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Cradle Will Rock 1999

A true story of politics and art in the 1930s U.S., focusing on a leftist musical drama and attempts to stop its production...

Release Date:
April 12, 2000
132 min
Tim Robbins
Dominic Chianese, Jack Black, Tim Robbins, ...

Your rating: 0

Solar rating: 0


Imdb rating: 6.9



Best Picture
The Aviator
Finding Neverland
Vanity Fair
Don't Count Out: Proof, The Life Aquatic, The Phantom of the Opera
At this point (you know, the point where we don't actually know much about the pictures) it would be stupid to say The Aviator isn't the best bet. It's a huge story of old Hollywood, and Oscar should love it. Advanced reviews of Closer say it's nothing short of incredible, and it may surpass Garden State as the biggest indie of the year. Alexander could be great or really suck (I have a feeling it may be the latter) but it's an historical epic, so I'm not counting it out at this point. The Finding Neverland trailer is pure oscar bait, and it's a biopic with a great cast. Vanity Fair, aside from having a great cast, is classic oscar fair. Proof could squeeze in there if it's really good, but advanced word is that it's not so great. If The Life Aquatic can overcome quirkiness and coast on Bill Murray's newfound star power, it could garner a nod. The Phantom of the Opera is following the recent musical craze at the oscars, but adaptaing something so well-loved is a gamble, and it's starring two stars who have yet to make it big.

Best Actor
Jim Carrey, Eternal Sunshine of the Spotless Mind
Johnny Depp, Finding Neverland
Leonardo DiCaprio, The Aviator
Jude Law, Closer
Bill Murray, The Life Aquatic
Don't Count Out: Tom Hanks, The Terminal; Tom Cruise, Collateral; Colin Farrel, A Home at the End of the World
Jim Carrey recieved rave reviews for his touching turn in Eternal Sunshine, and he's an actor who hasn't even recieved his due in nominations, so this is looking like his year to finally get some academy respect. Depp seems to be the fortrunner at this point. He's playing a loved writer in a biopic, and he has an accent. DiCaprio will ride The Aviator's success to nomination. Jude Law is supposedly fantastic in Closer, and it's a big year for him film-wise. Bill Murray will probably ride Oscar's love from last year to a nomination, but Oscar has shown time and time again that they aren't big on quirky comedy. Hanks has recieved great reviews recently for the Terminal, but it's summer release and less than glowing critical reception will hinder his chances. Cruise is always great when playing assholes, and Michael Mann always gets the best performances from his leading men, but the film doesn't look oscar-friendly. Colin Farrel will probably split his vote between his supposedly great performance in the supposedly less than great A Home at the End of the World and his epic portrayl of Alexander.

Best Actress
Joan Allen, The Upside of Anger
Gwenyth Paltrow, Proof
Kate Winslet, Finding Neverland
Reese Witherspoon, Vanity Fair
Naomi Watts, We Don't Live Here Anymore
Don't Count Out: Renee Zellweger, Bridget Jones: The Edge of Reason; Nicole Kidman, Dogville; Samantha Morton, The Libertine
Oscar likes Joan Allen, if the movie turns out even halfway good, she should get recognition. Paltrow is apparently the best thing about Proof. Winslet will be coming off a huge year with both Neverland and Sunshine, and the Academy won't be able to ignore her. She'll probably nab the nod for the more oscar-friendly film, and since she's wya overdue, she'll probably win this year, finally. Reese Witherspoon will hopefully put her talent to good use in a serious turn in Vanity Fair. She looks great in the trailer. Watts will hopefully ride last year's oscar love to another nom for another little film. Buzz from Sundance was that she was great, but she's also got a lot of films coming out, so she may get a nom in supporting for Stay or The Assassination of Richard Nixon. Zellweger should be in the race, considering The Edge of Reason is even goofier than the first. Kidman has been getting early oscar buzz for Dogville, but it had such an early release and was met with such mixed reactions I'm not betting on a nomination. Morton may surprise again if The Libertine actually gets released this year.

