selection of films. Typically, Oscar-nominated films take place within a single country’s borders — and when people cross these borders, it is in the service of maintaining them (IT’S WAR!!!). Apart from when Sofia Coppola was singled out for her Lost in Translation screenplay, the plots do not exactly speak to me and my prior situation of displacement.
Case-in-point: 2013 Oscar nominees
A great example of what I’m talking about are the two historical — or, more accurately, historically informed — movies that are up for this year’s Oscars:
Steven Spielberg’s Lincoln — the quintessential American biographical period piece that the Academy loves (it is predicted to win five Oscars, including best director for Spielberg).
Les Misérables, the film of the musical theatre adaptation — which in turn is based on an historical novel by Victor Hugo (1862), depicting life in the aftermath of the French Revolution. (Les Mis is likely to win for its score, sound mixing, makeup and hair styling, and best supporting actress for Anne Hathaway.)
Actually, make that three historical films, as Quentin Tarantino’s Django Unchained (up for best picture, cinematography and best original screenplay) can come under that rubric as well. The first half is a mock Western and the second, a mock-revenge melodrama about slavery. At least, though, it has one foreign character: German bounty hunter King Schultz (Christoph Waltz). Posing as a dentist, he gallivants around Texas, speaking perfect English. And you’ll never guess what? He’s a villain. He does have manners — but does that mitigate or enhance his villainy? One can never tell with Mr Tarantino…
Likewise, Argo (likely to win best picture along with some other prizes) and Zero Dark Thirty (likely to win for best original screenplay) depict epic events in the — albeit much more recent — American past. And although each of these films portrays Americans abroad, it shows them acting in the service of president and country — with the aim of protecting other Americans. Nothing too displaced about that.
Perhaps the best of this year’s films for anyone with a proclivity for venturing across borders is Life of Pi (likely to win for best original score and visual effects). The story is about an Indian family that is emigrating to Winnipeg, Canada. Yet, as even those of us who haven’t seen the film know by now, Pi Patel (Suraj Sharma) gets stranded on a lifeboat in the Pacific with a Bengal tiger. (That’s after the steamliner carrying his family’s zoo is pulled underwater during a freak storm.)
Over the course of months, the two unlikely castaways must depend on each other to survive — a scenario that provides an occasion for reflecting on cross-spiritualism, not cross-culturalism. (Pi, who was born a Hindu, loves Jesus and practices Islam.)
It also provides an occasion for displaced Taiwanese filmmaker Ang Lee to try his hand at 3D storytelling.
Why are we trying so hard to fit in when we were born to stand out?
WELCOME TO THE 2013 DISPLACED OSCARS. If we don’t fit into the Hollywood version, we may as well host our own event. We invite you to vote on your favorite films in the four categories we have created below. Preliminary results were announced in the Displaced Dispatch that came out on Saturday, February 23rd. Final results will appear in the Dispatch that comes out on Saturday, March 2nd. Be sure to sign up if you haven’t already!
1) Best Film Exploring Themes of Interest to Expats & International Travelers
This category honors the films that put cross-cultural themes right at the center. And the nominees are:
1) Shanghai Calling (2012, dir. by Daniel Hsia) SUMMARY: Manhattanite Sam (Daniel Henney), an arrogant young lawyer, is transferred to his firm’s Shanghai office. He bungles his first assignment and finds his career in jeopardy. With the help of his beautiful relocation specialist, among others, he just might be able to save his job and learn to appreciate the wonders that Shanghai has to offer. WHAT CRITICS ARE SAYING: How often do we get to see Shanghai on the big screen? That said, the plot is somewhat shallow and fails to make the most of Sam’s background as a Chinese American.
2) The Best Exotic Marigold Hotel (2012, dir. by John Madden) SUMMARY: A group of British retirees — played by British acting greats like Judi Dench, Maggie Smith and Bill Nighy — have outsourced their retirement, attracted by the less expensive and seemingly exotic India. They are enticed by advertisements about the newly restored Marigold Hotel and given false dreams of a life with leisure. WHAT CRITICS ARE SAYING: At the 2012 Mumbai Film Festival, the film was honored for showcasing Indian filming locations — a view not necessarily shared by viewers outside the subcontinent. Some of us feel that India was slighted by being treated as the shimmering background to a story about retirement-age self-renewal.
