Every so often you have to cut loose on the Oscars. Too many pundits want to snuggle up to the Academy which makes their coverage well, a little tepid. But not so over at Deadspin. It’s brutal all the way through – but here is my favorite part:
12 Years A Slave: This movie isn’t winning Best Picture. I can guarantee it. And you know why I can guarantee it? Because people are cowards. Schindler’s List made over $100 million and has been broadcast on network television unedited and without commercial interruption. Ditto Saving Private Ryan. And every installment of the Saw franchise mints a new fortune. Holy shit, are we fascinated by seeing white people killed. Kill them, torture them, mutilate them, have a white girl assaulted on SVU weekly—WE WILL BE THERE. Can’t get enough of it. It’s important to let white people know we support them in their time of suffering.
But ask people to watch a movie about slavery? “WHOA HEY THAT SOUNDS LIKE HOMEWORK! And, God, it just sounds so brutal, you know? I much prefer movies about race to congratulate me and my fellow white theatergoers on our broad-mindedness. Let’s go watch fucking Crash instead.”
Jesus Christ, America. You can at least try to not be so obvious.
(NOTE: I have not watched this movie. I’m no masochist.)
By the way, when Spielberg cuts away from the brutal violence in The Color Purple he gets criticized for it. Had McQueen backed off from the brutality of slavery he would have been laughed out of the Oscar race. Oh I do wish Goldilocks would make up her mind.
Off the top of my head. Trying to remember films comparable to GRAVITY that “advanced technology” in recent times, off the top of my head I’d say THE MATRIX, 300, SIN CITY, AVATAR to name a few. I don’t remember any of those films being remotely close to making the Sight&Sound annual top 10, much less at #2 behind only a universally acclaimed juggernaut like THE ACT OF KILLING. So I would also entertain the notion that GRAVITY is widely *loved* among many people from all circles, and not just widely “admired” from a distance.
“American Hustle not only were not punish but we were supposed to like them.”
That’s a sign that there is actual character development and complexity to the characters in American Hustle, whereas Wolf is just rich people snorting blow and screwing women for three hours.
“Additionally, and more importantly, the violence in Django happens to people that Tarantino hasn’t made us care about. Onscreen violence is far harder to watch and absorb when a director makes sure we have an emotional investment.”
I cared about Django.
“Tarantino was winning Oscars for his pro-torture/murder snuff porn.”
Really.
“If the technical achievements Cuaron showed us in Gravity are the main reason, then why aren’t directors who give us masterful technical achievements more frequently rewarded with Oscars?”
Maybe consider the possibility that, within these awards groups, there are many who feel like me; That GRAVITY is a technical achievement among several other things that make it a great movie worthy of a big a award. If you feel that GRAVITY advances technology but it’s nothing more than a showcase, then that is perfectly valid, but don’t assume that’s how everyone feel. Splits have happened in the past. It’s not like something unprecedented is deliberately “being done” to McQueen. You make it sound like they are, this year of all others, all of the sudden, turning the Best Director Oscar into a “Special Award for Technology” only because the can’t bring themselves to vote for McQueen.
I agree with much of what you say, Pierre. I just can’t help thinking that you’re seeing problems that aren’t really manifest in this case. 12YAS is indeed quite a unique film in modern American cinema and for that we should be grateful. It’s a great film, no doubt. And it’s being amply rewarded for those traits. It’s won most of the critics’ prizes, it won GG and BAFTA, it tied for a PGA (even though traditionally they would go for the blockbuster of the two frontrunners) etc.
I mean, if you’re a big Gravity fan, you perceive things the same way as 12YAS fans that feel embattled somehow. Some Gravity fans feel that their choice for best film is being looked down upon as a merely technological showcase (innovative as it is). Kris Tapley’s (heartfelt and sincere) essay on InContention today is a brilliant case in point. He feels that people have been trying to pick Gravity apart the moment it looked like a possible spoiler for the win. He’s got just as good a case as you.
