a theatre, film & pop culture review
As with his composer, A.R. Rahman, you know when you’re watching a Danny Boyle film — and a lot of that has to do with his signature editorial storytelling, headed this time by editor Jon Harris (Snatch, Kick-ass, Layer Cake). 127 Hours deftly, and rather beautifully, transitions from claustrophobic caves to dream sequences and back again. Black Swan‘s editing by Andrew Weisblum stands out for its intimate understanding of — and respect for — the horror genre (how often can you say that about an Oscar nominee?). Employing tricks of the trade, Weisblum and Aronofsky’s primary focus was always on ballerina Nina’s subjectivity, how she obsessively perceived herself — sometimes accurately, but often with paranoia — and the film seamlessly engages the two, constantly and quite remarkably blurring the lines between realism and impressionism. The result is an enormously distressing, frightening, and overwhelming film.
I have no idea why The Fighter or The King’s Speech are represented here — neither relies heavily on editing to tell its respective story and certainly neither stands out in this area. The real surprise is that the uber-ambitious action flick Inception didn’t make the cut for its dreamy cross-cutting.
Widely acknowledged as the front-runner, David Fincher’s The Social Network, tells what could have been an uber-dull and ungainly (nerdy kids typing away on keyboards) story into one of the most exhilarating films of the year. Sure, Sorkin’s rapid-fire dialogue helps as well, but it’s Angus Wall and Kirk Baxter’s expert flashes back and forth between numerous time lines that puts the Facebook Movie on lock as the easy winner here.