Obit: Gloria DeHaven (1925-2016)

About 15 years after the launching the highly innovative and spellbinding moving picture, the scrappy moguls realized that the future of their industry depended on more than the novel technology itself. After reading several fan letters inquiring about the people in the movies (who were then uncredited), they came up with the ingenious idea of grooming movie stars for public consumption (we all know how well that worked out).

Gloria DeHaven, far left on the 2nd row from bottom. Courtesy of handkerchiefheroes.com

Gloria DeHaven, far left on the 2nd row from bottom. Courtesy of handkerchiefheroes.com

The star machine had its heyday in the 1930s and 1940s during the Golden Age of Hollywood. One of the best practitioners of this method was MGM, whose endearingly corny but apt studio mantra was a place where there were “more stars than in heaven.” MGM, specializing in gorgeously gauche fare, was a perfect fit for the crude and synthetic star system.

One of its starlets, Gloria DeHaven who died from a stroke July 31st, has been a favorite of mine since childhood. Born to vaudevillian parents Carter and Flora Parker DeHaven, Gloria began her career early, making her screen debut as an extra in Charlie Chaplin’s Modern Times (1936).

From the get go, this fresh-faced glamorous brunette (sometimes blonde) exhibited confidence and glamour and made a good impression in small supporting roles, best of which was Best Foot Forward (1943). She more than held her own against the large and vibrant cast, as a feisty co-ed who instigates antagonism towards publicity-hungry actress Lucille Ball, who opportunistically accepts a prom date from a young cadet. This film marked the first pairing between DeHaven and June Allyson who along with Nancy Walker vibrantly delivered the show stopping musical number “The Barrelhouse, The Boogie Woogie, and The Blues.”

Courtesy of in.pinterest.com

Courtesy of in.pinterest.com

DeHaven and Allyson had such great chemistry that the next year, they got their first leading roles as plucky singing sisters in the charming morale boosting WWII musical Two Girls and A Sailor. As two singing sisters who gently spar for the affections of a boyish sailor played by Van Johnson, DeHaven’s sexiness and poise as the slightly impulsive sister who attracts the men perfectly complements Allyson’s warm, maternal, though slightly homely sister. Musically, DeHaven’s smooth, clear mezzo and Allyson’s raspy alto are in sync. In the end, audiences gravitated more towards the cuter, All-American Allyson and Johnson who starred in several subsequent films together, thus ending the Allyson DeHaven duo. (Off-screen, the two women remained best of friends).

With that, DeHaven was relegated back to supporting roles, as mostly kid sisters or secondary ingénues. She always brought an effortless, personable, slightly naughty but nice quality that deftly eschewed cloying sappiness. Her charm and vivacity sparkled even if the film didn’t. She easily outshone the negligible song and dance man, George Murphy, mediocre songstress Ginny Simms, and antiquated ex-Vaudevillian fuddy duddy Charles Winninger in the clunky Broadway Rhythm (1944).

DeHaven had a couple of major career setbacks in the mid-40s. First, she was suspended for refusing a role in Good News. Her next assignment, Summer Holiday, a strange but interesting (though not entirely successful) musical adaptation of Eugene O’Neill’s play Ah Wilderness, was a highly troubled production that sat on the shelf for two years, and flopped miserably when finally released. Collectively, this kept her off screen for three years.

Courtesy of in.pinterest.com

Courtesy of in.pinterest.com

While many of her peers utterly resented Dore Schary replacing an acrimoniously ousted Louis B. Mayer as head of production at Metro, DeHaven appreciated the chance to play against type in grittier roles under the new executive’s auspices. She gives a potently poignant performance as the black sheep of a cold, elitist family who has a pregnancy out of wedlock (and naturally a tragic outcome) in the broody melodrama The Doctor and the Girl. In the nifty, cynical little film noir, Scene of the Crime, a bottled blonde DeHaven is effective as a quasi femme fatale who strips in a skeevy nightclub and cavorts with riff raff.

Although both films turned a profit and received decent reviews, DeHaven went back to lighter fare, playing Judy Garland’s slightly self-centered sister in the bizarre farm-set musical Summer Stock and Red Skelton’s love interest in The Yellow Cab Man. Shortly after, she left MGM and freelanced, where the quality of the material declined.

