Screenhead

Continuing in our look back on the last decade, Screenhead examines the major movie events of the year 2003. For previous years, click  to visit the article: 2000, 2001, 2002.

Clint’s Comeback

As a director, Clint Eastwood was always uneven. When he made a critically acclaimed movie like Bird, they wouldn’t make money. When he made a money-maker, it was usually somewhere between dull and awful (Space Cowboys). And up until 2003 he had mostly made mediocre thrillers like True Crime and Blood Work. But all that ended with the release of Mystic River, an adaptation of the Dennis Lehane novel in which the lives of three boys in Boston are disrupted by a child molester, and how that incident complicates a murder when the three become grown men. The film, although somewhat over-rated, was a nice balance between murder mystery and exploration of a typical working-class neighbourhood, elevated by the two excellent lead performances of Sean Penn (as the gangster Jimmy whose daughter is murdered) and Tim Robbins (the molested boy who never quite recovered, and becomes Suspect #1). The film was praised, was a box-office success, and also earned Oscars for both Penn and Roberts (who is now the tallest actor to win an Oscar!).

Since then Eastwood became the Golden Geriatric of Hollywood. His sentimental drama Million Dollar Baby nabbed an Oscar for Best Film and Eastwood earned his second award as best director. Eastwood then surprised audiences by making two war films about the WWII battle on the island of Iwo Jima, one film telling the American side, and the other, Letters from Iwo Jima, telling the Japanese side. The latter did exceptionally well in Japan. 2008 saw the release of two more Eastwood-directed flicks, Changeling and Gran Torino, the latter being Clint’s last acting appearance. A testament to his popularity, Gran Torino is his biggest box office success yet. And the man who inspired McGarnagle is still going strong, with his biopic of Nelson Mandela, Invictus, about to be released.

3D: The Revenge

Back in the 1950’s 3D movies were developed primarily as an attempt to get people back into theatres and away from the dreaded television sets, which many believed would decimate the film industry. But 3D proved to be costly, requiring two projectors operating in perfect sync, and if they went out of sync, the film would be rendered unwatchable. It’s also interesting that very few of 3D films were ever considered classics, usually relying on effects and lacking on story (even Hitchcock’s 3D effort, Dial M for Murder, is one of his weakest). But 2003, perhaps coinciding with the first year in which home video (VHS, DVD, and VOD) sales thrashed the theatre, saw 3D return with a vengeance. Master of technological advances, James Cameron released the 3D documentary about the wreckage of the Titanic, Ghosts of the Abyss, which was only available in IMAX theatres. That same year Robert Rodriquez released Spy Kids 3D, which made nearly $200 million worldwide, and must have got Hollywood executive heads working.

The following year saw the first ever feature length 3D animation, The Polar Express,  and the 3D outsold the 2D screenings by a 14 to 1 ratio. With the help of digital cameras and projectors creating a new format known as Real D, 3D is now a huge phenomenon, with most summer animated films being released in 3D, as well as the occasional concert film (U2 3D), not to mention the recent onslaught of 3D horror films (My Bloody Valentine, The Final Destination). And at the moment 3D flatscreen TVs (in which several key positions from the TV will enable the viewer to see 3D effects) are being fine-tuned for the ever-increasing demand for this revived experience. But the popularity of 3D may have a beneficial impact on the independent film industry, forcing cinemas to buy digital projectors and thus allowing independent producers to distribute their films without the hefty cost of print-making in distribution.

Lost in Translation and Scarlett’s Rise

The biggest surprise of 2003 was the slow-burning that Lost in Translation became. Sophia Coppolla’s slight tale of alienation both in Japan and in the lives of a fading actor and a recent college graduate resonated with audiences, mostly likely due to the wondrous use of music and footage of Toyko, as well as the charismatic performances of Bill Murray and rising starlet Scarlett Johansson. Although the film is essentially an effort of style over substance, it revived Murray’s career and (along with her sultry performance in Girl with a Pearl Earring) propelled Johansson into stardom, who was often complimented as being not only talented but also not adhering to Hollywood’s expectations, if not insistence, on a stick-thin shape.

However, neither Johansson nor Coppolla lived up to expectations. Johansson made as many flops and delivered as many bad performances as she made hits or good reviews, appearing in some stinkers like The Island, Scoop, and The Black Dahlia. Her poor reworking of Tom Waits songs in her album “Anywhere I Lay my Head” didn’t help her appeal. Also, Coppolla’s limitations as a storyteller were revealed in the hideously ignorant and superficial Marie Antoinette (where Coppolla attempts to utilise modern and alternative post-rock to illustrate the idea that Antoinette was a proto-teenager), which did not do well in the box-office. Yet it is Johansson that appears to be rising again, most notably with her performance in the delightful Vicky Cristina Barcelona, and appearing in the hit rom-com He’s Just Not that Into You. Johansson is also set to appear in the blockbuster sequel and inevitable sensation Iron Man 2.