There are always two sides to a coin. 12YAS fans get defensive, Gravity fans get defensive. We’re going through these motions EVERY season. That’s why I don’t believe too much in this whole race thing. If anything the race thing is an advantage for 12YAS going into Sunday night. The “it’s time” campaign says it all, really. Fox Searchlight knows that the race card in relation to write a new page in the annals of Academy history is what trumps other considerations.
Fair enough, you might say. And, indeed it is. I just don’t think you can have it both ways: either the “blackness” of the film is a problem or it’s not. It might be both when you talk individuals because voters are different, but ultimately I think more people are going to vote for 12YAS because it’s a timely opportunity to write history than shy away from it for that reason. That’s just a hunch, I cannot know this for sure.
Django Unchained was NEVER considered a frontrunner for best picture last year, among other things (it being an incoherent mess, is one explanation) because it wasn’t a movie that was ever going to be a consensus pick with all the violence and all the Tarantino idiosyncrasies. 12YAS is likewise a tough movie to sit through. The fact that it’s gotten this far is really something to behold. It’s not your typical Oscar winner. It’s a complex and uncompromising movie. The fact that so many people still embrace it is cause for celebration rather than insinuating that there’s some form of institutional racism operating at full force behind the scenes. People like this film a lot, but it’s just not a film for everybody. If McQueen had made a film for everybody, he wouldn’t be McQueen.
Julian, Alfonso Cuaron is pretty much considered a lock for best director I think you’d agree. Why, then, is that the case? You’ve provided some possible factors, but doesn’t it seem odd to you that, given the perception that his and McQueen’s films are neck-and-neck, that Cuaron is so far ahead? If the technical achievements Cuaron showed us in Gravity are the main reason, then why aren’t directors who give us masterful technical achievements more frequently rewarded with Oscars?
I don’t believe Cuaron’s being Mexican comes even close, in the minds of Academy members who think about it consciously or subconsciously, to neutering McQueen’s being black. I also don’t believe in the least that McQueen would have better odds of winning if he’d conducted a campaign that focused more on his race. I find that argument pure hypothetical nonsense.
I hope you don’t consider my thoughts as representative of the American psyche. Although I am American I don’t think I’ve ever reflected the “pulse” of commonly regarded Americanism. I lived half my life in a city that’s closer to being European than any other and have lived and worked around people from other countries and cultures for 40 years.
What bothers me is that, when race is part of the equation – in this case a movie set during the time of American slavery and written/directed/acted primarily by people of black African descent – unrealistically idealistic standards are applied. It’s not important to me, for the purposes of this conversation, that few people in the Academy believe Obama “isn’t that intelligent.” What is important to me is that, in that particular example, Obama’s predecessor, George W. Bush, rose to power by having it handed to him even though HE isn’t that intelligent.
I believe that people who make accusations of so-called reverse racism, preferential treatment or race-baiting too often in this country are those who haven’t come to terms with their deeply institutionalized feelings involving racial attitudes. It’s easier for them to deny that problems continue to exist, choosing instead to focus outwardly, point to ideals that exist only in a vacuum, and lay blame elsewhere rather than examine their own feelings.
It’s late and maybe I’m not making any sense. What it gets down to, I guess, is that 12 YAS is a film that personalizes the relationships and dynamics of the culture of American slavery. The film isn’t about “slavery is bad,” etc.; that’s an intellectualization we’ve seen before and one that doesn’t give us the progress that we really need because it’s abstract and in the head. 12 YAS gives us something different, something that’s unprecedented in Hollywood filmmaking and distinctly nonlinear and a world away from the gizmos, bells and whistles we see in Gravity – good as they are. And that’s why I believe that McQueen’s film is better – and more important – than any of the other nominees.
I’m sorry but why is 12 Years a Slave so f*cking important? Did I learn anything new from it? No. Did it change me in any way? No. It is literally the same slavery narrative we’ve seen over and over (black man taken from home, looses liberty and becomes the subject of everlasting humiliation and punishment until some white guy from the north saves him) except this time it is “enhanced” by vicious graphic violence that completely exploits the suffering of this people to try to prove a point WE ALREADY UNDERSTAND. I’m getting tired of this cheap guilt trip manipulation. My opinion is that there where far better and more important movies out last year.
Did I learn anything new from it? No. Did it change me in any way. No.
