Resentment, anger and loss are emotions that fuel performances in many of the Oscar-nominated films of 2003.

From Mystic River (parent attempts to revenge murdered child) to 21 Grams (parent attempts to revenge murdered family) to House of Sand and Fog (woman seeks to regain house at all costs) these films, dramatic and powerful, stir emotions that have no form of release. Lacking the stature of tragedy, they also sidestep social issues. Mystic River (Clint Eastwood, director), for instance, is a story driven by the specter and consequences of child molestation, yet the people involved are blue collar men and women who have been forced into leading marginal lives in a country gutted by corporate greed. The prison sub-culture, which has become America’s largest growth industry, has also served to blight the lives of many of the film’s characters. However these issues were addressed only obliquely. (Note: Be on the lookout for Eli Wallach in a five minute bit as a garrulous owner of a liquor store in Mystic River. He’s the one bright note in the film.)

The shadow of the penitentiary also hangs over 21 Grams (A.G. Inarritu, director). The hit-and-run driver played by Benecio del Toro is also an ex-convict. House of Sand and Fog (Vadim Perelman, director) pits Americans against an Iranian. Ben Kingsley plays a refugee and former military man under the Shah. He buys a house at auction, seeing it as his chance to begin the difficult climb out of the pit of low-paying jobs life in America has brought him. His antagonist played by Jennifer Connolly, is a careless, former coke addict who could have prevented tragedy by reading her mail (a clerical error begins the nightmare). Aided by a smitten cop and fuelled by the escalating violence, which seems to have become America’s simplest solution to any problem, no one wins and none are spared.

Beyond these films, we have the “shock and awe” special effects of Return of the King (Peter Jackson, director), the concluding film in the Tolkien trilogy. This is the sort of pre-sold film critics call “magical” and “fun for the whole family.” Noisy, violent and bombastic, presenting a simplistic battle between good and evil, this should be a big Oscar winner in a year when Hollywood, in line with advice from the Bush administration “watches what it says.”

Peter Weir’s seasick-making Master and Commander continues an odd trend back toward “pirate pictures” (a return to the 1950s when Tony Curtis and Jeff Chandler swashed buckles). This one has Russell Crowe battling Napoleon and this reviewer recommends Dramamine.

Cold Mountain (Anthony Minghella, director) chooses to fight the Civil War in Romania (where the extras come cheaper) and ignores the causes of the war. Once again, as in the other films, we are asked to look at the story as an unconnected “tragedy” or “triumph” in which confused individuals struggle alone. A de-glamorized Rene Zellweger could win best-supporting actress for her role as the farm hand who saves Nicole Kidman’s bacon. The efforts of Kidman and Zellweger do represent a positive collective response to the social breakdown which surrounds them and the scenes with the “Home Guard” provide chilling parallels with the sinister motives of today’s “Homeland Security.”

Something’s Gotta Give (Nancy Meyers, writer/director) is funny and entertaining. It breaks with a Hollywood taboo, dealing with love between a mature couple. Jack Nicholson does his “Jack” shtick, allowing us a few glimmers of his old powers, while Diane Keaton is radiant in her best role in years. One beef against the film: like too many films (comedies in particular) the protagonists are almost invariably wealthy, usually with more than one residence, and able to self-prescribe recuperative trips to the Caribbean or to Paris when life doesn’t go their way. The film is also marred by blatant advertising for Mac PCs.

Although the switch in emphasis in Seabiscuit (Gary Ross, director) from Seabiscuit to the people surrounding him hurt the story, this was still a relief from the general hopelessness. Seabiscuit, the dark horse, was an inspiration to the people of Depression America. The great success of Laura Hillenbrand’s book was, I believe, fuelled by our wish for a similar inspiration in the very different depression of today. Chris Cooper is outstanding as Seabiscuit’s trainer.

Hopefully some of the smaller films won’t be overlooked: Dirty Pretty Things is a thriller by Stephen Frears starring Audrey Tatou and Chiwetel Ejiofor as a pair of illegal immigrants working in a seamy London hotel. The story revolves around their discovery of criminal activity going on in the hotel. Their wish to set things right is weighed against the threat of deportation and death. Both actors are brilliant as is Frears’ depiction of the underside of London. This is the best kind of filmmaking, with story and “message” serving one another, drawing the viewer into the immigrants’ world.

Sofia Coppola’s Lost in Translation depicts Bill Murray and Scarlett Johansson as two strangers in Japan who are able to connect with one another without the films taking the usually inevitable romantic plunge. A slight story and a very gentle comedy.

Gregor Jordan’s Buffalo Soldiers is a film shot in Germany prior to 9/11 which nearly failed to find release. The film isn’t great, but one can see why there was pressure to suppress it as it portrays life in the military in less than idealistic colors. Joaquin Phoenix is good as the enlisted man/black-marketeer but beyond the introductory half hour the film can’t go the distance.

In the way of documentaries recommended are: The Revolution Will Not Be Televised: Irish documentarians Kim Bartley and Donnacha O’Brian capture the struggle of President Chávez and his reformist government to survive a US-backed coup. It was filmed inside the presidential palace, as the events unfolded. An Injury to One: Travis Wilkerson’s film that documents the battle between miners and the Anaconda Mining Company in Butte, Montana during the early years of the 20th century. Needless to say, theatrical showings of the two documentaries are not easy to find.

Oscar Bets (Not necessarily choices) Best Picture: The Return of the King Best Director: Peter Jackson (The Return of the King) Best Actor: Sean Penn (Mystic River) Best Actress: Diane Keaton (Something’s Gotta Give) Best Supporting Actor: Tim Robbins (Mystic River) Best Supporting Actress: Marcia Gay Harden (Mystic River)

Oscar Choices Best Picture: Dirty Pretty Things Best Director: Stephen Frears (Dirty Pretty Things) Best Actor: Chiwetel Ejiofor (Dirty Pretty Things) Best Actress: Audrey Tatou (Dirty Pretty Things) Best Supporting Actor: Chris Cooper (Seabiscuit) Best Supporting Actress: Marcia Gay Harden (Mystic River)

--Michael Shepler is poetry editor for Political Affairs.