Tuesday, 23 March 1999

READERS RESPOND TO THE OSCARS®

From Tango: "Memo to Geena Davis: Jeanne Tripplehorn called. She wants her face back. Memo to James Coburn: You may be an old coot, but you're a gentleman and a professional at the podium. Hell, I'm even kind of glad you won. Memo to Judi Dench: Don't apologize for winning. We all know you were robbed last year. And incidentally, as I watched you sitting behind Little Gwynnie, all I could think of was how much sexier you are at 62 than she is at twentysomething. Memo to Roberto Benigni: Stop. Please. I'm begging you. Memo to Little Gwynnie: You're not fit to kiss the hem of Cate Blanchett's gown. Pink used to be my favorite color. Thanks for killing it for me. Memo to Terrence Malick: You must be the smartest man on the planet -- you stayed home. Hollywood doesn't deserve you anyway."

From Chjud: "With regard to your opinions about Kazan and the praise you heap on Nolte et al; you are a disgrace."

From Tim: "Part of the great irony of Elia Kazan's lifetime achievement award is that he at least had the opportunity to make great films, even after his HUAC rat-fink testimony, while other superlative, potential talents did not. For every On the Waterfront there could have been 10 equally, if not better, films made by those on the blacklist. Still, the Oscars gave him a good, once-in-a-lifetime shot at redemption and he didn't give a whimper of an apology. Oh, so now he shuts up. What we saw last night was a strange consciousness we all have with the Academy Awards. Really, the Oscars were never about rewarding the best film of the year. Those who get mad about what wins are really missing the point. The Academy has an agenda to promote liberal humanism and how films can resonate with our social times. Just look at the self-congratulatory paps of Colin Powell, John Glenn and the retrospective montage of historical figures in the movies -- all films shrouded in America's most solemn clothes: democracy, idealism and everything in-between.

"So, what's most surprising is that Saving Private Ryan 'lost,' not 'didn't win' but lost like a 'luh-heeyew-zer.' With Shakespeare in Love winning best picture, we see a shift from the Academy's supposed idealism towards a commercialism more emblematic of Hollywood. DreamWorks vs. Miramax, Spielberg vs. Weinstein. The win going to the highest bidder. In good economic times it's always easier to choose the feel-good film over one that saddens us with visceral reminders that people died in the past so we can now sit and debate about Gwynnie's dress, Benigni's high-on-crack energy and Robert De Niro's lawnmower haircut. Right, Roberto Begnini won. Despite the controversy behind Life is Beautiful and the history lessons it accrues, the Academy still rewarded it Best Foreign Language Film and Best Actor. The latter award, I'm hoping, will raise the profile of comedic performances. (I'm already root, root, rooting for Jim Carrey next year). Still, LIB did what SPR did not. LIB reaches for the emotional truth over the historic one. Part of the argument being Spielberg's claim that most people get their history from movies is sadly true. (There are probably people out there who after watching Schindler's List, thinks that the Holocaust happened in black and white). Roger Ebert made the good point that LIB is a fable, a parable of a place and time. It can't be both and be successful. This is also what distinguishes the emotional girdings of The Thin Red Line from the real time accuracy of SPR. Like I said, prosperity breeds happiness, and a pepped-up Italian cheerleader will beat Jimmy Stewart's nice-guy minimal restraint in the same way SIL will upset SPR's celluloid war memorial.

"So, the beat goes on. Onwardly, persistently, what gets lost in the bewildering shuffle of the business of Oscar night is that it's a business. Norman Jewison's words of art over commerce were not directed at the Shrine Auditorium but through the cathode ray TV screens and to the future filmmakers and general audience. We need only to take up that challenge."

From Pat: "You might as well know that you are hearing from one of the 'unwashed masses' here. Not only does 2001: A Space Odyssey bore me, but I disagree with your assessment of the Babe/Braveheart face off in the Oscars a couple of years ago. I truly feel that a film that touches the heart and reminds the soul of the magic of imagination is worth 10 homophobic battle costume dramas. But then I don't like military history and can honestly say that the 'loved peace, hated war' War and Peace review describes her view of that novel. I also don't like war films, no matter what the decade.

"OK, that said, Saving Private Ryan was robbed. Shakespeare in Love is a charming piece of fluff, wrapped up prettily like a bonbon. There is nothing wrong with this, and in a different year with different films it could have been the Best Picture. Just not this year. I admire Miramax's marketing department, although I sometimes wish they loved some of their films that I love a little more. (Elden Henson in The Mighty gave one of the year's best performances, but hardly anyone saw it.) Still, this was the year that a powerful filmmaker decided to remind the world that even in a war whose purpose is right that the human spirit must survive brutality and desperation, and remove the rose colored glasses that many have where war is concerned. A rewriting of an artist's tale of inspiration pales by comparison, no matter how witty the dialogue or how finely performed. (I did love [Shakespeare in Love's] Geoffrey Rush, Judi Dench, Tom Wilkinson and Imelda Staunton.)

