All eyes were on the Olympic Arena in Stratford, East London as the Slumdog Millionaire filmmaker presented the Isles of Wonder Opening Ceremony - and the Oscar winner did not disappoint.
The sound of the Olympic Bell signalled the official start of the London Games as the patriotic hymn Jerusalem was sung throughout the stadium. Branagh was the first celebrity to appear as he stepped up to portray Isambard Kingdom Brunel, Britain's most revered engineer, and he recited Caliban's speech from William Shakespeare's The Tempest as 965 drummers moved in for the first segment of the show, titled Pandemonium, led by deaf percussionist Dame Evelyn Glennie.
The scene showed industrial workers forging five giant rings from red-hot metal and the finished products glowed as they were hoisted high into the air, coming together to form the Olympic Rings.
There was an impressive entrance from The Queen after a film showed Craig in character as 007 arriving at Buckingham Palace to pick up the royal, before heading into the skies in a helicopter. The pair then appeared to jump from the aircraft and parachute into the arena as the video clip drew to a close, while the stadium audience rose to its feet to welcome the monarch and her husband Prince Phillip, the Duke of York as they took their seats for the big show.
Harry Potter creator Rowling read out a passage from Peter Pan in a tribute to British children's literature as inflatable figures of great fantasy villains Captain Hook, Cruella de Vil from 101 Dalmatians, Lord Voldemort from Harry Potter and the Childcatcher from Chitty Chitty Bang Bang entered the arena. Characters dressed as beloved nanny Mary Poppins then floated in to fight off the darkness and save the day.
The epic production, which featured more than 7,500 volunteers, also saw Sir Simon Rattle conduct the London Symphony Orchestra on a rendition of Chariots of Fire as comedian Rowan Atkinson joined in on the keyboard, performing as his fumbling Mr. Bean character.
Viewers were then taken on a journey through five decades of music in a montage of Britain's greatest pop exports as the sounds of The Who's My Generation, Rolling Stones' (I Can't Get No) Satisfaction, The Beatles' hit She Loves You and Queen's Bohemian Rhapsody were blasted through the speakers.
Songs by David Bowie, the Sex Pistols, New Order, Frankie Goes To Hollywood, Soul II Soul, Eurythmics, Blur and Amy Winehouse were also included in the soundtrack, as was Underworld's Born Slippy .NUXX, which became the theme tune to Boyle's breakthrough movie Trainspotting.
East London rapper Dizzee Rascal took centrestage to perform and the segment drew to a close with applause for British scientist Sir Tim Berners-Lee, the inventor of the world wide web, who created the first website in 1990.
Film footage then turned to soccer ace David Beckham at the wheel of a speedboat on the River Thames as a young athlete held the Olympic torch while they travelled to the Olympic Arena in Stratford, East London, just a stone's throw away from the soccer ace's hometown of Leytonstone.
The ceremony, which has lasted for over two hours, continues.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
The story of the most dominant racehorse of all time does not easily fit into the standard inspirational sports flick mold. Such films typically require its protagonists to overcome seemingly insurmountable obstacles be they competitive (Hoosiers) personal (The Natural) societal (Ali) or some combination of all three (Remember the Titans). But by all accounts the greatest challenges to Secretariat capturing of the 1973 Triple Crown were not rival horses — indeed Secretariat had no true rival — but a pair of slow starts and an abscess. And abscesses — apologies to dermatologists — simply aren’t all that effective as dramatic devices.
Lacking most of the vital ingredients of the traditional underdog movie formula Disney’s Secretariat is forced to synthesize them. Its screenplay written by Mike Rich and based rather loosely on the book Secretariat: The Making of a Champion by William Nack adopts a conventional save-the-farm framework: When her parents pass away within months of each other Denver housewife Penny Tweedy (Diane Lane) is advised to sell off her family’s Virginia-based Meadow Stables a beautiful but unprofitable horse-breeding enterprise in order to pay the onerous inheritance taxes levied by the state. But Penny her deceased father’s hackneyed horse-inspired counsel fresh in her mind (“You’ve got to run your own race ” etc. etc.) is loath to depart with such a cherished heirloom. So she concocts a scheme just idiotic enough to work betting the farm — literally — that her new horse Big Red in whom she has an almost Messianic faith will win the Kentucky Derby Preakness and Belmont races in succession.
