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Oscar Reflections
I know, I know, the awards were ages ago. I’ve been busy, whaddya want? Despite the various changes that took place, I enjoyed the Oscars ceremony. The absence of a host did not adversely affect things, although the opening speech from Maya Rudolph, Tina Fey and Amy Poehler suggested that any or all of these comedians would make excellent hosts in the future.
Other presenters were also entertaining, and it was especially pleasing to see the acting winners of last year presenting the awards for this year in pairs, Gary Oldman and Alison Janney presenting Leading Actor to Rami Malek for Bohemian Rhapsody while Francis McDormand and Sam Rockwell presented Leading Actress to Olivia Colman for The Favourite, whose acceptance speech was one of the most moving.
Alfonso Cuarón spent a lot of time on the stage, winning three awards personally for Roma, Foreign Language Film, Cinematography and Directing, the last of which was affectionately presented to him by his friend and last year’s winner, Guillermo Del Toro.
Performance highlights included the various nominees for Original Song, especially the eventual winner of this award, ‘Shallow’ (from A Star Is Born) performed by Lady Gaga and Bradley Cooper. Melissa McCarthy and Brian Tyree Henry appeared in hilarious costumes that incorporated elements of all the nominees for Costume Design, was another highlight.
Some of the most significant speeches came from the newcomers, especially those in the Short Film categories. For their winning Documentary (Short), Period. End of Sentence, Rayka Zehtabchi and Melissa Berton gave an impassioned and empowering speech about women’s rights and the need for films like theirs to get this kind of attention. Similarly, Domee Shi and Becky Neiman-Cobb were inspiring as they received the award for Short Film (Animated) for their charming Bao. And with his first competitive Oscar win, Spike Lee gave a jubilant celebration alongside his co-winners Charlie Wachtel, David Rabinowitz and Kevin Willmott, seeming to climb up the much longer form of his friend Samuel L. Jackson to receive a congratulatory embrace.
As is often the case, however, the Oscars are dogged with as much controversy as glamour. The most heated debate has been around Best Picture, and with good reason. In a year when such unusual fare as Roma and The Favourite and such provocative offerings as BlacKkKlansman were in contention, for the Academy to reward Green Book feels like a conservative cop-out. I don’t think Green Book is a bad film, but it seems remarkably unremarkable. Little in its subject matter or film style stood out, especially in comparison to the distinctive style and unusual content of the films mentioned above.
As is so often the case, the suspected politics of the Oscars are illuminating. Green Book presents a very simplistic view of US race relations, and it has been described disparagingly as Driving Miss Daisy with the racist in the front. Green Book charts the resolution of racism through a tale of one white man shaking off his prejudices, and in doing so saves a black man with companionship. It’s a white saviour story, where the journey of the white saviour is more prominent than that of the black man who is ‘saved’. It is therefore easy to see why Green Book’s victory annoyed Spike Lee as well as others. I won’t say I’m angry, but I am disappointed that after radical and surprising choices in recent years, Green Book feels like a Best Picture winner from earlier, safer times. Wackier choices next time, I hope.
91st Academy Awards: Part One – Art and Politics
The other day, a cat offered its opinion on the Oscar nominations. At any other time, this would seem strange, but Oscar season is when all opinions on film quality and aesthetic worthiness become, according to all and sundry offering opinions, The Truth. Whatever the Academy of Motion Picture Arts and Sciences nominates for awards, everyone from a broadsheet critic to a tweeting cat knows better.
I have opinions on the nominations, but I’m more interested in what they represent rather than knowing, let alone deciding, The Truth about the best films of last year. I am pleased to see some of my favourites from last year nominated, and while other top films of mine have been largely or entirely overlooked, I don’t think the Academy members are wrong, just have different views. In the run up to the awards, I’ll post my views and predictions on the various nominees, but for starters, let’s consider the nominees for Best Picture.
The dominant story around the nominations is the inclusion of Black Panther. The first superhero film to receive this accolade, it is also a significant black film. A blockbuster with a predominantly black cast, that succeeded critically and commercially with its incorporation of commentary about racial history and isolationism, the nomination of Black Panther is a hugely significant cultural event. Criticism of this nomination is largely based around the film’s lack of aesthetic quality: seemingly the film ‘is not really good enough’ to be nominated.