Courtesy of www.cbsnews.com

Courtesy of www.cbsnews.com

While no longer an A-lister, DeHaven worked steadily on television, Broadway, and nightclubs until the 1990s. She continued to display her versatility in a variety of excellent performances ranging from a shady old-flame who embroils private detective Mannix in a murder case to an assertive travel agent friend of Jessica Fletcher in a recurring role on Murder, She Wrote. In one of the best episodes of the series, DeHaven, engages in several delightful catfights with several grande dames of the studio-era Julie Adams, Kathryn Grayson, and Ruth Roman, all of whom had dalliances with a town handyman whose shrewish wife was recently murdered.

Like several of the classic stars, DeHaven was approached a few times to write an autobiography, but the deal always fell through because she refused to write a “tell-all” account of her Hollywood days. Instead, in public appearances, DeHaven emphasized the positive aspects of being part of the “Metro family” (though she found some of the sillier aspects of the censorious Hays Code disagreeable). While she didn’t have the widespread fame as some of her peers (I would say she was sorely underrated), Gloria DeHaven has made a lasting impression on movie-loving folks like me.

Review: Batman The Killing Joke (2016)

By Heather Nichols, Tawfik Zone Contributor

Courtesy of variety.com

Courtesy of variety.com

Let me start off by saying if you’re a hard core fan of Batman you’re going to want to see the newest entry, Batman: The Killing Joke. If you’re not a Batman expert, this is not the film to start off with. However, if you would like to jump into the Batman animated pantheon there is no shortage of material. I highly recommend you start with the 90s animated series, it’s very film noir, and possibly the best direction of a comic book series to date. Well, now I’m about to spoil this whole thing so if you want to go watch it and come back, please do so now.

The Killing Joke, adapted from the graphic novel of the same name which has influenced most of the newer Batman-related material, follows the basic outline of what is considered to be one of the darkest Batman stories ever told- In an attempt to drive Commissioner Gordon insane, the Joker tortures and subsequently paralyzes his daughter, Barbara aka Batgirl, in front of him. The plot point as well as the ambiguous ending has long been a source of controversy amongst the Batman fandom community. Of course, now that we’ve seen it play out on the big screen, the controversy continues.

The 1988 graphic novel only spans about 64 pages, which really doesn’t cut it for a feature length but it’s also not short enough to cram into one episode, so the creators decided to go ahead and write an almost half hour long prologue that focuses on Batgirl, setting her up as the central character. This is fine because in the events of the graphic novel she’s just there as a catalyst and really there’s nothing more to her involvement. In fact it’s something that to this day has angered Batgirl fans (of which I’m actually not), feeling that the comic disrespected her by disregarding her life and using her suffering as a motivator for the men in her life. The prologue sequence adds depth to the character, showing her as strong and capable and for that I like it.

Courtesy of movieweb.com

Courtesy of movieweb.com

I’m just going to start off by tackling the “big controversy” since the main issues are in the Batgirl prologue arc. The main reasons circulating around the internet by Social Justice Warriors who see this whole arc as a misogynistic portrayal of Batgirl include, the fact that she’s a librarian (which comes from the comics guys), she has a sassy gay friend (who doesn’t?), the fact that she isn’t as capable at fighting crime because she’s a woman (first of all that’s your reading into it, secondly even Batman states she’s still a rookie, a thrill seeker, so nope not letting you have that one) and of course there’s the whole thing where Batgirl has sex with Batman…

So let’s back it up here- the film opens with Batgirl and Batman in pursuit of a cocky little SOB- named Paris France, who is planning on robbing his mafia boss uncle and is obsessed with Batgirl. Not much to him. However the devil is in the details with this one, if you pay close attention to his dialogue he’s basically representative of a misogynistic fanboy. It is heavily implied he regularly uses date rape drugs, which he unsuccessfully tries this tactic on Batgirl. A subtle but notable moment that emphasizes how deep his fetishism of Batgirl goes is when he has a call girl wearing a bat mask. His lines are sexist, at one point saying that “it must be her time of the month,” when she delivers a word of hurt on him. However neither Batgirl nor Batman actually addresses his comments, rather they just ignore him and continue to kick ass.

Now as far as the Batgirl/Batman relationship goes this is where some fans might be turned off out of the sheer idea of Barbara being with anyone other than Dick Grayson, aka Robin who eventually becomes Nightwing. His character is noticeably absent. He was most likely omitted so we could really focus in on the central players, not to mention he’s not actually in the source material so keeping it simple is just the way to go sometimes.

