Children in Films Blogathon: A Revisionist Look at the Juvenile Award

When I learned of the Child Actor Blogathon at Comet Over Hollywood, I had two ideas for it almost right away: the Jackie Searl spotlight and this one. Not too long ago I argued for why the Juvenile Award should be re-instated. In this post I will follow up on that notion to augment my case. It’s one thing to quickly cite who won while it was around and state it never should have left, it’s quite another to show you who would have had they never gotten rid of it. Now I have decided to illustrate that in three ways, including some omissions found when it was instated (it’ll make more sense when we get there, trust me). First, I will list the young actors who since the end of the award (after 1961) were nominated for an Academy Award.

These actors obviously, had there still been a Juvenile Award, would have won that. While on occasion they were awarded the prize, more often than not they didn’t have a realistic chance. Regardless, their nomination was deemed prize enough it would seem, but I disagree and as you will see there have been plenty of instances where the Juvenile award could have been handed out either in addition to or in place of the nomination.

Based on Academy Award nominations from 1961-Present:

Little Miss Sunshine (2006, Fox Searchlight)

2012 Quvenzhané Wallis Beasts of the Southern Wild
2010 Hailee Steinfeld True Grit
2007 Saoirse Ronan Atonement
2006 Abigail Breslin Little Miss Sunshine
2002 Keisha Castle-Hughes Whale Rider
1999 Haley Joel Osment The Sixth Sense
1993 Anna Paquin The Piano
1979 Justin Henry Kramer vs. Kramer
1977 Quinn Cummings The Goodbye Girl
1976 Jodie Foster Taxi Driver
1973 Tatum O’ Neal Paper Moon
1968 Jack Wild Oliver!
1962 Patty Duke The Miracle Worker
Mary Badham To Kill a Mockingbird

Personal Selections

Super 8 (2011, Paramount)

In 1996, when I was 15 and the young actors of the day where my contemporaries, I started making my own award lists. Being young myself at the time I wanted to recognize young actors where most awards excluded them more often than not. These selections reflect those that were my among my BAM award selections that were eligible and the Academy bypassed. Prior to 1996, I thought of significant performances that were worthy of noting and would’ve had a strong case for the Juvenile Award had it been around.

2012 Rick Lens Kauwboy

This one is highly unlikely as Kauwboy wasn’t shortlisted for the Best Foreign Language Film prize. However, the fact that it was the official selection for The Netherlands did make it eligible.

My young actress choice last year, Sophie Nélisse, was a year off from the Oscar calendar but also a strong possibility for Monsieur Lazhar.

2011 Joel Courtney, Elle Fanning, Ryan Lee, Riley Giffiths Zach Mills, Gabe Basso Super 8

It figures that both the best young ensemble, and perhaps individual performance, of the past 25 years got overlooked. So they are all honored here.

2009 Bill Milner Is Anybody There?

2008 Bill Milner and Will Poulter Son of Rambow

A slight wrinkle here from my original selection. Since the Academy set precedent of awarding tandems, why not do so here as well?

2005 Dakota Fanning War of the Worlds

2004 Freddie Highmore Finding Neverland

My 2004 winner was one where I was awarding a film from 2003, due to my stand on release dates, which is different than the Academy’s. Having said that I then had to factor in both my nominees and who the Academy would be more likely to pick and decided if they chose anyone it would have been Highmore.

2003 Jeremy Sumpter Peter Pan

2001 Haley Joel Osment Artificial Intelligence: A.I.

2000 Haley Joel Osment Pay It Forward

1998 Vinicius de Oliveira Central Station

1997 Joseph Ashton The Education of Little Tree

Here’s another interesting case: my winner was in a TV film which the Academy would never honor. Then two more nominees were either shifted due to my interpretation of release date rules and one erroneously in my revisionist phase. That leaves two eligible: Dominic Zamprogna in The Boy’s Club and Joseph Ashton in The Education of Little Tree. Some people besides me actually saw the latter so I’d put that one up as a winner.

1996 Michelle Trachtenberg Harriet the Spy
Lucas Black Sling Blade

Michelle was my actual winner in 1996. Sling Blade in my awards was shifted to 1997 due to its release date. It being an Oscar nominated film make it a more likely retrospective candidate.

My Girl (1991, Columbia Pictures)

This section marks personal selections prior to my picking extemporaneous year-end awards.

1994 Elijah Wood The War

I recall watching E! and hearing there was some buzz being stirred by the cast/studio for Elijah. I knew it would never happen, but it was deserved buzz.

1992 Maxime Collin Leolo

I have since expunged them but for a time I did backtrack BAM Award to back before they started. Some of these picks reflect those findings.

1991 Anna Chlumsky My Girl

1990 Macaulay Culkin Home Alone

Say what you will, but you know if the award was around that this would have happened.

1988 Pelle Hvengaard Pelle the Conqueror

1987 Christian Bale Empire of the Sun

1986 River Phoenix Stand by Me

1983 Bertil Guve Fanny and Alexander

1982 Drew Barrymore and Henry Thomas E.T.: The Extra-Terrestrial

1979 Ricky Schroeder The Champ
David Bennent The Tin Drum

1972 Nell Potts The Effect of Gamma Rays on Man-in-the-Moon Marigolds

Who Should Have Gotten One But Didn’t

No Greater Glory (1934, Columbia Pictures)

I honestly almost scrapped this section. However, looking back through young nominees I noticed the discrepancy that some young nominees did not get a Juvenile Award while there was one. So I figured while I was at it I’d list a few notable performances that didn’t get recognized. Those that “didn’t need one” since they were nominated as in their respective categories against adult competition have denoted those with an asterisk.