"And Marc Norman should kiss Tom Stoppard's feet. If I'm wrong, he can publish his original draft prior to Mr. Stoppard's help on the Internet and, after reading it, I'll apologize. Until I see proof that most of what makes Shakespeare in Love a lovely screenplay isn't Stoppard's, I'm not going to listen to Mr. Norman. Tom Conti once talked about being at a dinner with Stoppard and Frederic Raphael. Now that's a set of dinner companions. And I must admit my interest in Eyes Wide Shut is largely because of Raphael. And Mr. Stoppard is a true gentleman. Mr. Coburn has real class. And Ms. Dench is a dame, both in the best slang sense and royal sense. All this and artists, too.

"I was also ashamed of the standing ovation that was given to Kazan. I expected (Warren) Beatty to stand and (Karl) Malden. I was disappointed in (Meryl) Streep. And proud of (Nick) Nolte and (Ed) Harris. And I'm more than a little amazed and delighted in that the most pissed off was Amy Madigan. Would I have sat on my hands? Probably not. The clip compilation reminded me once again how much I admire his films and his filmmaking. And on a night meant to honor films, I don't know that I could have let that go by. Would I have forgotten myself enough to stand? Not a chance, even I'm not that sentimental. Someone in discussing the boycott, stated that Kazan wasn't responsible for the blacklist, the studio owners were. And there is some truth to that statement. But it's also true that by testifying, Kazan gave them the ammunition and the justification to continue. I expect merchants and businessmen to follow the tide. I expect artists to stem and create the tide. The thing that is a kicker, is that if Kazan's actions at the HUAC committee had been an act of great conviction, I would have had less trouble with this. They would have been misguided. I would still dislike them, but I would admire them and him a little more. And under those circumstances, there wouldn't be a chance in hell he would have been given the award. I think, under those circumstances, he also would have faced the press room no matter how frail he was.

"And just to be catty, Benigni's joy was contagious because it was real. I may not think it was the best performance last year, but I understand why people have been charmed by this man. On the flipside, please let this be the last award that Gwyneth Paltrow ever wins. Maybe it works better in person. Hope the sandwiches were edible in the press room. Get some sleep, it has been a long month."

From POV: "It really pissed me off when you ripped it out of Elia Kazan in Monday's Hot Button. Who gives a f--k about his personal life? The man was there to get an Oscar for his work. Nike Nolte and the usual suspects showed their usual hypocritical reaction ['Ooooh! Ain't he bad?'] and frankly I expect a little more from you ['Coward?' -- typical American, bully-boy wording]. Remember Walt Disney? Sexist and racist pig. But, hell I don't rant and rave when I see a Walt Disney movie come out. And nor should you or anyone else for that matter. Perhaps a little more thought next time Mr. Poland, as opposed to your wonderful, flag-waving sweeping statement that epitomizes a stereotypical American -- narrow-minded."

(DAVID NOTE: Who is stereotyping who? And isn't cheap stereotyping exactly what HUAC thrived on? I don't know what country POV is from, but, apparently, he or she doesn't have to worry about any form of repression. And apparently, he/she doesn't much care for freedom of speech. Mine or the Hollywood Ten's.)

fkd wrote: "The following are my thoughts on this excruciating show:

"1. Whoopi sucked. After 30 minutes, she wore out her welcome as a host with no sense of pace and timing. The costume changes were a big bore and waste of time where next time, they should have a clock icon ticking in the corner of the TV screen.

"2. Roberto Benigni is an embarrassment. He's nothing more than an Italian Stepin' Fetchit. As a half-Italian, his film was offensive and his whole persona is offensive and tedious. Sophia (Loren) looked great presenting the award but I would have told him to go off and make a pizza. Poor Ian McKellen.

"3. The songs were all poor. Andrea Bocelli is a fine singer who does not need Celine Dion as a prop.

"4. Harvey Weinstein would make LB Mayer proud; they are both cut from the same cloth. Both stereotypical -- Jews with money, a loud voice and no class. Will Harvey now commission a film on George Bernard Shaw called Speak Up Shaw?

"5. Why were Colin Powell and John Glenn there? Again, a waste of time!

"6. Goldie Hawn deserves a punch in the mouth just to see if she can take it. She's not exactly a role model for women over 40.

"7. 1998 sucked as a year in film so, of course, the show would, too.

"8. Best moments of the show? Judi Dench's graceful speech, the tribute to Jewison and the shot of Ian, Lynn (Redgrave) and Brendan (Fraser) when Gods and Monsters won for screenplay. And my comment to your remark on the dubiousness of the win? F--k you!

"9. Kazan's moment was boring. It was more interesting to see who stood and who didn't. A pointless award to a man who made some good films and some which have not aged well. What did Brando think, I wonder? Too bad no one threw a tomato. Now, we will never see Scorcese get an Oscar. Shame on Meryl!

"10. Val Kilmer and the horse? Val should give up and do Playgirl.

"11. Ben and Matt's blasé appearance? They probably just woke up.

"12. Why didn't Tom and Nicole narrate the Kubrick tribute?

"13. I had no idea Gwyneth was so flat-chested. A whiny speech from a whiny actress. Poor Mom.

"14. James Coburn won because he's old. Enough said -- Duvall has one, Ed Harris will win one day, Billy Bob has one, Geoffrey Rush has one. The weakest acting category.

"Will 2000 be any better? Probably not."

DAVID NOTE: And on that sour note, more to come tomorrow.