Courtesy of comicbook.com

Courtesy of comicbook.com

Barbara’s story fits into the classic, rookie cop makes amateur mistakes and gets bailed out by veteran cop. It’s not a sex issue. Several Robin stories also have this sort of mentor-who-has-to-correct-his-dumb -pupil storyline (see Son of Batman for another example). To further this point Batman even says, “You’re not like I am Barbara, it’s still a game for you, still a thrill.” And he’s right. In fact it’s pretty early on and she’s already starting to lose that thrill of being Batgirl. But there’s still a couple things driving her down this path; one giving her the chance to open a world of hurt on Paris France, the other her feelings towards Batman.

But of course Barbara is a layered character. To simply say she’s Batgirl just because she’s in love with Batman doesn’t do her feelings justice. In one of her exchanges with her sassy gay friend she says she’s in a relationship with her yoga instructor and wants the acknowledgement that she is his best pupil- this of course is code so as not to give away their identities. When he asks why the instructor, she says it’s the yoga, she likes the yoga.

So breaking that down, she’s attracted to the Batman but she’s also frustrated by him. Some people on the internet are using this as fuel for their misogyny argument.  To them I say imagine this scenario- you’ve had a crush on your favorite celebrity for years and now you’re finally working with them and you’re realizing they are a giant pain in the ass to work with, but you’re still attracted to that idea of them. I can totally believe in Barabara’s sexual frustration if you look at it from that angle.

Courtesy of www.techtimes.com

Courtesy of www.techtimes.com

Furthering my point is the fact that Barbara is the one who initiates the sex; she knocks him down, she takes off her own top before the camera pans up and away- if the film makers wanted to they could have shown the whole thing, the film was rated R. They didn’t because this was supposed to be a moment for Barbara to shine as a strong sexual independent woman and they didn’t want to spoil that image because if they showed everything that’s all anyone would talk about.

So we get to see Barbara in the aftermath of that and it’s not the prettiest of pictures but keep in mind this is Batman, a character with dozens of love interests both with and without the cowl (really, check out DC wikia. His love interests have their own separate page). Are we surprised he didn’t call? People have been critical of the scene after in which Barabara walks by an arguing couple and throws the guy in a bush, citing it as an example of “women’s rage.” You know for a fandom community so concerned with misogyny ya’ll make some pretty messed up comments.

I think this scene is just thrown in for comedic effect and I think she’s mad because her hopes and expectations are not being met- oh my god she’s acting like a real life human being. The first arc starts to wind down, and yes I’m still talking about the first 30 minutes of this film. They confront Paris France and she beats him nearly to death and then every piece of advice Batman was giving her just sort of clicks in her head. She doesn’t like the idea that she nearly beat a man to death and decides this isn’t the life she wants so she retires the Batgirl and goes on to live an otherwise normal life… and then you remember you’re watching The Killing Joke

Courtesy of moviepilot.com

Courtesy of moviepilot.com

The remainder of the story follows the original graphic novel almost note for note, with a few lines of dialogue updated since it is from a story written in 1988. There are two narratives interwoven, the current timeline where Batman is perusing the Joker and a series of flashback that gives the Joker an origin story, one where the audience can finally view him in a more sympathetic light. How Barbara plays into this, as mentioned before, the Joker shoots her and as a result she becomes permanently paralyzed. In a featurette they showed after the film they mentioned that even though they had the R rating, they wanted to tell the story in a way that didn’t make you want to jump off a cliff at the end.

Barbara is raped after being paralyzed by the Joker but it’s never explicitly shown, however we know it happened from four subtle beats. The first being the Joker undoing her top button before the camera cuts to the next scene. When Batman is visiting her in the hospital a detective says something to the effect that she was found naked and bleeding on the floor. While searching for Joker, Batman questions three escorts and one playfully says he usually pays them a visit first but didn’t this time so they assume that he’s found a new play thing.

The final piece solidifies this when Commissioner Gordon is forced to endure a hellish roller coaster ride, during which Joker sings a disturbing song and at the end television screens are covered in bloody naked pictures of Barbara. We don’t seeing anything explicitly detailed, but we know what’s going on. The reason I break this down is because of how much flack the sex scene earlier in the film had. I’d much rather know that Barbara was living life to the fullest then have my only image of her in the film be the victim of a horrific act of violence.