I’ll just be over here taking notes while you tell us what you learned from all the other nominees and how they changed you.
Are we going to learn anything about the movies you explain? or is this class mostly about how movies about other people’s suffering mean nothing to you?
Pierre: As a European, you always get a good glimpse into the heart of the American psyche when something about race comes up. My point is, not everything is about race. American liberals (and trust me, I’m liberal, so liberal that most Americans would blush) seem to be always in the process of being caught up with making amends and straightening things out. There might be a minority of Americans who think Obama is less intelligent, but it’s a very minor minority and I don’t think you find many of those people in the Academy, quite frankly.
I would argue that McQueen’s lack of best director buzz has to do with two things, first and foremost: 1) McQueen has deliberately (and wisely) tried to play down this “first black director win” thing. He has refused to go there. He could have embraced some kind of campaign if he had wanted to, but he has declined. That’s certainly admirable, but it might hurt his chances oscar-wise (for the record: I think he can live with that). 2) Cuarón is a formidable opponent. The kind of ingenuity and pioneering that went into making Gravity is enough to make him stand out in addition to being at the helm of the co-frontrunner for BP. Cuarón would be almost impossible to beat in any year, even up against the potential first black oscar winning director.
You could add that Cuarón being Mexican somehow neuters McQueen being black. And the Tom Hooper thing? That wasn’t a close call at all like this year. TKS won a massive victory that year, I’m sure. Hooper was bound to win BD as well. This year is different, we have a virtual tie on our hands. Considering Cuarón’s colossal achievement in breaking new ground for movie technology (or that’s the perception anyway in the media and among voters), how could he not be the frontrunner for BD? It’s perfectly logical and has nothing to do with race.
The Hollywood Reporter gathered 34 Oscar-winning and -nominated producers for a class reunion photo at Robert Evans’ home.
Here’s a 7-minute video of them reflecting on their wins and losses; this easily could’ve been much longer. What history! …
https://www.youtube.com/watch?v=myW4TkAVTGs
I loved DJANGO UNCHAINED. But then again, I’m always dropping cars on people for the lulz.
I have no problem with 12 YEARS A SLAVE winning. It’s a worthy Best Picture. However, if I had a ballot I would vote for THE WOLF OF WALL STREET and Martin Scorsese for Best Director because I think it is the best film this year by far. Now if everyone in the Academy agreed with me and voted that way, somehow that would make the Academy racist for not voting for either 12 YEARS A SLAVE or Steve McQueen. Actually it would make them even racister than usual because they’d also be skipping over Alfonso Cuaron and his movie, thereby calling him a MexiCan’t.
Julian – 12 YAS may win best picture but it’s anything but a sure thing. We hear reports coming from anonymous Academy voters that they’re afraid to see it because it’s “too brutal.” I didn’t see such reportage about Schindler’s List or No Country for Old Men, for example. But because it’s about race relations, suddenly it becomes a heightened issue. A simple ad campaign (“It’s time”) turns into accusations of guilt-tripping and strong-arming. I mean, it’s an ad campaign for pete’s sake.
And then there’s the race for best director, which this year turned into a “split” scenario early on when, in fact, the rare phenomenon of a split doesn’t get much attention until AFTER it happens. Usually, if a film has a likelihood of winning, it’s director comes with the package even if the directing isn’t that illustrious (e.g., Tom Hooper). It’s a given, though this year it’s not a given because . . . well, because why?
Let’s put it another way. When Jackie Robinson became the first black baseball player in major league baseball he had to live up to impossible expectations both on and off the field – a higher standard. When a black man gets elected president of the US, he’s met with criticism that he only got there because he was HANDED an Ivy League education because of his color because, after all, he’s “not that intelligent.”
All one need do is look at poverty rates in the USA, our education system and incarceration rates – to name a few – to realize that the Civil War is not over. Our federal government didn’t even begin Reconstruction until 100 years after the last shots were fired (Lyndon Johnson’s War on Poverty) because of racism at the highest level of our government (President Andrew Johnson) wouldn’t allow an adequate recovery and sowed the seeds for inequality to fester for generations.