3) The Imposter (2012, dir. by Bart Layton) SUMMARY: Thirteen-year-old Nicholas Barclay disappeared from his home in San Antonio, Texas, in 1994. Three and a half years later, he is allegedly found alive, thousands of miles away in a village in southern Spain with a story of kidnapping and torture. His family is overjoyed to bring him home. But all is not quite as it seems. The boy bears many of the same distinguishing marks he always had, but why does he now have a strange accent? Why does he look so different? This British documentary concerns the 1997 case of French serial imposter Frédéric Bourdin. WHAT CRITICS ARE SAYING: By common consensus, The Imposter is one of the year’s most provocative pictures. Certainly, Displaced Nation writer Anthony Windram found it that way. In one of our most popular posts of last year, he mused that Bourdin’s story is not entirely unfamiliar to expats, all of whom have chameleon-like qualities.
CAST YOUR VOTE HERE!
2) Best Foreign Displaced Film
This category honors films about displacement that take place in non-English speaking countries and therefore require English speakers to read subtitles while learning about other cultures. And the nominees are:
1) Tabu (2012, dir. by Portugal’s Miquel Gomes) SUMMARY: The action in this experimental fiction ranges from contemporary Lisbon to an African colony in the distant past, in what was Portuguese Mozambique. First we are introduced to a cantankerous elderly Portuguese lady with a gambling addition. Then we flashback to her youth as a beautiful young woman living a kind of White Mischief existence at the foot of Mount Tabu, where she falls in love with a handsome adventurer…(Notably, the film’s title references the 1931 German silent film of that name, which took place in the South Seas.) WHAT CRITICS ARE SAYING: The film shows what happens to expats who live too long — there are no remnants of “paradise” left. But some — e.g., A.O. Scott of the New York Times — have faulted the director for glossing over the issues of colonialism in the film in favor of simple aestheticism.
2) Clandestine Childhood (2011, dir. by Benjamín Ávila) SUMMARY: A cinematic memoir drawn from Ávila’s own experiences, the film paints an unsettling portrait of families affected by military dictatorships. The year is 1979, five years after Perón’s death, and the family of 12-year-old Juan, who have been living in exile in Cuba, returns secretly to Argentina. Juan’s parents are members of an underground organization and for sake of their cover, he must assume the name of “Ernesto” and pretend to be a newcomer from northern Argentina. WHAT CRITICS ARE SAYING: Juan’s parents aren’t fleeing the law because of their past misdeeds but are trying violently to overthrow a current dictatorship. The film therefore raises the question: do urban guerrillas make good parents? After all, they are asking their son, a Third Culture Kid, to act the part of a native in the homeland he never knew, for the sake of their political ideals. But while this question is intriguing, the story is driven almost entirely by clichés. As one critic remarked:
[T]he writing needs to be sharper to avoid feeling like a generic coming-of-ager.
3) Let My People Go (2011, dir. by Mikael Buch) SUMMARY: French immigrant Reuben (Nicolas Maury) is living in fairytale Finland — where he got his MA in “Comparative Sauna Cultures” — with his gorgeous Nordic boyfriend Teemu (Jarkko Niemi). He works as the mailman in a neighborhood whose colorful houses look like Scandinavian Skittles. Then, after a misunderstanding involving a parcel full of Euros, Teemu casts his lover out of Eden, sending him back to where he came from: Paris. WHAT CRITICS ARE SAYING: Ruben’s return to Paris — where he finds his family weathering various crises as well as emotional instability — demonstrates why he left in the first place. (Aren’t most expats escaping something?) However, the scenes with his wacky, feuding family members soon become tedious. As one critic puts it:
The movie’s labored attempt at creating comedy mostly means lots of scenes with Ruben cringing as relatives shout.
CAST YOUR VOTE HERE!
3) Most Displaced Director
This category honors the director who has shown the most chutzpah in raiding the literature of other cultures to make a commercially successful movie (note: they do not cast the natives!). This year’s nominees are:
1) Joe Wright for doing a British version of Anna Karenina (2012), casting his muse (Keira Knightly) in the titular role WHAT CRITICS ARE SAYING: Some enjoyed Wright’s bold new interpretation of this classic Russian novel, while others felt that he did Tolstoy a terrible injustice — for instance, New Yorker critic Richard Brody had this to say:
Wright, with flat and flavorless images of an utterly impersonal banality, takes Tolstoy’s plot and translates it into a cinematic language that’s the equivalent of, say, Danielle Steel, simultaneously simplistic and overdone.
