I definitely agree with the "backlash" position on Slumdog Millionaire. It's not just how embarrassingly cliched the last third or so of the movie is -- not so much a Bollywood tribute as a tribute to Hollywood triumph-of-the-underdog-who-gets-the-girl-too-in-an-even-more-dreary-subplot movies -- but that these cliches undermine the best parts of the movie, making the whole less than the sum of the parts. Although I would vote for Van Sant among the five nominees I don't necessarily begrudge Boyle his inevitable best director award; it's a tribute to his style and craft that the movie is as entertaining as it is despite its considerable flaws. But if the screenplay wins it's a joke.
In addition, I should also say that The Wrestler isn't just a movie with two great performances, it's a tremendous movie, period, easily the best American movie of the year. For a full account, I'll outsource to Stevens and Scott. One thing I do want to address, though, is the idiotic argument (sometimes made by defenders of the film) in some quarters that it's just a Rocky clone with better acting/direction. I can't imagine missing the point more. Pro wrestling makes such a great subject for a movie -- and avoids the sports movie cliches that mar this year's Best Picture winner -- precisely because there can be not heroic triumph (or near-triumph) when there's nothing to win. Neither the pre-destined winner nor the loser in wrestling are permitted the dignity of competition that made Rocky seem like a winner even when he lost, and the implications of this are explored with great effect. And there are lots of other nice touches -- for example, the amazing scenes of the washed-up wrestlers hawking VHS tapes at the American Legion hall, the parallels between pro wrestling that are never belabored or (so rarely in the age in which Aaron Sorkin is considerd a genius) theorized about by the characters. There are some minor flaws: in particular, the movie needed either more or less of the daughter, and ultimately the attempt to create a substantial arc with little screen time created a last scene between them that was glaringly implausible and sitcommy. But overall it's a superb piece of work, and in addition to Rourke being a great story it's gratifying to see a director of considerable promise and less accomplishment really pull it together.
I guess this should be an Oscar open thread.
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