Best Supporting Actor
Jim Broadbent, Vanity Fair
Morgan Freeman, An Unfinished Life
Ryan Gosling, Stay
Anthony Hopkins, Proof
Clive Owen, Closer
Don't Count Out: Peter Sarsgaard, Garden State; Don Cheadle, Crash; Willem Dafoe, The Life Aquatic
Vanity Fair's supporting cast is so huge it could be anybody. I think VF will definitely score a nomination in this category, but I really don't know who for. If James Purefoy is as good as he looks in the trailer, he could nab it instead of oscar veteran Broadbent. Morgan Freeman has been so overlooked that it seems impossible he won't get it for this much buzzed about film. Gosling is one of the finest young actors working, and apparently his work in The Notebook is great, and even though that film probably won't get oscar love, it may help his chances for Stay. Hopkins could split it between Alexander and Proof. If he has great father-daughter chemistry with Paltrow, he'll get it for Proof. Clive Owen apparently owns Closer. I find it hard to believe the Academy will ovelook Garden State in the major categories, and Sarsgaard just seems the most likely nominee. The trailer montage for Crash was great, and Cheadle is so under rated, that hopefull he'll find himself in the race. I have no idea how big Dafoe's role in Aquatic is, but come on. It's WILLEM DAFOE.

Best Supporting Actress
Cate Blanchett, The Aviator
Hope Davis, Proof
Laura Dern, We Don't Live Here Anymore
Laura Linney, Kinsey
Natalie Portman, Closer
Don't Count Out: Thandie Newton, Crash; Anjelica Huston, The Life Aquatic; Evan Rachel Wood, The Upside of Anger; Naomi Watts, Stay
Blanchett is playing a loved Hollywood icon, and from the few clips we see of her in the trailers, she looks great. Plus, she's overdue for a win. Hope Davis was a hopeful last year for American Splendor, and hopefull that breakout role will help her get a nomination for Proof. There was strong buzz for Dern at Sundance, and it's been years since she's had an acclaimed performance. Oscar loves a comeback. Linney is alwso an often overlooked actress, and this juicy role may get her another nod. Portman's looking to have a great year with Closer and Garden State, but Closer is apparently a surprising change of pace for Portman, and the buzz for her is great. Newton looked fantastic in the Crash montage. I'm not sure about the roles in Aquatic, but one should never count out Anjelica Huston. Evan Rachel Wood came so close to getting a nod last year (damn you, Keisha Castle Hughes) and if she's half as good in Upside of Anger as she was in Thirteen, she'll definitely be in the race.

Best Director
Michael Mann, Collateral
Mira Nair, Vanity Fair
Mike Nichols, Closer
Martin Scorsese, The Aviator
Oliver Stone, Alexander
Don't Count Out: Zach Braff, Garden State; John Madden, Proof; Paul Haggis, Crash; Wes Anderson, The Life Aquatic
This is probably the category that Collateral will get some love in. Vanity Fair is a huge production, and I just don't see how Nair woulnd't get a nom. Mike Nichols should ride the Closer high to a nod. But it's looking like it going to be Scorsese's year. He's never won an oscar, and this film looks fantastic. It should finally win him his gold. I'm not sure how long I'm going to keep Stone on the list, because, like I said, I have a gut feeling that Alexander is going to suck. Braff could get indie love for Garden State. If Proof is good, Madden could get his first nom since Shakespeare in Love, but advanced word isn't so hot. If Crash get good reviews Haggis could be looking at a breakthrough nomination. Anderson is always a possibility, but it seems that Aquatic will get more love for it's screenplay