Welcome (Back) to the Matrix

The Matrix wowed audiences in 1999 with its kung-fu trickery and philosophy-tinted script, as well as introducing the world to bullet time. Its open ending left many a fanboy salivating for the proposed trilogy, which arrived in 2003. It was a brave move to effectively serialise the remaining two films, releasing them six months apart (something Quentin Tarantino did that very year for his two-part Kill Bill). The first of the sequels, The Matrix Reloaded, had a hugely successful run in the box-office earning over $700 million worldwide, twice as much as the original. However, the audience, and even fans of the original, weren’t exactly pleased with its excessively long, Bacardi-Breezer-ad-style dance/orgy/sex scene, and a climactic scene with an “architect” which went over the head of those not familiar with a freshmen philosophy curriculum.

It was no surprise, then, that the grand conclusion to the series, The Matrix Revolutions, earned a lot less ($427 million worldwide, which is still a considerable amount). While some claim it was because of the time of year (November) and subdued marketing campaign, the drop in ticket sales were mostly due to the dissatisfaction with its predecessor, not to mention Revolution’s poor reviews for being the bloated, badly-scripted mess that it was. Nevertheless, the influence of the Matrix remains, and it even generated a tongue-in-cheek religion called Matrixism!

The Governator

Hollywood and politics have never been mutually exclusive, especially since Ronald Regan acted as US president from 1981 to 1989. But it’s certainly strange to see a man who’s most famous for portraying an unemotional assassin robot take the reins as governor of the state of California! In 2003 known Republican (who became so after arriving to the US and being impressed by a speech by Nixon) Arnold Schwarzeneggar attempted to get in on the successful (Total) recall of California’s governor and add his name to a long list of candidates. Bizarrely, Arnie (labelled The Running Man) won, receiving over a million votes by citizens who must have thought it would be hilarious to see decapitating warrior Conan the Barbarian run the state. What are the odds that the majority of those voted weren’t aware of his policies?

Nevertheless, Arnie managed to prove his mettle in the political area. Despite early criticism and a huge loss of confidence after all of his proposed special election propositions were voted against in 2005, the Governator managed to gain popularity, even being re-elected in 2006. As governor, Arnie’s political decisions are moving from Republican right to central, and Arnie has approved several greenhouse gas-reducing measures. He also refuses his yearly salary, and may even run for the Senate in 2010. With Arnie and Jesse Ventura both being governors of US states, what’s next? Apollo Creed as Mayor of Philadelphia? Shane Black cracking down on crime in Pennsylvania?

We Said Goodbye to: Katherine Hepburn

Tough, feisty, opinionated, Katherine Hepburn was hated by those who didn’t know her and loved by those who did. Her anti-establishment ways were far too progressive for some, but her drive and dedication were enough to make her one of cinema’s most celebrated actresses, and she remains the actress with most acting Oscars under her belt.

Commencing her career on stage, it was always Hepburn’s audacity that got her noticed. She was scouted due to a stage play in which she entered a scene carrying a large stag- head. Indeed, Hepburn spent her life performing most of her own stunts. In the early 30’s she made her mark on cinema swiftly, starring in the box-office success Little Women and earning her first Oscar in Morning Glory. Despite being labelled box-office poison later in the decade (mostly due to a fiery personality, such as refusing to sign autographs), and losing out as the lead in Gone with the Wind (she remained friends with Vivian Leigh nevertheless), Hepburn made a comeback with the light comedy The Philadelphia Story, alongside Cary Grant and James Stewart.

Hepburn maintained a long-term relationship with Spencer Tracy, starring in 9 films together and remaining lovers (something they attempted to keep secret due to Tracy’s separated marriage). Their last film together was the Poitier comedy Guess Who’s Coming to Dinner, which earned Hep another Oscar. She never watched the film, claiming it was too painful due to Tracy dying shortly after production.

Hepburn remained active throughout her career, earning another two Oscars in 1968 (The Lion in Winter) and 1981 (On Golden Pond). She also remained just as opinionated, announcing who she found talented (Julia Roberts) and who she didn’t (Sly Stallone, Arnie). She died at the age of 96. Nevertheless her spirit remained winning awards. In 2005 Cate Blanchett won an Oscar for her portrayal (although it felt more like caricature) of Hepburn in The Aviator, Scorsese’s biopic of Howard Hughes.

Films of the Year

Kill Bill Volume 1
American Splendour
Oldboy
The Fog of War
Lord of the Rings: Return of the King

By Eoin O’Faolain

Future Years: 2004, 2005, 2006, 2007, 2008, 2009

Anything you think we’ve missed? Anything you disagree with? Let us know on the comments below!

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