These criticisms do not specify the standards by which film quality should be measured, and imply elitist attitudes against blockbusters and superhero films in general. This cultural prejudice is interesting, since while less harmful, it is no less a prejudice than that based on skin colour. Artistic merit is subjective, and while there may be critical standards that could be considered objective, perhaps from the practitioners such as editors and cinematographers, these standards are unlikely to be universally accepted. Therefore, it seems more appropriate, and certainly less arrogant, to embrace the various subjective positions and accept the wonderful diversity of perspectives.
Speaking of diversity, I wonder if a predominantly white superhero film would have attracted such discussion. The nomination of Black Panther probably is more a political statement than an artistic one, as the members of AMPAS present themselves as progressive. The other nominees also suggest this different approach, with only two of the Best Picture nominees focused upon white men. Of these, I am yet to see Vice so will post my review subsequently, but at the very least it seems to be a satire of conservative white power, a point underscored by Christian Bale’s acceptance speech at the Golden Globes.
A Star Is Born is probably the most traditional and conservative of the nominees, being a remake of a popular rags-to-riches story in which a man helps a woman while wrestling with his personal demons. I loved the film and have no problem with it being nominated, but I am glad it is the only typical nominee. The biopic Bohemian Rhapsody is also typical, but its focus on a gay musician of Asian descent makes it unusual. Films focused on gay characters have received limited awards attention, Philadelphia, Brokeback Mountain and Moonlight being earlier examples. I’m not the biggest fan of Bohemian Rhapsody, and controversy around its director may keep it out of the frontrunning, but I applaud its inclusion.
Another film with homosexual elements is The Favourite, a surprising inclusion because of its focus upon women but also because it is such an odd film. ‘Costume dramas’ do attract attention – see Sense & Sensibility, Elizabeth, Shakespeare In Love – but rarely with this level of frank sexuality and dark comedy. To me, it is another weird choice, and all the better for it. Roma I am yet to see, but from a racial and gender perspective it is refreshing to see a film about a working-class woman in Mexico recognised. Green Book casts an eye over American racial history, much like Driving Miss Daisy, 12 Years A Slave and Hidden Figures, and once I’ve seen it I’ll let you know what I think.
Speaking of American racial history, I am thrilled to see my favourite film of last year nominated in multiple categories. BlacKkKlansman draws attention to important events with contemporary parallels, while engaging with and subverting cinematic norms. Spike Lee has long been a public face of African-American cinema, and Academy recognition brings attention to this important film.
It is easy to read many of the nominations as political. I do not see this as a problem. Film and the film industry are political, and in an age of social media everyone can be politically engaged. By engaging with debates over representation through their attention to films that address gender, race and sexuality, the members of AMPAS demonstrate social engagement. Ironically, to perpetuate lofty and undefined levels of ‘artistic quality’ would be more elitist and out of touch, as AMPAS has long been accused of. This is a radical time, and what we see in these nominations are contributions to debate and discussion. One of the most prominent platforms in the world is contributing to the debate, and that is something I applaud.
Awards Predictions Part Four: Directorial Diatribe
The Oscar race is well underway, and the winners are hard to pick because of the spread of nominations and the surprising omissions, as well as the results from other events. At the Golden Globes as well as the Producers Guild of America awards, Argo picked up Best Picture, while Ben Affleck was awarded Best Director by the Directors Guild of America. Normally this would be a strong indicator of a Best Picture gong at the Oscars, and if so, it would be the first time since Driving Miss Daisy in 1989 that a film wins Best Picture without being nominated for Achievement in Directing.
I confess a slight affront at being 60% wrong in my predictions in this category, and it’s an interesting set of nominees. I predicted that the nominees for Achievement in Directing would be Ben Affleck for Argo, Kathryn Bigelow for Zero Dark Thirty, Tom Hooper for Les Miserables, Ang Lee for Life of Pi, Steven Spielberg for Lincoln. Of these five, only Spielberg and Lee have been nominated. The omission of Affleck is very surprising, particularly after him being honoured at the Golden Globes, the PGA and the DGA. I confess to having no idea why he was overlooked. Another surprising omission is Quentin Tarantino, as, like Argo, Django Unchained is nominated for Best Picture as well as well Best Screenplay, Original for Django Unchained, Adapted for Argo. After all the honours heaped upon Amour, Michael Haneke’s nomination for Directing is less surprising, but the presence of Benh Zeitlin and David O’Russell is remarkable, and perhaps indicative of how impressed the Academy voters were by, respectively, Beasts of the Southern Wild and Silver Linings Playbook (or, to be more cynical, how impressed voters were by the awards campaigns of the films’ distributors, Fox Searchlight and the Weinstein Company, respectively).