And now that a film has come so close to winning a top award in the Hollywood industry, people from all quarters are crying “foul” for any mention that it’s about time such a film should win. This after decades of clearly inferior films winning top honors or years when films that were arguably better lost. The Academy has a track record of not honoring its best. But this year, you can bet your bottom dollar that, if 12 YAS wins, there will be plenty of criticism about how it wasn’t the best and that it won because people felt obligated or pressured to vote for it.
I mean really.
“But ask people to watch a movie about slavery? “WHOA HEY THAT SOUNDS LIKE HOMEWORK! And, God, it just sounds so brutal, you know? I much prefer movies about race to congratulate me and my fellow white theatergoers on our broad-mindedness. Let’s go watch fucking Crash instead.”
Ok, it’s not because I actively seek out clashing with you, Pierre. Trust me. You’re a regular here, so I like you for that alone.
But, I don’t understand the problem here. 12YAS is the frontrunner to win BP, so what’s the fucking problem?? Why is everybody acting like 12YAS is under some embargo, excluded from academy circles, when that’s clearly not the case. It’s a widely admired film WITHIN the white, male academy. It’s the odds-on favorite to win sunday night, right?!
Whatever wins Sunday, it seems like some precedents will be set and some patterns will be broken.
“The lady doth protest too much, methinks” is a quotation from the 1602 play Hamlet by William Shakespeare. It has been used as a figure of speech, in various phrasings, to indicate that a person’s overly frequent or vehement attempts to convince others of something have ironically helped to convince others that the opposite is true, by making the person look insincere and defensive.
Oops, I mean “doth” protest.
I’m a little tired of people complaining about arm-twisting when it comes to 12 YAS. Have you ever heard the phrase, “She doest protest too much”? I mean, don’t you get this part of the “hater” piece?
“Holy shit, are we fascinated by seeing white people killed. Kill them, torture them, mutilate them, have a white girl assaulted on SVU weekly—WE WILL BE THERE. Can’t get enough of it. It’s important to let white people know we support them in their time of suffering.
“But ask people to watch a movie about slavery? “WHOA HEY THAT SOUNDS LIKE HOMEWORK! And, God, it just sounds so brutal, you know? I much prefer movies about race to congratulate me and my fellow white theatergoers on our broad-mindedness. Let’s go watch fucking Crash instead.”
“Additionally, and more importantly, the violence in Django happens to people that Tarantino hasn’t made us care about. Onscreen violence is far harder to watch and absorb when a director makes sure we have an emotional investment.”
Exactly. That was really my point, you just said it better.
Joeyhegele:
You’re not just referring to artistic merit yourself, are you? You’re the one talking about how everything’s politicized and you claim to know that it’s the same this year. What about wait until monday the 3rd before you rush to conclusions? So if 12YAS does win after all, what then? Will that make you stop insinuating that voters are racist or somehow biased against 12YAS (as opposed to biased against DU)?
The violence in 12YAS is more gripping than the violence in DU, because that’s how it’s intended. Do you think Tarantino would have gone for splatter if his intentions were similar to McQueens?
There were plenty of people last season appalled by DU. Don’t fool yourself. This has nothing to do with race.
It’s in the nature of a serious movie that it will be viewed in a serious light. DU was another beast entirely, just like WoWS is a markedly different film from AH. The latter is a light-hearted satire whereas the former is infinitely more uncompromising. Hence the different reactions.
There were plenty of people last season appalled by DU. Don’t fool yourself.
Ryan nods, raises his hand, gets hand shot off. Blood squirts, Ryan slips in puddle of blood, falls on his ass. Audience laughs.
The violence in Django is the same as the slapstick violence between Roadrunner and Wile E. Coyote. It’s violence trivialized for kicks and giggles.
Additionally, and more importantly, the violence in Django happens to people that Tarantino hasn’t made us care about. Onscreen violence is far harder to watch and absorb when a director makes sure we have an emotional investment.
Finally, Django never existed and we all know this fictional character is going to be ok. He’s superhuman. We don’t worry about Superman getting hurt even when somebody drops a car on his head. But it’s probably not so fun to watch when a real person gets a car dropped on his head.