2) Tom Hooper for casting a bunch of Aussies, Brits and Americans in Les Misérables WHAT CRITICS ARE SAYING: Since Hooper previously won the Best Director Oscar for the terribly English drama The King’s Speech (historical drama, yay!), many found it odd that he would choose to take on this sprawling French story, and beloved musical, to create what he calls “an oil tanker of a picture.” But for what it’s worth, Hooper had no qualms about directing a film having to do with French history instead of his own. He is persuaded that Victor Hugo’s story speaks to issues of concern today:
Hugo’s story of populist uprising in 1832 Paris resounds in an era of the Arab Spring, the Occupy protests and general frustration over economic inequality.
3) Korean director Hur Jin-ho for making an Asian version of Dangerous Liaisons (2012) — which was originally an 18th-century novel by Pierre Choderlos de Laclosset — and setting it in 1930s Shanghai WHAT CRITICS ARE SAYING: Many have complimented Hur Jin-ho’s decorous adaptation, saying it was clever of him to swap the insular, decadent world of de Laclos’ book, which takes place pre-French Revolution, with the similarly gilded cage of Chinese aristocrats just prior to the Japanese invasion. But the film isn’t particularly sophisticated on a political or historical level. As one critic writes: “It’s all just window-dressing: pretty, but substance-free.”
CAST YOUR VOTE HERE!
4) Most Displaced Actor/Actress
This category honors the actor who has performed this year’s greatest feat of playing a role that requires them to take on a whole new nationality. We’re talking Versatility Plus! And the nominees are:
1) Daniel Day-Lewis, the Anglo-Irish actor who portrayed Abe Lincoln in Lincoln WHAT CRITICS ARE SAYING: Apparently, there was no American actor good enough to play one of the most exceptional presidents the nation has ever known as critics have had nothing but praise for Day Lewis’s performance. Here is a sampling:
His Lincoln is tall and tousled and bent over with the weight of melancholy responsibility in the fourth year of the Civil War.
[Day-Lewis] manages to inject so much quiet humour into what could have been a very reverential portrait.
[The actor] inhabits the ageing figure of the 16th President of the United States with exquisite poise, intellect and grace.
2) Anne Hathaway for playing saintly prostitute Fantine in Les Misérables WHAT CRITICS ARE SAYING: Many find it impressive that Hathaway, cast as the tragic Fantine, sings the show-stopping “I Dreamed a Dream” in one take. (Tom Hooper’s contribution to the genre was having the actors sing rather than lip synch.) And some say that her willingness to have her locks shorn off on screen shows her commitment to her craft. That said, her performance is not to everyone’s taste. “Rarely have the movies seen such an embarrassingly naked plea for applause,” writes Australian film critic Jake Wilson — the implication being the Victor Hugo’s Fantine would have had more dignity.
3) Swedish actress Alicia Vikander for taking on two non-Swedish roles: Caroline Matilda of Great Britain (she served as Queen of Denmark and Norway in the 18th century) in A Royal Affair (2012); and Kitty in Anna Karenina (2012) WHAT CRITICS ARE SAYING: Vikander’s “moxie” is apparently what landed her both of these parts. According to A Royal Affair director Nikolaj Arcel, every actress in Denmark wanted the role of Mathilde, but only Vikander had the requisite “regal quality.” She even went to Copenhagen two months before shooting began to learn to speak Danish fluently. Likewise, Anna Karenina director Joe Wright saw in her the qualities to play Kitty, a flirtatious young woman who believes the dashing Count Vronsky is her Prince Charming, only to find love with a kind-hearted farmer named Levin. It is not uncommon for movie-goers to remark that she outshines Kiera Knightly’s Anna.
CAST YOUR VOTE HERE!
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Are we missing out on any films/categories? Please leave your suggestions in the comments below.
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FOR, BY & ABOUT DISPLACED CREATIVES
We have interviewed many displaced creatives: memoirists, novelists, entrepreneurs & artists of various kinds. Check out the collection for possible soulmates!
About The Displaced Nation
The founders of The Displaced Nation share a passion for what we call the "displaced life" of global residency and travel—particularly when it leads to creative pursuits, be it writing, art, food, business or even humo(u)r.