Of course Big Red under the stage name Secretariat goes on to do just that but only after the film subjects us to nearly two hours of manufactured melodrama. Lane grasping all-too conspicuously for awards consideration treats every line as if it were the St. Crispin’s Day speech. Her character Penny exhibits a hair-trigger sensitivity to the sounds of skeptics and naysayers bursting forth with a polite rebuke and a stern sermon for anyone who dares doubt her crusade from the trash-talking owner of a rival horse to her annoyingly pragmatic husband (Dylan Walsh).
Lane isn’t alone in her grandiosity. The entire production reeks of it as director Randall Wallace lines the story with fetid chunks of overwrought Oscar bait like so many droppings in an untended stable even using Old Testament quotations and gospel music to endow Penny’s quest with biblical significance. John Malkovich is kind enough to inject some mirth into the heavy-handed proceedings hamming it up as Secretariat’s trainer Lucien Laurin a French-Canadian curmudgeon with an odd sartorial palette. It’s not enough however to alleviate the discomfort of witnessing the film's quasi-Sambo depiction of Secretariat’s famed groom Eddie Sweat (Nelsan Ellis) which reaches its cringeworthy zenith when Sweat runs out to the track on the eve of the Belmont Stakes and exclaims to no one in particular that “Big Red done eat his breakfast this mornin’!!!” Bagger Vance would be proud. Whether or not Ellis’ portrayal of Sweat’s cadence and mannerisms is accurate (and for all I know it may well be) the character is too thinly drawn to register as anything more than an amiable simple-minded servant.
Animal lovers will be happy to know that the horses in Secretariat come off looking far better than their human counterparts and not just because they’re alloted the best dialogue. In the training and racing sequences Wallace effectively conveys the strength and majesty of the fearsome animals drawing us into the action and creating a strong element of suspense even though the final result is a fait accompli. It's too bad the rest of the film never makes it out of the gate.
A complete list of 44th Annual Grammy Award winners, announced Wednesday night:
Record of the Year: Walk On, U2
Rap Album: Stankonia, OutKast
Song of the Year: "Fallin'," Alicia Keys
Album of the Year: O Brother, Where Art Thou? soundtrack, Various Artists
Rock Performance By A Duo Or Group With Vocal: "Elevation," U2
New Artist: Alicia Keys
Country Collaboration with Vocals: "I Am a Man of Constant Sorrow," Dan Tyminski, Harley Allen and Pat Enright (The Soggy Bottom Boys), from the O Brother, Where Art Thou? soundtrack
Female Pop Vocal Performance: "I'm Like a Bird," Nelly Furtado
R&B Album: Songs in A Minor, Alicia Keys
Rock Song: "Drops of Jupiter," Charlie Colin, Rob Hotchkiss, Pat Monahan, Jimmy Stafford and Scott Underwood (Train)
Pop Collaboration with Vocals: "Lady Marmalade," Christina Aguilera, Lil' Kim, Mya and Pink
Pop Performance by a Duo or Group with Vocal: "Stuck in a Moment You Can't Get Out Of," U2
Rock Album: "All That You Can't Leave Behind," U2
Male Pop Vocal Performance: "Don't Let Me Be Lonely Tonight," James Taylor
Pop Instrumental Performance: "Reptile," Eric Clapton
Dance Recording: "All For You," Janet Jackson
Pop Instrumental Album: No Substitutions--Live in Osaka, Larry Carlton and Steve Lukather
Pop Vocal Album: Lovers Rock, Sade
Traditional Pop Vocal Album: Songs I Heard, Harry Connick Jr.