I am split four ways on Best Picture (12 Years A Slave, Gravity, The Wolf Of Wall Street, and Her). What pisses me off, though, is the absolute hypocrisy of Academy Voters.
You keep hearing how 12 Years A Slave is too violent and brutal for voters to even bother to watch, but just last year they gave two Oscars to Django Unchained, which has to be one of the most violent films I have ever seen. It has 100 times more graphic violence than 12 Years A Slave, but voters liked it because it starred a good white man. Can it be any surprise that the white man who played the good white character won, as did the white man who wrote that good white character. Just pisses me off.
Also, how fucking dare anyone complain about the morality of The Wolf Of Wall Street, when all the criminals in American Hustle not only were not punish but we were supposed to like them. It makes me sick that Scorsese has put up with people heckling him, but David O. Russell is not getting any shit. It is the same bullshit as last year when Kathryn Bigelow was being called Leni Riefenstahl while Tarantino was winning Oscars for his pro-torture/murder snuff porn.
Best Picture (and all other categories) should be chosen based on artistic merit. Keep your bullshit politics and prejudices out of it.
“It’s time” is what you bust out when you’d rather sell the idea of the movie than the movie itself;
YES YES YES.
This to me is the whole point of 12YAS – the idea that it is a great movie about slavery, a seminal movie, even though it patently is not. It is merely a collection of cold, calculated slave-narrative motifs, a catalog if you will. There is no dramatic tension. There is no real thematic arc — it is simply a man who wanders into a series of preordained circumstances without any nuance. There is no sense time is passing. There are no real characters, just stock. There is not even a real attempt to escape, despite the poster’s art, and yes this plays right into the point that it is the “idea of the movie itself” getting sold — the idea of the ULTIMATE SERIOUS SLAVERY MOVIE, rather than the actual rather uninspired content therein.
This is what the always eloquent Mark Harris has to say about the ‘It’s time’ campaign in his latest Grantland column. I have to say I agree with Mark 100%, not because I don’t want 12YAS to win bp, but because I would rather want to see it win without having to resort to this kind of “arm-twisting”:
“In the last two weeks Fox Searchlight, has resorted to a print ad campaign with the slogan “It’s time.” This is special pleading — a barely disguised request for Best Picture votes as an act of atonement or a rectification of past Academy (or non-Academy) injustices. It’s arm-twisting and guilt-mongering, and also manifestly unworthy of the stern, hard, coolheaded movie it is attempting to turn into a cause. “It’s time” is what you bust out when you’d rather sell the idea of the movie than the movie itself; it’s also what you bust out when you’re worried, which Searchlight is, and should be.”
I don’t think the author of that article makes any sense. Yeah 12 years a slave is a somewhat brutal take on Slavery and yeah slavery was Bullshit. It is an atrocity. Having said that though, does it have to win BP just because it is a film about slavery? Hell no. Is it the BP of the year? Arguably…no it is not. The guilt propaganda is a lot of horse shit quite frankly. I took no part in what happened in the past, but dammit if it would guilt me into selecting it as BP just because I felt guilty. This is why it will not win. It would seem forced. And the academy does not like to be forced into anything. (Brokeback/The Social Network).
Marcus, the difference is Malcolm X is an exceptional, interesting, artistically vibrant movie, whereas 12YAS is an over-cautious, unadventurous, reductive snoozefest.
