Tag Archive: oscar


From the outside, it looked like Steven Spielberg’s political biopic would walk the Oscars, but canny campaigning saw Ben Affleck‘s Iran-hostage drama pip it at the post. Here’s how they did it

Argo and Lincoln

Head to head … Argo and Lincoln

Argo‘s yo-yo awards season ended on an upswing on Sunday as the Tehran yarn clinched the Big Kahuna of movie honours. Ben Affleck‘s third outing as director endured the proverbial rollercoaster ride over the past five months and the Warner Bros crowd will be partying late into the night after winning best picture. This was the first time since Driving Miss Daisy in 1989 that the prize had gone to a movie whose director had not been nominated for an Oscar.

  1. Argo
  2. Production year: 2012
  3. Country: USA
  4. Cert (UK): 15
  5. Runtime: 120 mins
  6. Directors: Ben Affleck
  7. Cast: Alan Arkin, Ben Affleck, Bryan Cranston, Christopher Denham, Clea DuVall, John Goodman, Kerry Bishe, Rory Cochrane, Scoot McNairy, Tate Donovan, Victor Garber
  8. More on this film

The popular narrative of what has been an unusually high-calibre awards season is that Argo – the people’s favourite – snuck in at the eleventh hour to swipe the best picture prize from Lincoln. Not so. Argo never lost its high standing among voters and maintained its campaign momentum – albeit in a more nuanced manner in recent weeks – despite the mighty efforts of the publicity machine behind Steven Spielberg‘s august history lesson.

The campaign machine was chugging along nicely and then on 8 October, four days before Argo was due to open in US cinemas, Lincoln premiered at the New York film festival. Spielberg was about to throw a spanner in the works. Suddenly Argo was no longer the name on everyone’s lips. Lincoln was being hailed in some quarters as a masterpiece, perhaps Spielberg’s best since Schindler’s List. Hollywood lined up to kneel before the altar of Daniel Day-Lewis. An air of invincibility coalesced around Lincoln as the first awards groups prepared to announce their winners.

Day-Lewis as Abraham Lincoln was a match made in prestige movie heaven and the Anglo-Irish actor dominated his category, earning accolades from just about every awards group including the influential Screen Actors Guild, the largest voting block in the Academy. He duly won his third lead actor Oscar on Sunday and became the first man to do so. Spielberg did not make it on to the winners’ podium and, in a rare surprise on the night, had to watch as Ang Lee won best director for Life of Pi.

Read more here: http://bit.ly/XvUPak

By the start of the year Lincoln had garnered the most Golden Globe and Oscar nominations and was the perceived frontrunner. This suited the Argo camp, which wanted their contender to be the marginal underdog. At the Golden Globes in January, Lincoln suffered its first public reversal as Argo prevailed in the best dramatic picture contest and Affleck beat Spielberg in the directing category.

Two weeks later, over the course of one heady weekend, Argo delivered a one-two punch to land best picture at the Producers Guild of America and best ensemble cast at the Screen Actors Guild. On 3 February Affleck became only the third person to win the DGA award without an Oscar nomination. Two weeks later Chris Terrio won the WGA’s adapted screenplay honour. The votes for successive shows had already been cast. The late cascade of prizes may have seemed like people were suddenly championing Argo, but in reality the movie’s enduring pedigree never wavered and Hollywood had made up its mind.

 

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Michael Haneke

 

Jordan Strauss/Invision/AP

After several failed attempts, the director won the best foreign language film award for “Amour” as his home country had its best Oscar outing since 1961.

It’s been a long wait with several failed attempts, but Michael Haneke has finally won the best foreign language Oscar for his home country, Austria.

When Haneke’s Amour was named as the award winner Sunday night, it marked the end of a long struggle by the Austrian government to have Haneke’s films – many of which like Amour have been in French – accepted as properly Austrian in the eyes of the Academy.

Foreign language films can now be in any language other than English. Their nationality is determined by the creative force behind the film.

Read more here: http://bit.ly/YvM6B7

Alongside Haneke, that deep Austrian talent pool includes Vienna hometown hero Christoph Waltz, who took home his second best supporting actor Oscar Sunday for his role as German bounty hunter King Schultz in Quentin Tarantino‘s Django Unchained.

Two Austrian Oscars in one night – that hasn’t  happened since 1961, when Billy Wilder won three Oscars in a single year for The Apartment. The film took home the best picture, best director and best original screenplay honors that year.

