The Academy Awards is a chance to see the stars unrehearsed; to catch their unguarded expressions in vivid split-screen. Are the losers really happy for the winners? Did Ben Stiller really look like a character from Avatar -- or more like the love child of Iron Eyes Cody, a Vulcan and one of the Blue Men? Was the jostling between the winner of Best Documentary Short and his bitter producer –- the literally pushy and somehow Almodovar-esque Elinor Burkett – even more entertaining than the puffy production numbers? And, since there was a time in Hollywood when wearing mink was an in-vogue sin –- the in-vogue sin –- how can it now be OK to wear people? The question, “Who are you wearing?” actually predates the era when Joan Rivers worked the red carpet with her daughter and tried desperately –- sometimes in vain –- to have a word with an A-Lister. So, why not just present an Oscar for Best Dress at the Academy Awards? Apparently, clothes make the actress.
But the movies? If nothing else, the 2010 Academy Awards took the temperature of the artistically-ailing film industry. It seems to be back on its feet –- but for how long? With Avatar taking in billions, we can pretty much expect to live the future in 3-D. Most movies that will inevitably follow in Avatar’s footsteps –- which may mean most movies, period –- are going to be awfully disappointing. Why? Because you don’t make dramas in 3-D. You make science-fiction, adventure and horror movies; you make animated films and probably some comedy. These genres comprise a cinematic subspecies that’s come to be known as the “popcorn movie” –- which, in fact, can be a euphemistic way of saying “bad movie.” Clearly, the onslaught of 3-D will crowd out the dramas –- which have a much better batting average. On the positive side, the fact that The Hurt Locker could do so well, and be part of the same graduating class as Inglourious Basterds, Precious, Up in the Air and several other quality films, is a clear sign from above –- meaning, naturally, the marquee.
Speaking of Up in the Air –- it’s interesting to note that it was probably the first movie to get Best Picture Oscar buzz, only to lose critical frequent-flyer miles along the way. I’m not amazed. As brilliant as Jason Reitman can be, there is something self-deflating about his films that makes them seem better when they first come out. I’m not sure if it’s an odd lack of depth or a kind of smirking, humor- channeled cynicism. By contrast, Inglourious Basterds –- with its conceit of historical revisionism –- already seems better than when it first crept into theaters. Tarantino has reinvented the war film, and that’s a major accomplishment. Why didn’t it seem obvious at first?
The most gratifying winners were Sandra Bullock, who could be described as the Anti-Diva –- or perhaps the girl next door who got her foot in a bigger door –- and Christoph Waltz from Basterds, who approached his role with relish, like a man about to sit down to a good meal.
Though it ran too long, the Academy Awards was riveting, spontaneous entertainment. I’m not sure what could top it –- except, perhaps, a post-Oscars shot put, where the winners could see exactly how far they’re able to throw the heavy golden statue. Or maybe a shoes-off, red-carpet relay race. Better yet, an event where the feuding makers of the film that won Best Documentary Short could duke it out in public. Now, that would be a contest.
Jordan Oakes is a local journalist who has written for publications such as St. Louis Magazine and the Christian Science Monitor. He has strong opinions that begin to atrophy if he doesn't exercise his right to express them. Tune in every Wednesday for another installment of Mediatribe - and if you missed last week's post, click here.