Courtesy of lockerdome.com

Courtesy of lockerdome.com

My criticism of the film is that the whole first part was supposed to be an introduction but really it feels like an episode lead in to a miniseries. Then you have two stories being told simultaneously that have very little to do with the introduction. However I think I understand why the directors did it because prior to the start of the Graphic novel DC was in the process of retiring the Batgirl character so she’s just a tool in a male driven storyline.

To show her in her prime, being Batgirl, kicking ass and showing that she’s just decided to live a normal life gives the audience more of an emotional attachment to the character and gives her more agency to the overall narrative rather than “oh well she was just there.” The biggest criticism the graphic novel received was that it crippled Barbara for no reason. But the film was already alluding to Barbara’s computer skills and in doing so her eventual dawning of the identity of Oracle, so it all comes full circle. The last image of the film is of her, so we know that although broken she is not defeated.

Podcast: Alternative Oscars 1952

Thanks Canva, for the foolproof interface :)

Thanks Canva, for the foolproof interface 🙂

Hi Everybody,

We’re back after a slightly long hiatus. Here’s our 3rd Alternative Oscars Podcast. In each episode, we discuss the Best Picture nominees of a single Oscars year, and then we give our way better choices, other films eligible for an Oscar in the same given year. They usually comprise of a mix between films that are now heralded as classics, underrated gems, and international films. This year is no different.

You can check out our previous two episodes, Tawfik Zone’s Alternative Oscars Podcast 1950 and Tawfik Zone’s Alternative Oscars Podcast 1951 on this website or on The Tawfik Zone’s Alternative Oscars Itunes Feed.

The setting is a newer brighter relish green room. We hope that the consistency is the same, if not better. Again, I am fortunate to be joined by friends and fellow film buffs, Tawfik Zone contributor Candace Wiggins and Tia Nikolopulas. As always, musical credit goes to Kevin MacLeod of Incompitech.com.

Without further ado, here is The Tawfik Zone’s Alternative Oscars for 1952. Please let us know what you thought of the nominated films or our picks. Did we overlook any films?

Take 5: Ernestine Anderson

Courtesy of jazztimes.com

Courtesy of jazztimes.com

There is a bad tendency to fully appreciate and talk about one’s artistry only after the person dies. I have been guilty of this many times, most recently with Ernestine Anderson, an underrated jazz and blues singer who died March 10th at 87 years old of natural causes.

I suppose I took Anderson’s mortality for granted because even as an octogenarian, her vocal prowess was still in full command and she looked like she was fifty. Her second to last album, A Song for You, is a must for jazz lovers. She tackles standards like Day by Day and Make Someone Happy and pop songs like A Song for You and Candy with freshness and ease and nary a bum note.

While her career spanned for more than 60 years, it was never an easy one with a large share of major ups and downs. Even as a child, Anderson gravitated towards singing. However, her father, who wanted her to focus on school, relocated the family the family to Seattle, where supposedly there wasn’t much of a music scene. This proved to be dead wrong. There, she pursued her career harder than ever. Eventually, her parents came around and took care of her children while she went out on the road with various bands.

While she worked fairly steadily, including singing at Dwight Eisenhower’s inauguration in 1953, she wasn’t having the success of many of her peers. Wanting to stretch herself, she went to Europe, where she was warmly received. In Sweden, she recorded her debut album as headliner, what would become known as Hot Cargo. When influential jazz critic Ralph Gleason heard it and loved it, he put it on the map in the States. In the midst of being the toast of the town, she secured a contract with Mercury records.

The handful of her albums she made with Mercury in the late 50s and early 60s are very highly regarded by critics and fans then and now. I am not personally a fan of Anderson’s early work, feeling that she sounded like a generic girl singer with very little feeling in her voice.

Courtesy of www.eljefe.net

Courtesy of www.eljefe.net

I think she came into her own in the late 1970s, when she returned to the spotlight after an approx. 15-year hiatus due to a legal dispute with Mercury blocking her from recording for five years, the loss of gigs as a result, the lack of popularity of jazz in the 60s, and her own guilt from being separated from her children. Her voice beautifully matured into a soulful contralto with a sassy, crisp phrasing.

While Anderson’s voice could take on a harder edge possibly as a result of the hard knocks, there was also a smooth, warmness too that developed around the time she converted to Buddhism. Her discography reveals her versatility and consistency as she sang ballads, the blues, and bebop with equal authority.

