Are you well versed in Greek mythology? You’ll need to be if you take a deep dive into Pier Paolo Pasolini’s 1969 version of Medea starring the world’s most famous opera diva Maria “La Divina” Callas in her only feature film role (and she doesn’t sing). Freely adapting narrative elements from the original Greek myth as well as Euripides’ play, which was first performed in 431 BC, Pasolini presents the tragic tale in the manner of a social anthropologist crossed with an experimental filmmaker dissecting an ancient case history of a marriage gone wrong. If you aren’t familiar with the story of Jason and Medea, this interpretation can be confusing, mysterious and inaccessible at times but it is also one of the most visually and aurally dazzling of the many versions produced on stage, TV or film over the years.
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Breaking Up is Hard to Do
In The Devil’s Dictionary, a satirical lexicon written by Ambrose Bierce which was first published in 1906 under the title The Cynic’s Word Book, marriage is described as “The state or condition of a community consisting of a master, a mistress and two slaves, making in all, two.” While it may be an amusing if not particularly favorable definition of what should be a sacred union between two people, it does reflect a negative viewpoint embraced by some who have suffered through it. Possession (1981), directed and co-written by Andrzej Zulawski with Frederic Tuten, takes this conceit a step further, depicting the institution of marriage as not just a form of slavery but the embodiment of hell on earth.

Oscar Oddities, Part 1

Every year in the annual Oscar race there are always a few surprises, head scratchers or genuinely odd contenders that make you wonder how they were ever selected. Was it politics? Was it a fluke? Did good taste or bad taste actually triumph? Here is a list of my favorite oddities, some of which deserved their nomination though I never expected the Academy to acknowledge them because they were either low-budget indies, big budget genre pictures or under the radar movies that were barely noticed by moviegoers. I’m using the 1990s as my starting point and working backwards from there, cherry picking specific Oscar races, since most of the more interesting anomalies occurred prior to the 21st century.
Yes, there have been a few unexpected contenders since then such as 2000’s strange and mesmerizing Shadow of the Vampire (nominated for Best Supporting Actor – Willem Dafoe) and Hustle & Flow featuring the Oscar winning Best Original Song of 2005 – “It’s Hard Out Here For a Pimp.” In fact, the Best Original Song Oscar category is usually the place to look for oddball entries such as “Blame Canada” from South Park: Bigger, Longer & Uncut (1999) by the demented director-writer team of Trey Parker and Matt Stone or “How Do I Live,” written by Diane Warren and performed by Trisha Yearwood in Con Air (1997), an outrageous over-the-top action thriller from producer Jerry Bruckheimer. But, in general, the Academy Award nominations from 1999 on back to the beginning were quirkier and more fun.
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