“Kane” he pull it off?
Director Orson Welles’ final film, “The Other Side of the Wind,” begins streaming on Netflix Nov. 2, months after making the rounds at film festivals in New York and Venice.
So far, the movie — which took 48 years to make — has been praised by critics, and there is enthusiasm surrounding the release among film buffs.
The good vibes have also inspired awards hopes from film producer Frank Marshall and actor-director Peter Bogdanovich, who’ve fought for decades to finish Welles’ movie.
“Frank thinks we might be able to get nominated for some Oscars,” Bogdanovich, who appears in the film, tells The Post. “Because it was released in 2018.”
Could “Wind” and Welles, who died in 1985, stick around until the Academy Awards in February? The movie, which was bizarre by the standards of the 1970s when it was filmed, would fit in snuggly with our increasingly outré nominees.
Although scoring a top prize is a long-shot, the murkiness surrounding this year’s awards contenders could also work in its favor — particularly in the directing category.
For the five slots, there are just three contenders I consider shoe-ins: Spike Lee for the sizzling “BlacKkKlansman,” Alfonso Cuarón for the memoir-like “Roma” and Bradley Cooper for “A Star Is Born,” his debut. Other favorite directors’ coronations have been slowed down by intervening factors, especially waning public interest.
Damien Chazelle’s “First Man,” a biopic about Neil Armstrong, has sputtered at the box office. Critics were respectful, and admired Chazelle’s work, but usually to be an awards force you need rapturous acclaim or a lot of tickets sold. Not neither. Chazelle’s last two movies — “La La Land” and “Whiplash” — were awards darlings. “First Man” won’t be.
“Black Panther” hit theaters so long ago (Feb. 16), it almost doesn’t feel part of this awards season. Back when it was released, the Marvel movie dominated pop culture, and spurred a conversation about high-earning action films having a place at the prestige-based Oscars. I suspect enough time has elapsed that while the film will snag a Best Picture nod, director Ryan Coogler will be forgotten.
And then there’s Barry Jenkins of “If Beale Street Could Talk,” his first film since the Oscar-winning “Moonlight.” His latest flick enjoyed strong reviews out of the Toronto Film Festival with some reservations. “If the movie’s slow burn seems to build toward a powerful release that doesn’t materialize, the sheer beauty of its craft and the heartfelt feeling behind every scene nonetheless command attention,” David Rooney wrote in the Hollywood Reporter. Not exactly “run don’t walk!” Jenkins stands on rockier ground than anticipated.
None of these men should be counted out. Same goes for Steve McQueen (“Widows,” out Nov. 16) and Peter Farrelly (“Green Book,” out Nov. 21). It’s only October and the journey to the Oscars is long, unpredictable and treacherous.
Will the long-dead Welles sneak in there? Probably not, but dammit it would be fun.
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