Best Original Screenplay
The Aviator
Eternal Sunshine of the Spotless Mind
Garden State
I Heart Huckabees
The Life Aquatic
Don't Count Out: Stay, Crash, Collateral, Spanglish
The Aviator will probably get a nod just for being the Best Picture frontrunner. Eternal Sunshine not only had a fantastic screenplay, but also a huge amount of critical love. This should be Kaufman's year. Garden State was THE Sundance hit, but with Closer looking to be the indie fave this year, Garden State will probably get it's love here. It also has a rather large chance of beating out Sunshine. I Heart Huckabees should be just weird enough to get what "look, we're hip" nomination. Wes Anderson is brilliant. How could Aquatic not get some love. I took Stay off the list because I got weary do to the script for Troy. But Benioff's brilliant 25th Hour keeps Stay in the running. Crash seems to be the character drama of the year. Collateral is a possibility, just judging by the dialogue in the trailer. And the lighthearted Spanglish will probably be in the running, too.

Best Adapted Screenplay
Finding Neverland
Vanity Fair
We Don't Live Here Anymore
Don't Count Out: A Home at the End of the World, Phantom of the Opera, Ladies in Lavender
With Closer looking to be the indie darling, this should be an easy win. Finding Neverland will probably nab a nod if it gets a BP nod. Proof will probably land a nod here even if the movie is mediocre, just because of the pedigree of the talent. Vanity Fair is a classic novel and if it's any good at all it's should be a guarenteed nomination. We Don't Live Here Anymore will hopefull follow in the footsteps of In the Bedroom and grab a nomination. A Home at the Endof the World's buzz isn't so hot. Phantom of the Opera is a risky move, and Ladies in Lavender's buzz dropped fast.
First of all, I'm going on holiday tomorrow. Excited? Yes. Chicago is going to be great.

I watched "Cradle Will Rock" this morning and it blew me away just as much as the first time I watched it.

Besides having an All-Star ensemble cast including Hank Azaria, Susan Sarandon, John Cusack, Bill Murray, Vanessa Redgrave, Anges MacFadyen, Joan Cusack, Emily Watson, John Turturro, and Cary Elwes (not to mention the loads of familiar faces whose names just might not leap into mind) it is a well-written, comedic drama that keeps you entertained. It is the story of the Great Depression and the political as well as economic ordeals of the time focusing on the Federal Theater Project as well as some high-society muckity-mucks. The two stories tie together beautifully. The characters are fantastically played. The eccentricity of Orson Welles is played to near perfection by MacFadyen, the power and greed of William Randolph Hearst is very close to frightening, and the passion and inner turmoil of Marc Blitzstein (if that is how you spell his name) is captured wonderfully, even if it takes awhile to realize that the male figure he is imagining is actually Bertolt Brecht. Anyway, it's a smart, funny, semi historically accurate portrayal of events leading to the dismantling of the Federal Theater.

Things to you'll come away with:

The impression that Anges MacFadyen is actually Welles reincarnated.
Cherry Jones has a remarkably charming face. I just can't take my eyes off her.
Hallie Flanagan (the real woman as well as the character) was a remarkable woman and I think that some American historians need to pay a little bit of attention to her.
Hank Azaria is brilliant.
Emily Watson is a horrible singer.
Christopher Marlowe was a communist.

That's about it.
Entertaining as hell.
Interesting as hell.
Great movie through and through.
At work. Just rating. And writing.

More Trivia:

Tim Robbins said in an interview that he almost got killed filming the driving scene in "Code 46." That, and Michael Winterbottom takes guerilla filmmaking to the full tilt. The British director shot the sci-fi film almost permit-less at $6 million. If we questioned Tim's terse assessment of the "Code 46" set, he gives us this much: "I would feed my actors." Sounds like Winterbottom's style errs on the side of freewheelin' and union-defeatin'. He'd win over young, renegade indie filmmakers, but would turn off high-profile veterans like Tim Robbins.

Also, Winterbottom's new film contains actual sex scenes. The actors actually have sex on film. It's cunnilingus, fellatio and intercourse intercut with band performances. Winterbottom's justification: When we shoot actors eating cereal, the actors do eat the food, so why not have real sex instead of simulated sex? Well, sometimes actors use spit buckets. Plus, most people don't mind eating in a public cafeteria, but might object to fucking there during lunch hour.

