Below you will find a paragraph which was prepared for the Best Films of the Decade list:
This is the over-looked film of Julie Taymor’s cinematic career thus far and it was her debut. It was an emphatic statement of style and vision but it also combined with substance to reinvent Shakespeare’s most violent tale with verve and surrealistic panache. The ensemble, headed by Anthony Hopkins and Jessica Lange, is brilliant and not overly-stagey even dealing with such cumbersome dialogue. The film is visually stunning and engulfing.
All this is true. What’s further true is that Taymor adds a bit of surrealism to the tale not only with the hallucinogenic interludes that appear on occasion, once to try and convince us Titus is mad but also through the opening of the film. An opening which introduces us not only to the character of Lucius, played very aptly by Osheen Jones, but also to the mix of modern technology, furniture and settings that will be mixed into this film. We see a child epitomizing with action figures and ketchup the kind of over-the-top violence that will be the reality of this tale, a reality he is put into. A reality he is a mute witness to for approximately an hour of the nearly three that the film runs.
All that is well and good but some of you may be asking why this film didn’t make the final cut. It was based on a technicality. The technicality is this – Titus was released by Fox in New York and Los Angeles on December 25th, 1999 in order to qualify for that year’s Academy Awards. It was resoundingly ignored save for a costume design nomination which it lost. Its wide release to general consumption and an equally absent public audience was in January of 2000. Upon double-checking the release date on the IMDb app on an iPhone this critic proceeded to re-screen the film to confirm inclusion on the best of the decade list. It fit. Then before publishing, a trip to the IMDb proper showed all release dates.
Based on the wide release date it was the best of the year in 2000 but due to its actual release date not on the best of the decade list. Therein lies the problem. The good films get sat on until the end of the year and those not able to attend special advanced screenings are left with many a film in a no man’s land.
Recently, there had been a reticence on my part to allow films from the prior year entry into award consideration, which punished The Reader. While it seems difficult to consider Titus a film of the aughts because that is a much bigger threshold to tread over I will no longer be disqualifying end of year releases from consideration in the next year. It’s only fair. While Titus can be denied a place in the decade passed it will always be a standout of year 2000 to me.