Film-goers have been taking to their feet to applaud Churchill’s speech at the climax of Darkest Hour. What are the rights and wrongs of this – and other acts of cinematic audience participation?
There are three basic rules when it comes to clapping: don’t clap along to television theme tunes; don’t clap when aeroplanes land; and absolutely do not clap in the cinema. This last rule, however, has seemingly not reached audiences of Darkest Hour, because they have been giving it spontaneous standing ovations at the end. This has happened in the past with films such as The King’s Speech, but it’s a weird and pointless exercise – Gary Oldman can’t hear you, you know – so perhaps it is a good idea to take this opportunity to parse the etiquette of other strange quirks of audience participation in cinemas.
Fantasy drama receives 12 nominations for revamped awards, which will be presented by Absolutely Fabulous star following Stephen Fry’s departure
The Shape of Water, Guillermo Del Toro’s fantasy epic about a woman who falls in love with a sea monster, leads the nominations for this year’s Bafta film awards – though it will face strong competition from Martin McDonagh’s Golden Globe-winning black comedy Three Billboards Outside Ebbing, Missouri and the Gary Oldman-starring Churchill biopic Darkest Hour.
At a Bafta press conference that also unveiled Joanna Lumley as the new host for the awards, Del Toro’s drama picked up 12 nominations, including best film and best director, as well as a best actress pick for Sally Hawkins and best supporting actress for Octavia Spencer.
The dazzling British actor, often mentioned in the same breath as Daniel Day-Lewis, is tipped for a Golden Globe for his role as a national saviour, a long journey from playing punks and skinheads
The 1980s was a dazzling era for young, explosive British actors and two of the brightest fireworks in the box were Gary Oldman and Daniel Day-Lewis. They followed parallel trajectories: a 1960s childhood in south-east London, acclaimed stage work in the 1970s and on in the next decade to screen performances that gave homegrown cinema its equivalents to Method heavyweights such as Robert De Niro and Al Pacino, as well as successors to angry young men such as Albert Finney and Malcolm McDowell. (McDowell’s confrontational performance in The Raging Moon inspired Oldman to become an actor.)
They will compete next month in a Brit-off at the Golden Globes for the best actor prize, with the rivalry likely to continue at the Oscars in March. Day-Lewis, 60, has been nominated for his absorbing portrayal of a controlling, fastidious dressmaker in Paul Thomas Anderson’s brilliant Phantom Thread, in which he stars with Lesley Manville, Oldman’s first of five wives to date. (They were married from 1987 to 1990.)