Female Rock Vocal Performance: "Get Right With God," Lucinda Williams
Male Rock Vocal Performance: "Dig In," Lenny Kravitz
Hard Rock Vocal: "Crawling," Linkin Park
Metal Performance: "Schism," Tool
Rock Instrumental Performance: "Dirty Mind," Jeff Beck
Alternative Music Album: Parachutes, Coldplay
Female R&B Vocal Performance: "Fallin'," Alicia Keys
Male R&B Vocal Performance: "U Remind Me," Usher
R&B Performance by a Duo or Group With Vocal: "Survivor," Destiny's Child
R&B Song: "Fallin'," Alicia Keys (Alicia Keys)
Traditional R&B Album: "At Last," Gladys Knight
Rap Solo Performance: "Get Ur Freak On," Missy "Misdemeanor" Elliott
Rap Performance by a Duo or Group: "Ms. Jackson," OutKast
Rap/Sung Collaboration: "Let Me Blow Ya Mind," Eve Featuring Gwen Stefani
Female Country Vocal Performance: "Shine," Dolly Parton
Male Country Vocal Performance: "O Death," Ralph Stanley, from the O Brother, Where Art Thou? soundtrack
Country Performance by a Duo or Group With Vocal: "The Lucky One," Alison Krauss + Union Station
Country Instrumental Performance: "Foggy Mountain Breakdown," Earl Scruggs, Glen Duncan, Randy Scruggs, Steve Martin, Vince Gill, Marty Stuart, Gary Scruggs, Albert Lee, Paul Shaffer, Jerry Douglas and Leon Russell
Country Song: "The Lucky One," Robert Lee Castleman (Alison Krauss + Union Station)
Country Album: Timeless--Hank Williams Tribute, Various Artists
Bluegrass Album: New Favorite, Alison Krauss + Union Station
Contemporary Jazz Album: M2, Marcus Miller
Jazz Vocal Album: The Calling, Dianne Reeves
Jazz Instrumental Solo: "Chan's Song," Michael Brecker
Jazz Instrumental Album: This Is What I Do, Sonny Rollins
Large Jazz Ensemble Album: Homage To Count Basie, Bob Mintzer Big Band
Latin Jazz Album: Nocturne, Charlie Haden
Rock Gospel Album: Solo, DC Talk
Pop/Contemporary Gospel Album: CeCe Winans, CeCe Winans
Southern, Country or Bluegrass Album: Bill & Gloria Gaither Present A Billy Graham Music Homecoming, Bill and Gloria Gaither and The Homecoming Friends
Traditional Soul Gospel Album: Spirit of the Century, The Blind Boys of Alabama
Contemporary Soul Gospel Album: The Experience, Yolanda Adams
Gospel Choir or Chorus Album: Love Is Live!, LFT Church Choir, Hezekiah Walker, choir director
Latin Pop Album: La Musica De Baldemar Huerta, Freddy Fender
Latin Rock/Alternative Album: Embrace the Chaos, Ozomatli
Traditional Tropical Latin Album: Dejame Entrar, Carlos Vives
Salsa Album: Encore, Robert Blades
Merengue Album: Yo Por Ti, Olga Tanon
Mexican/Mexican-American Album: En Vivo ... El Hombre y Su Musica, Ramon Ayala y Sus Bravos del Norte
Tejano Album: Nadie Como Tu, Solido
Traditional Blues Album: Do You Get the Blues?, Jimmie Vaughan
Contemporary Blues Album: Nothing Personal, Delbert McClinton
Traditional Folk Album: Down From the Mountain, Various Artists
Contemporary Folk Album: Love and Theft, Bob Dylan
Native American Music Album: Bless the People--Harmonized Peyote Songs, Verdell Primeaux and Johnny Mike
Reggae Album: Halfway Tree, Damian Marley
World Music Album: Full Circle/Carnegie Hall 2000, Ravi Shankar
Polka Album: Gone Polka, Jimmy Sturr
Musical Album for Children: Elmo and the Orchestra, Sesame Street Characters
Spoken Word Album for Children: Mama Don't Allow, Tom Chapin
Spoken Word Album: Q: The Autobiography of Quincy Jones, Quincy Jones
Spoken Comedy Album: Napalm and Silly Putty, George Carlin
Musical Show Album: The Producers, Original Broadway Cast with Nathan Lane and Matthew Broderick, lyricist and composer Mel Brooks