Even though she recorded over 30 albums and received 4 Grammy nominations, money was still an issue. In 2008 Anderson made news when her house was at risk for foreclosure (thankfully friends and colleagues Quincy Jones and Diane Schuur raised the funds to save the house.)

For more interesting details on her life, I recommend listening to an NPR documentary as well as reading obits from the Seattle Times and The Guardian. Here are five songs that display the beauty of Ernestine Anderson.

Time After Time

From the first drawled out note, she creates a hypnotic trance out of this lovely ballad. BTW, it’s a different “Time After Time” from the Cyndi Lauper song of the same name.

Sunny

Anderson takes this one to great heights, seamlessly transitioning from a pensive beginning to an exuberant, improv-filled finale.

All Blues

In this cool, funky mid-tempo arrangement, Anderson combines her rhythmic jazz and soulful bluesy sensibilities to convey the good and bad blues present in everything and everyone

Please Send Me Somebody to Love

Anderson perfectly captures the desperation and longing of the love-starved narrator in this uber soulful and bluesy rendition of what she rightly notes is a timely and timeless torch song.

Honeysuckle Rose

She swings the hell out of this one, in a rollicking rocking arrangement of a song most associated with an easy listening version by Lena Horne

Review: Oscar Short Films 2015

Let’s give it up for the little guys!

By Heather Nichols, Tawfik Zone Contributor

Courtesy of www.uica.org

Courtesy of www.uica.org

So the Oscars have come and gone. For all the controversy there was a still a silver lining to it all. Mad Max: Fury Road taking away multiple honors shows that a film can be acclaimed both critically and commercially. Leo finally got his Oscar so the internet can be at peace as far as that goes though I’m sure that they’ll still rampage about Stallone and Gaga being robbed- at least that’s what half the headlines on Buzzfeed read. Personally I’m just ready to completely tear down the Oscars and create something new in its place. The spirit of the Oscars should be about celebrating all things film.

Okay, I admit I caught one small segment while I was brewing my tea last night; Jason Segel showed some footage from an award ceremony dedicated to just the technical side of film and something like that is really refreshing to me. It was also brought to my attention online that voice actors do have their own award show, but it’s not widely known or even broadcast, but still we’re getting there.

So my local theater did a neat thing. The Oscar nominated short films (live action and animated, documentary was omitted) were screened the Friday before Oscar Sunday. This was a 4 hour session with a brief intermission between live action and animated, but still totally worth it to see some overwhelmingly under noticed master works of film. From my understanding some of these are available on Netflix so I hope you get the chance to enjoy them for yourselves. There might be some spoilers due to the nature of short film so just a heads up before you read on.

Courtesy of Youtube.com

Courtesy of Youtube.com

We started off with Ave Maria, probably the lightest offering in the live action shorts. The premise is that a Jewish family’s car crashes into the statue of the Virgin Mary outside of a convent of nuns on Sabbath. There’s mild conflict due to the different religious practices but ultimately the nuns help the family get on their way. And conveniently one of the sisters is a mechanic. Honestly this one just didn’t do much for me so I don’t have much to say. I wasn’t sure if it was supposed to be comedic but I had trouble with the whole sister being able to fix up the car with a pair of pantyhose, it was just bizarre. If they were going to go that far they should have pushed it further and revealed the nun to be a religious messiah or an android masquerading as a nun, just something more interesting so it didn’t feel so flat.

Things got dark quickly with the next offering, Shoke. Imagine the film Stand by Me but with one of the boys getting involved with a terrorist group and ending with some of the kids getting shot. That is pretty much it in a nutshell. I felt more engaged during this film, the editing was tight and the overall look of the film was just better. Props to the cinematography department, I really enjoyed the look of this film.

Everything Will Be Alright should be viewed as an excellent example of tight editing and storytelling. The pacing was great, making it my second favorite of the live action selections.  Also a really good example of “show, don’t tell.” We open with a man picking up his daughter from his ex-wife’s house. In the car they have a conversation about how she’s playing the role of the queen in the school play and all seems normal. Then they get to the toy store, he lets her pick out two really expensive building kits which to me just gave away where this was going. Even so I sat at the edge of my seat until the conclusion. Now is the story a bit cliché perhaps, but as I said in terms of a finished product this one was quite excellent. Also would like to point out that Simon Schwarz who plays the father looks like an Austrian Simon Pegg.