David Thompson’s rant in TNR, “The Best Picture is a Sham”:
http://www.newrepublic.com/article/116503/why-12-years-slave-will-win-best-picture-oscars?a&utm_campaign=tnr-daily-newsletter&utm_source=hs_email&utm_medium=email&utm_content=12061055
“Those other gravities have never been strong in daily life at the Academy (when an institution presents a humanitarian award, you know it has a bad conscience), but like any business enterprise set on making money it welcomes the suggestion of a higher calling, and has been known to push Best Picture honors in that direction. This uncharacteristic and generally unwholesome high-mindedness has a candidate in 12 Years a Slave. By making a fuss of that film, the business may distract us and itself from the fact that slavery might have been a topic for a picture seventy or a hundred years ago. What a follow-up to the alleged racism of The Birth of a Nation it would have been if D. W. Griffith’s Intolerance had been about slavery. Let us also put aside feeble assertions that slavery has been touched before—in Mandingo, or, more ludicrously, in Django Unchained (which only displays the self-imprisoning fantasies of Quentin Tarantino). 12 Years a Slave shows the real thing, made by Brits for the most part, horrible, painful, but necessary—at last. It acts on the assumption that slavery is a bigger topic than film-making, so it is not a spectacular, innovative, or “dazzling” picture. It doesn’t believe it needs to be. It seems to me that as a source of self-respect and moral gravity, it should be the favorite for Best Picture. In which case, there need not be another movie about slavery for a hundred years (though probably the subject will abide patiently).”
Alfonso Cuaron? If you take away all the genius you’re invariably left with Paul Haggis. I hope AMPAS voters realized this before Tuesday.
Someone started last night the long road ahead to turn GRAVITY into CRASH. I’m proud I predicted that.
I was so wound up I forgot it was Mandingo. Drum was the follow-up book that, alas, was never made into a movie that undoubtedly would have surpassed Godfather II as the best sequel ever.
I am so tired of the “12 Years a Slave is a masterpiece” crapola. What’s the message? Slavery…BAD!!! Freedom…GOOD!!! Whipping…HURTS!!! Oooooooh, really thought provoking. Besides, it was done before, and far better. Anyone remember Drum, people? Now that was a groundbreaking effort. With Ken Norton acting. And Susan George’s breasts. A classic.
And don’t even get me started about Gravity. Ever see Marooned, people??? Wake up.
I enjoyed reading that. His comment about Leto’s performance was spot on. It is the prefect role to be nominated for and win an Oscar. A lovely role like Rayon, it’s almost like an Oscar Prescription rather than just mere Oscar Bait. That role met every checklist requirement to receive all the awards glory it has… but yet, other actors had more demanding roles.
read this glorious jackass piece last night. thanks.
the opposite should be said. there is so much quality this year that it was nearly impossible for the Academy to make bad noms … or pick an unworthy winner. It should be a great night.
Sunday, they will give out at least two awards that will, without question, reflect glory back onto the Academy…. Blanchett and Lubezki…. maybe three, if they award 12 Years.
Cuaron and McQueen are both great choices. Leto or Abdi… wonderful.
lots to celebrate.
“But to try and strong-arm the voters into choosing it by saying ‘It’s time’, or ‘If you don’t vote for this film, you’re a racist’ is utter b/s. ”
Marcus, I don’t see any strong-arming going on, and I haven’t heard any reasonable person – or anyone for that matter – suggest that not voting for 12 YAS would be a racist act. You’re reading way too much into “this kind of campaigning.” I can’t imagine why you say such things.
@Steve50: lmao! Funny stuff, dude. But I think you’re referring to the Golden Globes. Actually, it woul make the show more interesting if the Oscars were a dinner party like the GGs.
@Miles Ridding: I agree with you, 95%. The 5% being your preferential order, of course. All this nonsense about ‘It’s time’ is really getting annoying. ’12 Years a Slave’ is an exceptional film, no question. But to try and strong-arm the voters into choosing it by saying ‘It’s time’, or ‘If you don’t vote for this film, you’re a racist’ is utter b/s. Can you imagine if the movie ‘Malcom X’ were made last year and it was the one winning Best Picture everywhere? Oh boy! This kind of controversy would be getting truly crazy. After this Sunday, should ‘Gravity’ win Best Picture, maybe the ’12 YAS’ backers will organize a March on Hollywood, lol. Nah, just kidding :). Although, that would be rather silly.
I love Oscar season. I love watching the nominated films and judging for myself which is the best in every category. But it’s just pure ignorance (and a suspected sense of entitlement) that spawns this kind of campaigning. If by some miracle Steve McQueen upsets Alfonso Cauron, I wouldn’t complain because he is the next deserving nominee; though, I really don’t see that happening. But since ’12 Years a Slave’ will likely win Best Picture, McQueen will be a winner for producing. Also, I think it’s not out of the question for Chitewel Ejiofor to upset Matthew McConaughey for Best Actor. I’d keep my eye on that one. Honestly, I think the next big question mark is Best Adapted Screenplay.’ ’12 Years a Slave’, or ‘Captain Phillips?’ We shall see.
