Chanukah has gone and Christmas is here, so it’s time for critics and other deep thinkers to weigh in on which film producers, directors and actors can start rehearsing their spontaneous Oscar and Golden Globe acceptance speeches.
Since there is no “Jewish” category, The Journal annually tries to fill this gap.
So far, “Inglourious Basterds,” the revenge fantasy in which a squad of hard-nosed American Jewish GIs single-handedly eliminates the Nazi leadership, from Hitler on down, ranks high among top pictures of the year.
In the director’s category, Jason Reitman, following in the footsteps of father Ivan Reitman, is a top contender for “Up in the Air.” Working with a first-class cast, including George Clooney, Reitman seems to have hit a responsive chord with the story of an executive who flies around the country firing workers on behalf of downsizing companies.
Two movies, both generally ranked in the second tier of best-film contenders, have ruffled some Jewish feathers for their perceived anti-Semitic depictions.
Particularly under fire is Britain’s “An Education,” in which an emphatically Jewish sleazeball seduces a young gentile girl.
Critic Irina Bragin wrote in The Journal that the Jewish character reminded her of Nazi propaganda stereotypes and that the film “wraps old anti-Semitic messages into a pretty new package.”
Also considered offensive by some are scenes in “A Serious Man,” in which the Coen brothers, Joel and Ethan, draw on their Midwest adolescence to present some rather unflattering Jewish characters.
There are no sure bets in the Oscar prognostication game, but if you have some loose change you’re advised to wager on Christoph Waltz, who tops every best-supporting actor list so far.
The Austrian actor excels as Col. Hans Landa, aka the Jew Hunter, a suave and sadistic Nazi officer, who finally gets his comeuppance in “Inglourious Basterds.”
In the best foreign-language film category, loyal supporters of the Jewish state have been waiting for more than half a century for an Israeli entry to win the top prize.
In the last two Oscar races, Israeli films were among the select five finalists — “Waltz With Bashir” last year, and “Beaufort” in 2008.
Both movies dealt with Israel’s wars in Lebanon, and this year the Israel film academy had the choice of sending “Lebanon,” a powerful picture on the same conflict, to Hollywood.
However, since neither of the previous war movies had won the coveted statuette, the Israeli academy decided to switch topics, according to various commentators.
The choice as Israel’s best picture of the year, and automatically the country’s entry in the Oscar race, was “Ajami,” a first-class film on Arab-Jewish life and tensions in a mixed quarter of Jaffa.
“Ajami” has not yet gone into general release in Los Angeles, but whatever the rationale, the film has not ranked among the top favorites with most prognosticators.
Critics who have seen “Ajami” have given it favorable reviews, but the current odds seem to be against the Israeli movie making the list of finalists.
While last year, the Golden Globes pick for best foreign film was “Waltz With Bashir,” in the 2010 nominations, announced this week, the Israeli entry struck out.
The new Globes list includes two foreign films that have generated the most buzz so far, “The White Ribbon” from Germany and France’s “A Prophet.” Also among the Globes finalists are Italy’s “Baaria,” Spain’s “Broken Embraces” and Chile’s “The Maid.”
In other picks so far, the Los Angeles Film Critics Association chose another French drama, “Summer Hours,” as best foreign film, while the New York Film Critics Circle opted for “The White Ribbon.”