1956 Patty McCormack The Bad Seed*
1953 Brandon deWilde Shane*
1952 Georges Poujouly Forbidden Games
1941 Roddy McDowall How Green Was My Valley
1936 Freddie Bartholomew Little Lord Fauntleroy
1934 George Breakston No Greater Glory
1931 Jackie Cooper Skippy*

DVD Review – Straight A’s

Introduction

I don’t frequently write DVD reviews, but upon seeing this film I was compelled to watch the special bonus features on it as well. Typically, I would stick to a review of the program on the disc, but have included thoughts on the features below.

Film

Straight A's (2013, Courtesy of Millennium Entertainment)

The film has a very basic synopsis and I will not elaborate much at all on that here. It’s likely better that you go in knowing that much or less about this film. Straight A’s really caught me by surprise as a refreshing, character-driven family dramedy, that doesn’t get bogged down in the histrionics that are potential pitfalls of a film with a synopsis such as this one.

I will readily admit that I just may have a soft spot for family dramedies. However, the recent film in the subgenre that comes to mind for me is Fireflies in the Garden, and that film pushes its melodramatic limits, whereas there is a fairly realistic grounding to be found here. Characters’ motivations and reactions make sense, things are played up as much as they need to be and are still fairly effective. While the overtures of external conflict are apparent, there is also a lot inner-turmoil that the film is wise enough to hold the reins on, and allow some disputes to be settled sub-textually rather than textually.

There are two things this film does very well early on that set it up for success: The first is that it establishes an overt structure for the titles that confirm the passage of time and that a new day has begun. I’m not one who is slavish towards a ticking clock mentality, but far too often films employing this sub-division approach lag because we as an audience have no clue what the endgame is, and they’d be better off letting time flow organically. This structure becomes intrinsic to this film and aids the flow of it.

That narrative structure established is confirmed by the voice over of the film’s narrator Charles (Thomas Riley Stewart) and that sets up one of the many wonderful symmetries of this film. Quite a few pieces of dialogue, motifs and themes come back around unexpectedly and close many a tidy, well-wrought circle. This is assisted by the strong, certain manner in which the narrative asserts itself.

In building these characters the film does well to split the job. It always shows something about them when they’re alone, usually visually, and is constantly rounding in interaction, but perhaps the best work the film does is through dialogue. The black sheep returning to the fold is Scott (Ryan Phillippe) who is always direct. There is also the fact that Charles is very intelligent that could lead to a number of pitfalls, but his dialogue isn’t instantly and persistently showy, and neither of the kids are condescended to. It’s just one tool that that the film uses to constantly add new definition to its main characters, but one of the best used.

One good example both of dialogue and of how the film avoids overplaying its hand is one of the lead-up-to events – an oral presentation Charles has before his whole school. In this sequence, I was reminded of how the speech in Crazy, Stupid, Love devolved from its diegetic script to being a very literal thinking out loud. There’s a clear message, but never one that’s bluntly said. It’s also another good case of follow-through in the subjective editing choices that are made.

There is also good use of montages and cross-cutting sequences that are more nested and less overt than you see many times. For as strong as the film is with its use of dialogue, it doesn’t ignore the visual end of things either and has quite a few visual signatures throughout.

Of course, any film described as character-driven needs its actors to deliver in order to work and this film has that as well. Ryan Phillippe seems to be quite connected throughout and fills in those blanks the script can’t; portraying troubled, irresponsible with good intentions that could just read like a jerk. Luke Wilson, like in Meeting Evil, finds a part that really seems to suit his type, his poker-faced, button-lipped character’s moment of decision reads better due the whole of his performance. Paquin’s facade of control is always erected, even as she loses it, and it makes her a presence that can be reasonable seem to be one that would be acquiesced to, even by Scott. There’s also Powers Boothe with a significant secondary role, that’s sensitive and understated. Boothe is an actor who you literally can’t see enough of. Last, but not least, there’s Riley Thomas Stewart who has the unenviable task of playing intelligent, precocious yet still childlike and endearing, and he succeeds with flying colors. Even when the dialogue is clearly designed to show his vast intellect it just sounds like Charles talking as opposed to an actor doing a line reading, which is a hard task with verbose lines.

Straight A‘s is the kind of film that might slip under one’s radar. I know I’m glad I found it, as it’s yet another dark horse for this year that I really connected with.

9/10

Special Features

Straight A's (2013, Millennium Entertainment)

While they are a little stripped-down with quick cuts to black and spotty audio, the three special features on the disc make up for in content what they lack in flash.

There’s a featurette, which is about trailer-length that’s a quick splicing together of interview and final film footage.

There are interviews with director, producers and several stars of the film, which run about 17 minutes and explore the themes of the work rather well without getting overly-bogged down in minutiae, but also lends a personal perspective from each participant with interesting tidbits.

Most interesting to me was the behind the scenes footage. They were usually rather quick shots taken during production of the set-up of shots, gear being put in place or moved, takes being done, or re-done and the like. This runs around six minutes. It’s bereft of commentary so it would likely be more intriguing for a filmmaker, but it is an interesting touch to be added to the package.

Straight A‘s is out on DVD and Blu-Ray today.