I am fed up with all this political talk about 12 years a slave. I am now really rooting for Gravity to pull off the win (assuming Captain Phillips realistically has no hope) even though I marginally prefer Slave. I suppose this constitutes a kind of backlash, but a Gravity win would be a welcome surprise at this point. Slave has become the predictable choice for so many reasons and its win now will be a yawn inducing SO WHAT!
My preferential order for Best Picure would really be
1. CAPTAIN PHILLIPS
2. PHILOMENA
3. THE WOLF OF WALL STREET
4. 12 YEARS A SLAVE
5. DALLAS BUYERS CLUB
6. GRAVITY
7. AMERICAN HUSTLE
8. HER
I have yet to see NEBRASKA
While they were both derided after they won Best Picture ‘The Kings Speech’ and the last tech film that won best picture ‘LOTR’ are far superior to ‘Gravity’ in retrospect. They have more storytelling depth and have fantastic ensembles like ‘American Hustle’.
‘Gravity’ looks most ordinary on TV. Should that sort of film really win the best picture Oscar? It and ‘Argo’ will not hold well at all three years from now.
I feel like a need a shower after reading the full rant. The only part of it that I have some alliance with is the spiel on Leto’s role – it does tick all the Oscar baity boxes. I was a bit disappointed with Leto’s role – not his playing of it, but it felt underwritten and strangely edited.
But yeah, this person really hates the Oscars. Or is it all a pisstake?
12 Years A Slave is just no great. that’s why the movie can’t win. what’s great? watch GRAVITY.
”The Color Purple”: Some historical context is important. Spielberg, one of the world’s most popular directors, chose to make a commercial film in 1985 at a time when an epic period black drama was a rarity. It introduced tons of people to Celie from Alice Walker’s award-winning novel, and it grossed nearly $100 million. It got 11 Oscar nominations and went home empty-handed, but it made history in other ways, too. It was only the second black drama ever to be nominated for Best Picture (”Sounder” was the first in 1973). And it allowed Quincy Jones to be the first black producer whose film was up for Best Picture.
Disneyfied or not, ”The Color Purple” was a showcase for talented African-American performers, like Whoopi and Oprah, and it brought Spielberg his 5th DGA nomination … and his first DGA win.
Whatever happens with ”12 Years a Slave” on Sunday, ”The Color Purple” helped set a precedent nearly 30 years ago.
“The Academy’s snub of Spielberg for Director was one of the few times they actually got it right, especially by giving the great Akira Kurosawa his only directing nomination instead (for Ran).”
Yes.
Scott:
Hilarious. Couldn’t agree more. Oprah pouncing thru the fields, before she was OPRAH, was one of the most ridiculous parts. The Academy’s snub of Spielberg for Director was one of the few times they actually got it right, especially by giving the great Akira Kurosawa his only directing nomination instead (for Ran).
Spielberg deserved criticism for THE COLOR PURPLE. He also cut away from the sexuality of the characters. He Disneyfied a great novel right down to the Zip-a-Dee-Doo-Dah Quincy Jones soundtrack. Half the time I expected Thumper and a bunch of animated dwarves to come bounding across the field.
This is a good runner-up:
“Philomena: What is this? This came out in a theater? No, it didn’t. You’re full of shit. Every year, Hollywood has to whip up a fake movie like this one, or The Reader, or Love Field, so that they have enough roles to fill out the Best Actress category. Because in any given year, there are only three open jobs for working Hollywood actresses. “
Ha! I love it! Almost every word!
SECRET MAGIC BUTTERFLY CHAMBER.
“Sandra Bullock: Just like a woman to not know how to drive a spaceship.”
Hysterical! The whole article is a riot.
Oscars are film fans’ equivalent to a holiday dinner. Everybody argues, gets drunk, says things they shouldn’t, you never get waht you want, then we all look forward to doing it again next year.