In his lengthy filmmkaing career, Alexander Payne has, amazingly, only directed five feature films—but his influence is apparent. His unique brand of dramedy, one that strives to explore the "ordinary" people, places and things in life, has transcended even his own filmography. Movie buffs will describe new works by fresh faced filmmakers as "Payne-like." He's a master, quantity withstanding. Unfortunately, this hasn't given the awards circuit too many opportunities to praise him for his efforts: he was awarded screenplay Oscar nominations for Election and Sideways (winning the latter) and helped his actors nab their own laurels (Jack Nicholson and Kathy Bates were nominated for About Schmidt, Thomas Hayden Church and Virginia Madsen for Sideways). With his latest effort The Descendants, Payne is once again in the Oscar conversation, and with lead actor George Clooney by his side, could walk away with a few more awards.
And rightfully so. The Descendants is arguably one of Payne's softer films—less biting than the social satire of his early Citizen Ruth and Election, and, while still being tremendously funny at times, lighter than About Schmidt and Sideways. Those two movies were driven by distant, often unpleasant characters, but, while Clooney's character Matt King has his own heap of problems, rarely do his actions or the situation leave us unsympathetic. There are plenty of tender, tearjerker moments that make the movie stand out.
While I've wondered before if Clooney's stardom interferes with his ability to be truly great in The Descendants, he's one of the top dogs for Best Actor. Payne wisely tells the story of a man in search of life's answers through Clooney's expressive, weathered expressions. While the writing is sharp, it's not abundant—Payne allows Clooney to be able to carry the weight and draw us in with his hushed performance. Who doesn't love starring at George Clooney? The other standout along with Clooney is the breakthrough performance of young actress Shailene Woodley, who plays Matt's rebellious daughter Alexandra. If there's anything the Academy likes more than time-honored stars, it's up-and-comers they can latch onto early. Woodley's already earned herself a Golden Globe nomination and an Oscar nom seems likely. In the movie, Woodley naturally slips into her onscreen persona, evolving over the course of the movie in tandem with Clooney's Matt. It's a lovely progression, one that never explodes in order to give Woodley a flashy moment—but that might be what keeps her from bringing this one home.
What makes The Descendants a difficult sell for the top prizes of the year, Best Picture in particular, is also its greatest quality: honesty. This may be the same reason why none of Payne's previous films have ever sailed straight to the top as frontrunners. They're not easily digestible. They lack the feel-good vibe of a Best Picture. You leave thinking, whereas something like this year's clear frontrunner The Artist, you leave all warm and fuzzy. Payne's a great writer and director, but subtlety isn't the default for the awards season hive mind. In a perfect world, his colorful script and reserved direction, that turned Hawaii into a tangible location full of real life drama, would stand up to all of 2011's technical marvels. If the award gods throw Payne a bone, expect it in the Adapted Screenplay category.
Whether the muted work of Hollywood's biggest A-Listers, the organic simplicity of a newcomer or the hand of one of the today's great filmmakers is apparent enough in the final product for voters to recognize the film's quality is almost moot. After a seven year gap between Sideways and The Descendants, a new film from Alexander Payne is a treat in itself.
hollywood.com
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