It’s a wonderful night for Oscar! Or at least it should be on February 28th. As the 88th Annual Academy Awards approach, it’s time for me to look over the various categories and offer Vincent’s View on the nominees and likely winners.
I decline to arrogantly presume that I know best and say what the Academy got wrong. I don’t necessarily agree with the nominees and, were I a member of the Academy of Motion Picture Arts and Sciences, I would have voted differently. I had my own favourites last year but that’s simply my view – the assembled results of nearly 7000 people do not pale in comparison to my almighty judgement, or indeed anyone’s. What interests me is what the particular nominees say about tastes and trends about Oscar nominees, now and historically.
Beginning with the nominees for Best Picture, they are a rather surprising bunch. I have written before on the kind of film that tends to win Best Picture and the commonalities among nominees. The cliché is that biopics win Oscars, but more broadly historical films win Oscars. Historical films attract awards, presumably because the AMPAS members (not to mention other institutions) respond to the apparent gravitas of “history.” Furthermore, films “based on a true story” do well, as few things offer more “importance” than “truth.”
With that in mind, consider the eight nominees for Best Picture:
If the nominees were still restricted to five, I believe that the nominated films would be Bridge of Spies (based on real events), Brooklyn (literary adaptation), The Revenant (literary adaptation, based on real events), Spotlight (based on real events) and either Room (literary adaptation) or The Big Short (literary adaptation, based on real events). In addition, all of them are concerned with ideas of “America,” a common theme of Best Picture winners from Wings (1928) to Patton (1970) to Unforgiven (1992). The six films here are concerned with, respectively, the Cold War, the immigrant experience, frontierism, church and community, family, financial disaster. All of the key nominees present aspects of America in relief and highlight them to the world. Cinema has long been an important form of US propaganda, so it is unsurprising that the Academy reward films that effectively advertise the USA. And if the advertisements are about less than savoury events, like Spotlight and The Big Short, this shows a degree of self-reflection and introspection somewhat lacking in US foreign policy and election campaigning.
Two of the nominees are, however, anomalous: The Martian and Mad Max: Fury Road. I saw both films and enjoyed them very much, but to see them nominated for Best Picture is actually staggering. Both are science fiction films (space travel, post-apocalyptic), which makes them part of a very rare group. The only other sci-fi films to be nominated for Best Picture are Star Wars (1977), Avatar (2009), Inception (2010) and Gravity (2013), so to have two such films nominated in one year is quite extraordinary. Furthermore, Mad Max: Fury Road is an action movie and a sequel, only the fifth to ever be nominated after The Godfather Parts II and III, and The Lord of the Rings: The Two Towers and The Return of the King. So for the first time, a sci-fi sequel is up for Best Picture! This is actually radical and groundbreaking for the Academy, and perhaps signals a possible shift in its members’ typically conservative tastes.