I'm not complaining though; I'm always up for onscreen raunchiness. Aside from all the other discussions this can bring up, I'm curious about one thing: Is the guy actor hot? I couldn't find his photo on IMDB. I've yet to see a porno where the guy is attractive. If he is hot, the prospect sounds interesting despite the annoying band-splicing. But I'm not horny enough to not dub "Nine Songs" just DVD-worthy.
A well made movie that has good message and history (I don't know if it is true though) about the theater in New York City in the depression era. Tim Robbins does a good job mixing in the comedy and drama together. Great cast
I hate elevators. Laila and James will agree. Ugh. Anyway.

*Lost Boys- Oh God, that 80s music! Haha, it's really terrible but at least "People are Strange" is in there. Doesn't quite save the soundtrack, but really liked its inclusion. Fun movie! Kiefer is quite badass. You can tell Joss Whedon based his vampy faces on these guys, with the wrinkly foreheads. I like comedic vampy movies, it doesn't take itself toooo seriously, though sometimes the eighties music is meant to be serious and just made me laugh my ass off. Good vampire movie though, wonder why they didn't just cast my cousin for Corey Haim's character- they look and act almost exactly the same. Anyway, I enjoyed it. "Too many damn vampires". Hehe. Grandpa's funny.

*Mad Hot Ballroom- such a sweet movie. I couldn't believe freakin' Ann Reinking and Charlotte Jorgensen were judges at the final competition!! These kids have no idea who they're dancing for, it's insane. These kids are good. The whole point of the movie is that ART SAVES PEOPLE. Thank God NYC schools understand this. These kids were ready to join gangs or do drugs or be on the streets. Dancing kept them out of trouble. I loved listening to the girls talking about boys- they must have decent parents to be in their situation and still say "i don't want a guy who deals drugs or doesn't go to school". That's awesome, you go girls. Get a college-educated boy who can ballroom dance. It's so fun to see these kids get better and better, dancing ballroom and really loving it. See, back in my dad's day, that kind of dancing was necessary-the hustle, swing, you had to know them to even go out clubbing. It's different nowadays, but hopefully this sort of program will keep the younger generation interested in ballroom- not just booty dancing.

*Cradle Will Rock- So good. A little "deep" at times, and artsy, but overall a very good movie. Obviously I can appreciate films about theatre production, and the trials that go along with them. The movie is about censorship, hands down. It's incredible, a veritable Salem witch trial not even twenty years before the McCarthy era. Art and theatre scare people, especially when they're telling the truth. The characters are both over the top and realistic at the same time- Orson Welles and his producer (Cary Elwes) are hilarious together. Bill Murray's ventriloquist is so sad and poignant. The ending is superb. The show itself is one I'd love to see produced again

Okay, I should go. I've been in class this whole time, and she's probably watching me back there. Oh well. I have a lot of homework to do, two chapters of my autobiography. I'm hungey. And sleepy. I miss my nice dark cool house. Speaking of cool, it's gorgeous out. Windy and cold, it's like an early winter. I'll hate it by Friday, but right now I'm in my new dark moss green sweater (matches my eyes) and I'm happy with the weather. I'm sitting next to you know who. Like nothing happened. Like he's not a total asshole. Whatever. Bet he wouldn't push me away. Never did, did he? LoL.

A real mixed bag, at times nearly brilliant, and at times it falls flat on it's face. The messy direction by Tim Robbins is not a help. Fine cast tries. Fine period detail. Unimpressive in the long run, but it does have it's moments.
'Cradle Will Rock' is a musical story that follows a group of
entertainers and a theatre production. This film received a lot of
positive criticism back when it was released (1999), but since then, it
seems to have been forgotten. I watched the film in 2001, and I confess
that I can not remember a lot of the story of the film. I do remember
thinking that the film was okay and that it was directed and shot well,
but I cannot remember the storyline behind it other than what I have
already mentioned.

Entertaining though it is, not to mention produced well, it is not a memorable film.
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