Article Author(s):
Jo Ann Skousen
The caterers did a pretty bad job.
On February 27, the Academy of Motion Picture Arts and Sciences may have finally succumbed to its long, slow, self-inflicted descent into irrelevance. The fiasco of the final award provided the only talking point of the evening, and it was a disaster.
Let’s talk about the fiasco first, as though it hasn’t been talked about enough: the final award of the night, Best Picture, was to be presented by Warren Beatty and Faye Dunaway in honor of the 60th anniversary of Bonnie and Clyde. (Really? Sixty years? Sigh.) Emma Stone had just been awarded the Oscar for Leading Actress. Warren Beatty opened the envelope, but instead of holding the result for Best Picture, it held the duplicate Leading Actress card. Evidently they provide a set of cards on both sides of the stage, in case the presenters enter from the wrong side, and Beatty had been given the unused envelope from the previous award. Confused, he didn’t know what to do, so he showed the card to Dunaway, who blurted out the name of the movie without realizing that it was the wrong award. (Who can blame them? They’re both so over the hill, I’m surprised they could read the cards at all.)
What a disaster for everyone concerned — except, perhaps, for ABC and the producers of the show. Clips of the mixup have been shown all day. Sadly for the actual winners, the story has focused entirely on Jordan Horowitz ("What a good sport he is!"), Warren Beatty ("Not my fault!"), and Jimmy Kimmel ("Not mine either!"), who all grabbed the microphone while the hapless producers of Moonlight stood behind the thunderstruck celebrants of La La Land, waiting for their opportunity to make their speeches. And repeatedly, the news clips about the fiasco end before the actual winners come on stage. What a mess.
Confused, Beatty didn’t know what to do, so he showed the card to Dunaway, who blurted out the name of the movie.
If I were more cynical, I might think that the producers borrowed a page from the free advertising the Miss Universe pageant received after Steve Harvey announced the wrong winner in 2015. Certainly the fiasco kept the drab awards show, whose Nielsen ratings have steadily declined for the past nine years, in the news all day. Let’s just look at how irrelevant, arrogant, and condescending Hollywood has become. Moonlight might be a wonderful movie (I wouldn’t know, because I haven’t been able to see it), but best picture of the year? Why would they choose a film whose global box office was a mere $22 million? Compare that to $184 million for the wonderful Hidden Figures and $340 million for La La Land! Not that box office receipts should be the major consideration in determining best picture, lest superhero movies take over the awards, but come on — at least choose a film that people outside of the Academy voters have seen!
And it isn’t just the Best Picture honor that was out of touch. Let’s look at all of the top awards. Best actor went to Casey Affleck for the taut, understated performance of a man traumatized by a family tragedy in Manchester by the Sea. The film’s pacing is so slow, and the traumatizing moment so far into the film, that I actually walked out in boredom the first time I saw it. (See my review.) Yes, Affleck’s performance is a fine study in character control, and the reveal is deeply emotional. But better than Andrew Garfield’s Herculean effort in Hacksaw Ridge? Or Ryan Gosling’s two years of preparation to play a jazz pianist in La La Land? I don’t think so.
Best Actress went to the perky, effervescent Emma Stone, who essentially played herself in La La Land, and didn’t even bother to learn how to dance convincingly — for a tribute to dance musicals! (See my review.) This award belonged to Meryl Streep for Florence Foster Jenkins. A lesser talent would have turned Jenkins into a pathetic clown, but Streep imbued the character with such convincing joie d’vivre that we fully believe that she could be so beloved by her friends and her husband. (My review.) To be perfectly honest, I think the award belonged to Amy Adams, who wasn’t even nominated. As the linguistics professor who had to communicate with alien life forms through eye contact and body language alone in Arrival, she was superb. How does the Academy justify awarding Casey Affleck for his understated performance in Manchester, and not even recognizing Adams with a nomination?
Let’s just look at how irrelevant, arrogant, and condescending Hollywood has become.
And then there’s the Supporting Actress Award. Viola Davis has been getting heat for saying in her acceptance speech, “I became an artist, and thank God I did, because we are the only profession that celebrates what it means to live a life.” Really, Viola? Those E.R. doctors who make end-of-life decisions with grieving families in the Oscar-nominated short documentary Extremis don’t consider every day what it means to live a life? Teachers in underserved school districts don’t know what it means to live a life?