Perhaps Kathryn Bigelow and Tom Hooper have been left out because, had they been nominated, it would have been for the first film each of them made after winning the Oscar, for The Hurt Locker and The King’s Speech, respectively. Maybe this counted against them, as Academy voters were unwilling to nominate either for consecutive films. The King’s Speech may still be fresh in the memory, too fresh for voters who wanted someone new. Having seen Les Misérables though, I did not find it that well directed, as the different elements of the story were connected rather limply, with insufficient directorial thrust to unite the narrative and thematic strands.
In the case of Bigelow, however, she may well have also been left out due to the controversy surrounding Zero Dark Thirty. Suggestions have been made that the film affirms the use of torture as a legitimate method in the War on Terror. This has not stopped the film being nominated for Best Picture, Original Screenplay and Actress in a Leading Role, so if Bigelow has been snubbed for a nod, that seems rather unfair. I don’t like to reduce this topic to gender, but perhaps Academy members did not want the same woman to be up for the award again. There may be other female directors worthy of Oscar attention, but they are not in evidence.
Interestingly though, Bigelow’s snub supports an auteurist understanding of film. If Zero Dark Thirty does valorise torture, then Bigelow is being credited as responsible for this meaning, rather than screenwriter Mark Boal who, along with Megan Ellison, shares producing credit with Bigelow. Using the director as a reading strategy works both ways – if the film is good, or worthy of approval, the director gets the credit. If it is bad, or morally questionable, then the director gets the blame. Regardless of Mark Boal and Megan Ellison’s involvement, Bigelow has been left out of the category where her particular talent or skill could be rewarded. Boal put the torture scenes in the script, but is Bigelow more responsible for these scenes because she shot them and (one assumes) decided not to edit them out of the finished film? There is no way of knowing exactly why Academy members voted the way they do (waterboarding would hardly be appropriate), but it is tempting to imagine that they might have been put off honouring Bigelow specifically because to do so might appear to be an endorsement of the controversial stance she is being credited as having.
The writer Naomi Wolf has compared Bigelow to Leni Riefensthal, whose most significant contribution to cinema was the Nazi propaganda film Triumph of the Will (1935). I find it significant that both Riefensthal and Bigelow are both women, and for them to present such topics as Aryan supremacy and torture can be read (from a particular perspective) as aberrant and perverse. 24 is criticised for its depiction of torture, but creator Joel Surnow has been called a neoconservative rather than a Nazi. While D. W. Griffith can be described as outrageously racist because of the politics in Birth of a Nation (1915), criticism of him can be tempered by the context in which he was raised and indeed in which he made his films. Perhaps Bigelow does not have Griffith’s excuse – she is an independent filmmaker in the 21st century, she should know better, because we do. Don’t we? Also she’s a woman, so for her to present torture as anything other than hideous and completely unacceptable is very very wrong. Isn’t it?
Other films have turned an explicitly critical eye upon the use of torture in the War on Terror, such as Rendition (Gavin Hood, 2007) which presents torture and indeed the detention of terror suspects as pointless because of the lack of evidence for the initial suspicion. One purpose of film, and indeed all art/entertainment (they are ultimately, the same thing), is to pose questions for debate, but the manner in which these questions are posed can be as controversial as the questions themselves. If not presented as outright condemnation, is it approval? If Bigelow (combined with Boal and Ellison, the various performers, cinematographer, editor, etc) presents torture as part of the CIA hunt for Osama Bin Laden, within the context of other investigative methods, is that necessarily approval?
I wrote last year on the expectations that are generated by marketing and hype. Awards season brings out other responses and expectations – after all, Best Picture nominees we might expect to be great, and they frequently are not. Serious accusations during awards season are nothing new, and I imagine Kathryn Bigelow was prepared for a backlash against her film. I am yet to see Zero Dark Thirty, but I already have multiple ideas about the film, what it might mean and what to look for in it. Wolf’s argument that Bigelow will be remembered as “torture’s handmaiden” seems over the top, but perhaps she has a point. Check back for my response to the film.