 

  • Directing

    A government official in the director’s native Taiwan praises his accomplishment, while Indian stars tweet in delight over Lee’s statement in Hindi during his acceptance speech.

HONG KONG and DELHI – Just hours after bagging an Oscar statuette in Los Angeles, Ang Lee has been told of yet another award coming his way: an honorary citizen’s medal from the municipal authorities of Taichuing, the Taiwanese city where he shot the ocean scenes in Life of Pi.

Speaking to the Taiwanese CNA news agency, Taichung mayor Jason Hu – who watched the awards ceremony after a medical check-up in a Taipei hospital – said Lee deserves the Best Director prize, and that he thanked Lee for putting the island on the map by shooting Life of Pi there and then giving Taiwan a call-out in his acceptance speech.

Hu said Lee, who was born in southern Taiwan and left the island to study filmmaking in the US in 1979, should be accorded with recognition by the Taiwanese government, and he will make the filmmaker an honorary citizen of Taichung.

Read more about Ang Lee here: http://bit.ly/VHDmuV

Life of Pi has proven to be a hit in Taiwan, where it took US$15.6 million. The film also took about US$85 million on mainland China, an amount which surpassed its American earnings of US$69.6 million.

Meanwhile, Lee set the Indian blogosphere alight by concluding his acceptance speech on Sunday night with a salutation in Hindi.

“YES!!! Life of Pi wins four Oscars, with most deserved Best Director Oscar for Ang Lee, who ended speech with ‘Namaste,’” actor Kabir Bedi posted on his twitter account.

“Congratulations to the entire team of Life Of Pi and to the Genius called Ang Lee. Proud to have worked with him.:),” said a tweet by actor Anupam Kher,who was at the Oscar ceremony as part of the ensemble cast of Silver Linings Playbook. Kher — who also posted a photo of himself with Lee taken at a pre-Oscar party — had earlier worked with the two-time Oscar winning director in 2007’sLust, Caution.

“Ohhhh how beautiful to see Ang Lee on the stage. He truly truly truly deserves it,” tweeted actorAdil Hussain who stars in Life of Pi, playing the principal character’s father.

Perhaps the tweet that best captured the enthusiasm of Lee’s Oscar win and acceptance speech came from Bollywood banner Balaji Telefilms CEO Tanuj Garg: “Every Indian has just had an orgasm over Ang Lee’s ‘namaste.’”

 

Nine Oscar speeches that changed the world

You’re never going to win an Oscar. But whether you’re conscious of it or not, you’ve probably already given an Oscar speech.

They may be the most secretly influential forms of American rhetoric. The rhythms and tropes of wealthy filmmakers accepting career-peak trophies echo in every weepy retirement speech, every smug valedictorian address, every comic icebreaker the CEO uses to kick off his PowerPoint presentation. Movie stars show us how to kiss, how to dress. Of course we learn public discourse from them,  too. Read more here: http://wapo.st/XLTATs

Here are 9 speeches that changed the world by Amy Argetsinger from washingtonpost.com

Actress Sally Field accepts her Academy Award for best actress in the film "Places in the Heart" at the Oscar ceremonies in Los Angeles March 26, 1985. (AP)

Actress Sally Field accepts her Academy Award for best actress in the film “Places in the Heart” at the Oscar ceremonies in Los Angeles March 26, 1985. (AP)

“You know what you want to say, you want to be grounded, be yourself, be totally honest about how you’re feeling,” says Roger Ross Williams, recalling his 2010 Oscar moment. Not ringing a bell? More on him later, as we recall nine landmark Oscar speeches and their legacies.

Greer Garson: Her acceptance of the 1942 Best Actress prize (for “Mrs. Miniver”) is legendary as the longest in show history — an estimated seven minutes — but it also set the pace for gassy self-regard. The British star pontificated on the meaning of awards, her journey to the U.S., the marvelous support Hollywood was getting from the troops.Legacies: Time limits. Self-mythologizing stars (Halle Berry: “this moment is so much bigger than me”; Hilary Swank: “just a little girl from a trailer park with a dream”). RNC speeches that barely mention the nominee. The worst banquets you’ve ever attended.