Compilation Soundtrack Album For a Motion Picture, Television or other Visual Media: O Brother, Where Art Thou?, Various Artists
Score Soundtrack Album for a Motion Picture, Television or other Visual Media: Crouching Tiger, Hidden Dragon, composer Tan Dun
Song Written for a Motion Picture, Television or Other Visual Media: "Boss of Me," (They Might Be Giants from Malcolm in the Middle), songwriters They Might Be Giants
Instrumental Composition: "Cast Away (End Credits)," Alan Silvestri (Alan Silvestri)
Instrumental Arrangement: "Claude Debussy 'Doctor Gradus Ad Parnassum' from Children's Corner," Bela Fleck and Edgar Meyer (Bela Fleck with Joshua Bell and Gary Hoffmann)
Instrumental Arrangement Accompanying Vocalist(s): "Drops of Jupiter," Paul Buckmaster (Train)
Recording Package: "Amnesiac (Special Limited Edition)" (Radiohead)
Boxed Recording Package: "Brain in a Box--The Science Fiction Collection," (Various Artists)
Album Notes: (tie) Richard Pryor ... And It's Deep Too! The Complete Warner Bros. Recordings (1968-1992), (Richard Pryor); Arhoolie Records 40th Anniversary Collection: 1960-2000 The Journey Of Chris Strachwitz, (Various Artists)
Historical Album: Lady Day: The Complete Billie Holiday on Columbia 1933-1944, (Billie Holiday)
Engineered Album, Non-Classical: The Look of Love, (Diana Krall)
Producer of the Year, Non-Classical: T Bone Burnett
Remixed of the Year, Non-Classical: Deep Dish, "Thank You (Deep Dish Vocal Remix)" (Dido)
Engineered Album, Classical: Bernstein (Arr. Brohn & Corigliano): West Side Story Suite (Lonely Town; Make Our Garden Grow, Etc.) (Joshua Bell)
Producer Of The Year, Classical: Manfred Eicher
Classical Album: Berlioz: Les Troyens, James Mallinson, producer
Orchestral Performance: "Boulez Conducts Varese (Ameriques; Arcana; Deserts; Ionisation)," Pierre Boulez (Chicago Sym. Orch.)
Opera Recording: "Berlioz: Les Troyens," Sir Colin Davis; Michelle De Young, Ben Heppner, Petra Lang, Peter Mattei, Stephen Milling, Sara Mingardo, Kenneth Tarver; James Mallinson, producer (Various Artists; London Sym. Orch.)
Choral Performance Award: "Bach: St. Matthew Passion," Nikolaus Harnoncourt (Arnold Schoenberg Chamber Orch. and Wiener Sangerknaben; Concentus Musicus Wien)
Instrumental Soloist(s) Performance: "Strauss Wind Concertos (Horn Concerto; Oboe Concerto, etc.)," Dale Clevenger, horn; Larry Combs, clarinet; Alex Klein, oboe; David McGill, bassoon; Daniel Barenboim, piano/conductor (Chicago Sym. Orch.)
Instrumental Soloist Performance (without Orchestra): "Britten Cello Suites (1-3)," Truls Mork, cello
Chamber Music Performance: "Haydn: The Complete String Quartets," The Angeles String Quartet
Small Ensemble Performance (with or without Conductor): "After Mozart (Raskatov, Silvestrov, Schnittke, Etc.)," Kremerata Baltica; Gidon Kremer, violin
Classical Vocal Performance: "Dreams & Fables--Gluck Italian Arias (Tremo Fra' Dubbi Miei; Di Questa Cetra in Seno, etc.)," Cecilia Bartoli, mezzo soprano
Classical Contemporary Composition: "Rouse: Concert De Gaudi for Guitar and Orch.," Christopher Rouse, composer
Classical Crossover Album: Perpetual Motion (Scarlatti, Bach, Debussy, Chopin, etc.) Bela Fleck, banjo (Joshua Bell, violin; Evelyn Glennie, marimba; Gary Hoffman, cello; Edgar Meyer, bass and piano; Chris Thile, mandolin; John Williams, guitar)
Short Form Music Video: "Weapon of Choice," Fatboy Slim featuring Bootsy Collins
Long Form Music Video: "Recording the Producers--A Musical Romp With Mel Brooks," Mel Brooks (with Various Artists including Nathan Lane and Matthew Broderick)
New Age Album: A Day Without Rain, Enya