Courtesy of atodmagazine.com

Courtesy of atodmagazine.com

Now after a couple of pretty heavy films the eventual winner came on, Stutterer. This one was quite enjoyable and my favorite of the night. A simple premise: a couple of linguaphiles are engaged in an online relationship, the film is presented through the eyes of the male in the relationship and it is revealed that he has a stammer. The girl ends up in his town and wants to meet him for the first time. Self-conscious of his stammer, he contemplates whether or not he will meet her. I don’t want to give away the conclusion but I found this film to be really sweet and endearing. Overall I felt the message was to not let our disabilities no matter how great or small get in the way of opportunity.

I must confess I missed half of Day One. You see normally I’m in bed by 9 and at this point I was starting to nod off so I needed a coffee break. I came back in at the climax of the film. From my understanding this was based off of a true story. The subject matter was handled well and I couldn’t see them making an entire feature length film out of the story. Really I can’t say much about it, like I said I missed half but the ending was very sad so it felt like that might be the only reason it was even nominated given the fact the Academy seems to love misery.

I will start off by saying I’m glad the Pixar film, Sanjay’s Super Team, did not walk away with the win. More often than not I feel Disney and Pixar take away a win by default because the other animations aren’t as widespread which is really a pity. Of the animations this was probably the weakest and I don’t mean it was a bad film, it just was very surface level in terms of meaning and presentation.

Courtesy of www.awn.com

Courtesy of www.awn.com

The next film we viewed was World of Tomorrow. If you want to feel the mental strain of running a full marathon, this 17 minute film is perfect for you. In fact it’s been so long since I’ve seen an animated film with this much depth to it tackling deep philosophical thoughts and questioning humanity’s morals. Interesting note, this was the only film with spoken dialogue. The visuals were simplistic in nature, but I feel that really allowed you to focus on the story and the messages therein.

After that emotional drain I was delighted by the opening visuals of Bear Story, a unique 3D animation that blended techniques to make some sequences reminiscent of stop frame animation. The story does quickly turn sad in that it holds a similar theme to Blackfish, where animals being separated from their natural habitat in order to provide entertainment for people. The bear is personified and shown to have a wife and child so I think that drives it home even further. This was a good one and I’m glad it received the victory.

Courtesy of festival.dcshorts.com

Courtesy of festival.dcshorts.com

If you like the Dilbert comic strips, We Can’t Live without Cosmos, a Russian import, is a very similar visually. No spoken dialogue, it’s all action driven. I really enjoyed the score on this one too, they kept it engaging by adding sound effects as well. This one even had a bit of humor to it throughout which was refreshing considering the heavy load that the other nominees provided.

Before we began Prologue we were treated to three other shorts that didn’t quite make the cut. One is the story of a traffic light that is narrated by Patton Oswalt, who you may remember as the voice of Remy from Ratatouille. It was enjoyable but I can see why it just missed the mark, the visuals were a little underwhelming and the story itself too simplistic. Another short was the story of a family of Meerkats fighting a bird of prey over a piece of fruit. It was cute, reminiscent of a silly symphonies cartoon. The Story of a Fox and Mouse was visually gorgeous and had a beautiful score to accompany the piece. But again I think this one fell short because it didn’t have much going on beyond the surface level.

Courtesy of www.bristol247.com

Courtesy of www.bristol247.com

So Prologue, I didn’t like this one. Visually, absolutely stunning. Created by one of the brilliant minds behind Who Framed Roger Rabbit, it literally brings a drawing to life. Now I didn’t like this on two fronts. As the name implies this is the Prologue, it feels like a very small piece of a much larger picture. And I mean not even a slice of the cake, more like the frosting or decoration on top small. The other reason comes down to personal preference, I just didn’t like the violence, fighting with spears is rather nasty business. Though again that’s just a personal preference.

Before I conclude I should take a moment to talk about best animated feature length. Now for me last night it came down to Inside Out and When Marnie was There– I know Pixar versus Ghibli. Both are stunning films, both moved me to tears and either deserving. I would have loved to see Ghibli’s final studio film clench the victory. I missed Inside Out during its original theatrical run, when I did get around to renting it I have to say it caught me off guard.

In regards to what I said before I have no problems with Pixar, it just seems like no matter what they always win and lately their films have been alright, nothing spectacular. Inside Out blew it out of the park. We also have to take into account the larger social impact this film has had, making it more comfortable for children and parents to discuss their feelings which is so important in this technological age. Really it’s a great film and it makes me look forward to 2016’s offerings in animation.