Ed Begley: The veteran character actor, winning the 1962 Best Supporting Actor for “Sweet Bird of Youth,” thanked his producer, his director…“but most of all, and this is from the heart, my agent, George Morris.” The room was shocked. This was a first! “Really and truly!” the actor protested, explaining that Morris worked overtime to get him the role.Legacies: Thanking your agent, your publicist, your hairdresser. Taking your bifocals and a folded list onstage with you. (“Titanic” producer Jon Landau name-checked 55 people.) Four-page author acknowledgements. Watch the speech.

Marlon Brando: The eccentric “Godfather” star skipped the 1972 ceremony and sent “Sacheen Littlefeather” (actress-activist Marie Cruz) to refuse his Best Actor prize — in protest, she said, of “the treatment of American Indians” by Hollywood and the government. A political statement? Whatever. It was really the birth of Punk’d culture.Legacies: Five-second delays. Howard Stern fans crank-calling live news broadcasts. Sacha Baron-Cohen’s career. Kanye West interrupting Taylor Swift.

Louise Fletcher: The Best Actress winner for “One Flew Over the Cuckoo’s Nest” (1975) kept it short, gracious and barely memorable — until she completed her speech in sign language to thank her deaf parents “for teaching me to have a dream. You are seeing my dream come true.” Nothing like a good awards-show cry. Legacies: Cambodian refu­gee Haing S. Ngor’s win (“this is unbelievable, but so is my entire life”). Timothy Hutton’s shout-out to his late dad Jim Hutton. Ving Rhames regifting his Golden Globe to his hero Jack Lemmon. The very best rehearsal-dinner toasts.

Vanessa Redgrave: What was more shocking: When the Palestine advocate and Best Supporting Actress of 1977 (“Julia”) thanked the academy for standing up to “Zionist hoodlums” who opposed her? Or the hisses from the audience and subsequent scolding from presenter Paddy Chayefsky? Legacies: Susan Sarandon, Tim Robbins and Richard Gere getting in trouble for mouthing off about politics at the podium. Michael Moore calling out the president (“we are against this war, Mr. Bush!”) and getting booed. Rep. Joe Wilson’s State of the Union heckle (“you lie!”). Cable news warfare in general.

Meryl Streep: Everyone knew she would win Best Supporting Actress for 1979’s “Kramer Vs. Kramer,”  but she politely acted surprised: “Holy mackerel!” Cute, unconvincing and soon the new standard. Legacies: All of Kate Winslet’s faux-shocked acceptance speeches. Kooky, self-deprecating opening lines. (Admiral James Stockdale, vice-presidential debate of 1992: “Who am I? Why am I here?”) Later and better Streep speeches, eventually honed to a fine art.

Sally Field: What she actually said, accepting the 1984 Best Actress prize: “And I can’t deny the fact that you like me. Right now, you like me!” What it meant: A subtle reference to a line from her 1979 movie “Norma Rae.” What it turned into: The single most quoted, imitated, joked-about moment from the Oscars, ever. Legacies: Director James Cameron’s “Titanic” acceptance (“I’m king of the world!”). Meme culture. The pressure to make a funny joke on Twitter about what just happened on TV.

Jack Palance: Exulting in his 1991 Best Supporting Actor trophy (“City Slickers”), the 73-year-old dropped to the floor and did three one-armed push-ups. Legacies: Roberto Benigni climbing over the seats to accept his Best Actor prize. Adrian Brody soul-kissing Halle Berry to accept his. Obnoxious end-zone dances.

Roger Ross WilliamsRemember? He’s the 2009 Best Documentary Short director whose carefully planned speech was cut short when estranged producer Elinor Burkett rushed the stage. “Everyone was talking about it the next day,” he marvels. Legacies: A “Larry King” guest spot, a “Simpsons” parody, a “Letterman” skit, a coveted Sundance spot for “God Loves Uganda,” his new full-length documentary. Williams laughs about it now: “That attention helped my career in a big way.”

 

_Bafta_2446156c

Tomorrow night’s BAFTA Awards are the last televised stop on the awards calendar before the Oscars, and in a year where several key races remain unsettled, they’ll be watched even more eagerly than usual by awards pundits. (Well, “followed” if not “watched” — I, for one, won’t have access to the live broadcast of the show, annually shown on a quaint tape-delay system that suggests the BBC hasn’t quite got to grips yet with a little thing called the internet. But I digress.)