I could go on, but I have another bone to pick with Ms. Davis: what was she doing in the Supporting Actress category? Rose is the only female character in Fences. (The other woman, Alberta, remains offstage throughout the play.) She is strong, confident, and self-assured. Troy (Denzel Washington) is the main character, but Rose stands beside him in their marriage, not behind him and certainly not in a subordinate role. She dominates Act 2. To present her in the Supporting Actress category is not only unfair to the genuine supporting actresses of the season, it is an affront to the character herself.
The producers of Fences aren’t the first to play this category con-game; several films have downgraded their leading actors or actresses in order to strengthen their chance of winning. The most egregious, in my opinion, was the decision to submit Javier Bardem in the Best Supporting Actor for his powerful, dominating, leading role in No Country for Old Men (2007). The ploy worked for him too, and he won his Oscar. But it came at the expense of Hal Holbrook’s tender, heart wrenching role as Ron Franz, the lonely man who befriends Chris McCandless in Into the Wild (see pp. 47–49). It was a small scene, but I’ve never forgotten it. That’s what the supporting category was designed for — an opportunity to reward actors who turn small parts into deeply memorable experiences.
Really, Viola? Those E.R. doctors who make end-of-life decisions with grieving families don’t consider every day what it means to live a life?
I have no opinion about Mahershala Ali’s Supporting Actor as Juan in Moonlight. That’s because, as I mentioned, I was never able to see it. The film was released briefly in a few select theaters in late 2016, long enough to qualify for Oscar consideration. Then it came back to a few theaters in February, after it had been nominated for Best Picture. I went to my local theater that Wednesday to see it, but it had already been knocked off the marquis by multiple screenings of 50 Shades Darker — it was Valentines week, after all. Meanwhile, Jeff Bridges gave the performance of a lifetime as Sheriff Marcus Hamilton in Hell or High Water. Here’s what I wrote about him in my review:
Marcus is an old-fashioned ‘man’s man’ who can’t express his appreciation or affection in words. Instead, he peppers his Native American partner with an incessant barrage of racist jokes and stereotypes that cause the audience to cringe and laugh at the same time. But we catch a glimpse of his true emotion in a particular moment when Marcus first laughs in exultation over something he has just accomplished, then strangles that laugh into a sob, and then lifts his head with stoic calmness and moves on. It’s a brilliant piece of acting from a brilliant and underappreciated actor.
Damien Chazelle’s award for Best Director (La La Land) was a deserving choice, although I was rooting for Mel Gibson to win Best Director for the brilliant Hacksaw Ridge. But considering how Hollywood has ostracized him, it was truly an honor for him just to be nominated. Hacksaw’s award for sound editing was well deserved.
In sum, the 89-year-old Oscars have become whiny, pedantic, self-important, and out of touch with their audience. The Golden Globes have nudged them nearly off the stage. I think it’s about time.
A concluding note:
The Oscar Shorts (Animated, Narrative, and Documentary) are the most overlooked category in film, since few people have the chance to see them. But I must comment on this year’s short narrative winner, Sing, because I think it says a lot about what’s wrong in Hollywood, and what’s wrong in America. A little girl joins her school’s choir because she loves music and loves to sing. The principal is proud of his choir, and has a policy that anyone who wants to participate is allowed to join. It’s a competitive choir, however, and the teacher wants to win. She takes the girl aside after class and tells her that she can be part of the choir, but she cannot sing out until her voice is stronger. The girl is, of course, devastated. She loves to sing. It turns out that several of the children are only miming, and when the stronger singers find out, they stand up for their friends and refuse to sing at all unless all of them are allowed to sing out. We’re supposed to applaud this show of unity, and in the theater where I saw the shorts, many in the audience did.
The Golden Globes have nudged The Oscars nearly off the stage. I think it’s about time.
But let’s think about this. Would members of the varsity basketball team have the same attitude about letting everyone play? Or do they expect players to earn their way onto the varsity team? Would the school’s choir continue to win the state awards of which they are so proud of mediocre singers are allowed to be part of the competition choir? More to the point — would the singers enjoy singing if half their group was off-key? As a choir singer myself, I can tell you that it is painful to sing next to someone who is off-key. And it’s painful to be in the audience as well. The teacher made the best of a difficult situation: required by the principal to accept all applicants, she gently told the weaker students to hold their voices back until their skills had improved.
About the Author:
<p>Jo Ann Skousen teaches classic mythology and Bible literature at Chapman University. She is the entertainment editor for <em>Liberty</em> and founding director of the Anthem Libertarian Film Festival at FreedomFest, which she co-produces with her husband, Mark Skousen. Her recent book, <em>Matriarchs of the Messiah: Valiant Women in the Lineage of Jesus Christ</em>, offers a bold new look at women in the Bible.</p>