Not long ago I saw on Facebook two brothers exchanging their views on Celine Song’s 2023 indie film, Past Lives. Both brothers are successful writers, and I worked with one of them (Hi, Lee Goldberg!) in my Roger Corman days. Lee’s brother, Todd, was praising to the skies Song’s writing and directing debut. Many of his friends (both male and female) agreed with him, calling it one of the year’s best, and describing how the ending had them in tears. Lee countered, though, that he had found Past Lives extremely dull. For which he was accused by brother Todd of having no heart.
I don’t know about Lee’s lack of a heart, but I’m basically on his side. Not that I found Past Lives boring, exactly. But for me it was remarkably unmemorable, a small and sensitive movie about people I could barely recall once the lights came up. This story of a thirty-six-year-old man who travels from Seoul, Korea to New York City to reunite with the young woman who won his heart when they were both 12 sounds interesting enough, especially because she’s now married to a loving, and lovable, Caucasian American. And I was pleased that, for a change, the emotions in the film were low-key, with none of the characters on the brink of committing mayhem when they couldn’t get their heart’s desire. I like the internationalism of the concept, and (as someone with experience living in Asia) I’m always pleased to see that part of the world recognized on screen.
Still, I was and still am surprised at the ecstatic reaction that Past Lives has garnered. I can see it as a Sundance success, but I’ve been stunned at how often it shows up these days on Top Ten lists. As of Tuesday morning, it is now officially one of ten films up for a Best Picture Oscar, along with such masterworks as Oppenheim and Killers of the Flower Moon. Radio commentators were lamenting on Tuesday that Celine Song was not included by Oscar voters as one of the year’s five best directors. (Hey, I’m more concerned about the snub to Barbie’s Greta Gerwig.) I doubt Song herself is much lamenting her omission, because she also authored the Oscar-nominated original screenplay. Several commentators also seem a bit bummed that lead actors Greta Lee and Teo Yoo were overlooked by the Academy. (I’m more inclined to regret the omission of Margot Robbie and Willem Dafoe.)
Don’t get me wrong—I like small, sensitive movies. And it’s nice to applaud female writer/directors (especially women of color) who do something good their first time out. But I also understand why the big prizes generally go to those connected with ambitious projects, films that try something brand-new and gutsy. (That’s why I’m pleased with all the acclaim for Poor Things.) I also tend to root for projects that have something highly important to say. (That’s why my very favorite film of the year is Killers of the Flower Moon.) I guess Past Lives has taken the “sensitive indie” slot on the Oscar Best Picture list. Good for Celine Song and her team! What I really want to see, though, is what she does hereafter.
Not that everyone who wins an Oscar needs to be a Hollywood veteran. There’s room for the occasional dazzling newcomer, especially when their achievement strikes a chord with national and international audiences. (Yes, I’m thinking of Lily Gladstone.) But I’m not a fan of overpraising good, modest work, and I believe that when prizes are handed out, a track record should count for something.
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