Evelyn Barge
A&E Editor
While Hollywood gears up for the Academy Awards, its biggest night of self-congratulatory praise, the rest of Los Angeles is preparing to endure endless hours of traffic that will result from a few blocks of Hollywood Boulevard being shut down for eight hours. This is not to mention the back up from motorists traveling to one of the thousands of unnecessary Oscar parties thrown by people who like to pretend they are Hollywood insiders.
Luckily, the Oscars is the only entertainment awards show that has managed to maintain a shred of dignity, so it is still enjoyable to make predictions and watch the soiree unfold from the living-room couch.
This year, expect the Academy Awards to up the ante with a little controversy — at least that’s what viewing audiences are hoping for from host Chris Rock. Even if he sticks to caustic commentary on current affairs within the entertainment world, it should make for an evening that is anything but dull.
And given the current state of world affairs, it’s likely that the acceptance speeches may fall into a similar category. This year’s Oscars is ripe for anti-war statements and protest speeches.
For the sake of Rock and any winners who choose to exercise their free-speech rights, let’s hope that five-second delay actually serves its purpose. The FCC could have a field day quashing Hollywood’s liberal ranting and raving.
But if there’s one thing the Oscars are good for, it’s inspiring a healthy debate over artistic values and merits. Everyone has an opinion on the necessary outcome of the ceremony, who deserves to win, who will win and who should have been nominated.
Here is one Graphic columnist’s take on what might be revealed when the envelopes are finally opened when the 77th annual Academy Awards airs live Sunday at 5:30 p.m. on ABC.
Best motion picture
While this category’s nominees present a tough competition, “Sideways” deserves to win. After snubbing Paul Giamatti in the Best Actor category, it is only right that “Sideways” would take home an Oscar. But, parts of the film are absolutely hysterical, and we all know how the Academy feels about comedies. Laughter is simply not allowed if a film wants to be taken seriously by the Hollywood elite. And, since director Martin Scorsese has never won an Oscar, chances are the Academy will finally choose to acknowledge his talent by awarding “The Aviator” the top prize of the night.
Performance by an actor in a leading role
“Hotel Rwanda” featured a masterful performance by Don Cheadle. His portrayal of Paul Rusesabagina was the most moving performance by an actor this year, and the Academy should acknowledge his achievement. On the meter of heart-rending filmmaking, “Hotel Rwanda” is right up there with “Schindler’s List,” due mostly to Cheadle’s talent for subtlety in all the right places. The film relied heavily on him to carry the story, and he stepped up the challenge, and made it look as easy as breathing.
Performance by an actor in a supporting role
It has been noted that Jamie Foxx’s role in “Collateral” was only labeled supporting because he had second billing in the credits. I would have to agree. 2004 was Foxx’s banner year, and the Academy should present him the award for his greatest achievement — his performance in “Collateral.” While it is unfortunate that this role fell into the supporting actor category, it is the performance for which Foxx should be honored. If he does win the leading role category over Cheadle, it will be a roundabout acknowledgement of his roles in both films.
Performance by an actress in a leading role
I have to root for the underdog in this category. Catalina Sandino Moreno’s breathtaking performance in “Maria Full of Grace” was one of my favorites this year. Her portrayal of lead character Maria Alvarez couldn’t have been more painfully honest and tragic. In terms of a breakthrough performance, it doesn’t reach a much higher caliber than this one. And while her nomination might come as a surprise to some, I’m impressed that the Academy went out on a limb to simply acknowledge this up-and-coming actress.
Performance by an actress in a supporting role
Cate Blanchett’s performance as Katharine Hepburn in “The Aviator” is my personal favorite in this category. Not only did Blanchett pull off such a daunting role with confidence and panache, but she did it in style, too. And if you think pretending to be one of the most admired actresses of all time is an easy task to take on, think again. It’s one thing for Leonardo DiCaprio to portray Howard Hughes, an intriguing character who is not very well known outside Hollywood circles. Hepburn is one of the few Hollywood actresses who nearly everyone can recognize — that’s a lot of high expectations.
Best full-length animated feature
“The Incredibles” was the best animated film I’ve ever seen and has this Oscar race locked up. This movie has all the elements of a live-action film packed with the visual punch of moving animation cels. Amazingly, some of the best acting of the year can be attributed to the animators at Pixar who worked on this movie. “The Incredibles” is an animated film handcrafted for movie lovers. How else could societal critiques, a random French mime and sexual innuendoes involving Elastigirl all find their way into a kids movie?
Best directing
I find it absolutely appalling that Martin Scorsese has never won an Academy Award. The man helped shape the landscape of American cinema, and the Academy has not once recognized his immense directorial talent. It’s sad that the award will likely go to him for “The Aviator,” an enjoyable film but certainly not a prime showcase of his directing skills. But, in true Oscar style, the Academy loves to reward nominees who have been previously snubbed in homage to their greater works. Remember that when Scorsese picks up the Oscar on Sunday. Then go rent “Raging Bull.”
Best art direction
How Joel Schumacher’s destruction of “The Phantom of the Opera” got nominated for anything is beyond me. But, if it had to be nominated, art direction is a likely category since it is basically a filmed theater production. My hope is that “A Very Long Engagement” wins. It is a beautifully constructed piece of cinematic art, and one of the best foreign language films of the year (although it was not nominated in that category, for some mysterious reason).
Best cinematography
“The Phantom” strikes again in this category. Let’s hope the Academy overcomes its passionate love for fancy costumes and gives the award to Bruno Delbonnel for his amazing camerawork in “A Very Long Engagement.” This was a masterful epic that was actually worth watching, and Delbonnel shaped a visual masterpiece of rich colors and intricate camera movements. Every aspect of the cinematography matched the intricate romance evolving on screen between Mathilde (Audrey Tautou) and Manech (Gaspard Ulliel).
Best film editing
I’ll take this opportunity to mention that Michel Gondry’s “Eternal Sunshine of the Spotless Mind” has been virtually ignored as one of the greatest movies of the year. If anything, “Eternal Sunshine” clearly should have been nominated in this category. As far as innovative editing techniques go, “Eternal Sunshine” is cutting-edge work of Gondry’s editing background (i.e. music videos). Given the choices, however, “Collateral” is a safe bet in this category. Michael Mann exploited his video-shot film for all it was worth in the editing room. The resultant dark, grainy images intensified an already-magnificent movie.
Best adapted screenplay
David Magee’s touching screenplay about writer James M. Barrie (Johnny Depp), his romance with the widowed Sylvia Llewelyn Davis (Kate Winslet) and friendship with her four children is a classic example of screen adaptation at its best. “Finding Neverland” gives a private glimpse of the inspiration behind the classic children’s story, “Peter Pan,” which was written by Barrie. With so many different kinds of writing running through this screenplay, Magee should logically win.
Best original screenplay
This category has some of the most remarkable films of the year packed into solid competition. “The Aviator,” and “Hotel Rwanda” are definitely in the running, but my pick is “Eternal Sunshine of the Spotless Mind,” simply because my favorite nominated film needs to win at least one category.
02-24-2005