Like the Academy, the BAFTA voters lavished attention on an apparent frontrunner, only to undermine it by eliminating it from the Best Director race. The difference, of course, is that the British and American groups dealt this backhand to different films. Where the Oscars left Ben Affleck (as a director, at least) out of the party, the Brits decided Steven Spieberg could afford to sit this one out, despite handing “Lincoln” a field-leading 10 nominations. This truly is the season of mixed signals, as Guy Lod wrote for hitfix.com

In any event, BAFTA embraced “Argo” wholeheartedly, shocking onlookers by adding a Best Actor nod for Ben Affleck (his first and only individual acting mention of the season.) Though “Life of Pi” — a genuine box office story in the UK — seemed to be surging around the time of the nominations, I’ve a feeling BAFTA will follow the lead of the Globes and the Guilds by crowning Affleck’s tidy Hollywood thriller. Still, if Ang Lee manages to sneak past Ben Affleck tomorrow night to win his third Best Director BAFTA, this very unusual race could get even harder to read. With nine nominations and impressive local box office, “Life of Pi” feels due more than just a technical award or two, and could even be a spoiler in the Best Film race too.

Read more at http://bit.ly/WCe5Dp

The awards will be announced on Sunday 10 February at a ceremony hosted by Stephen Fry at the Royal Opera House, London.

Best Film

Argo – Grant Heslov, Ben Affleck, George Clooney
Les Misérables – Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh
Life of Pi – Gil Netter, Ang Lee, David Womark
Lincoln – Steven Spielberg, Kathleen Kennedy
Zero Dark Thirty – Mark Boal, Kathryn Bigelow, Megan Ellison

Outstanding British Film

Anna Karenina – Joe Wright, Tim Bevan, Eric Fellner, Paul Webster, Tom Stoppard
The Best Exotic Marigold Hotel – John Madden, Graham Broadbent, Pete Czernin, Ol Parker
Les Misérables – Tom Hooper, Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh, William Nicholson, Alain Boublil, Claude-Michel Schönberg, Herbert Kretzmer
Seven Psychopaths – Martin McDonagh, Graham Broadbent, Pete Czernin
Skyfall – Sam Mendes, Michael G. Wilson, Barbara Broccoli, Neal Purvis, Robert Wade, John Logan

Outstanding Debut by a British Writer, Director or Producer

Bart Layt (Director), Dimitri Doganis (Producer) – The Imposter
David Morris (Director), Jacqui Morris (Director/Producer) – McCullin Dexter Fletcher (Director/Writer), Danny King (Writer) – Wild Bill
James Bobin (Director) – The Muppets
Tina Gharavi (Director/Writer) – I Am Nasrine

Film Not in the English Language

Amour – Michael Haneke, Margaret Ménégoz
Headhunters – Morten Tyldum, Marianne Gray, Asle Vatn
The Hunt – Thomas Vinterberg, Sisse Graum Jørgensen, Morten Kaufmann
Rust and Bone – Jacques Audiard, Pascal Caucheteux
Untouchable – Eric Toledano, Olivier Nakache, Nicolas Duval Adassovsky, Yann Zenou, Laurent Zeitoun

Documentary

The Imposter – Bart Layton, Dimitri Doganis
Marley – Kevin Macdonald, Steve Bing, Charles Steel
McCullin – David Morris, Jacqui Morris
Searching for Sugar Man – Malik Bendjelloul, Simon Chinn
West of Memphis – Amy Berg

Animated Film

Brave – Mark Andrews, Brenda Chapman
Frankenweenie – Tim Burton
Paranorman – Sam Fell, Chris Butler

Director

Amour – Michael Haneke
Argo – Ben Affleck
Django Unchained – Quentin Tarantino
Life of Pi – Ang Lee
Zero Dark Thirty – Kathryn Bigelow

Original Screenplay

Amour – Michael Haneke
Django Unchained – Quentin Tarantino
The Master – Paul Thomas Anderson
Moonrise Kingdom – Wes Anderson, Roman Coppola
Zero Dark Thirty – Mark Boal

Adapted Screenplay

Argo – Chris Terrio
Beasts of the Southern Wild – Lucy Alibar, Benh Zeitlin
Life of Pi – David Magee
Lincoln – Tony Kushner
Silver Linings Playbook – David O. Russell

Leading Actor

Ben Affleck – Argo
Bradley Cooper – Silver Linings Playbook
Daniel Day-Lewis – Lincoln
Hugh Jackman – Les Misérables
Joaquin Phoenix –The Master

Leading Actress

Emmanuelle Riva – Amour
Helen Mirren – Hitchcock
Jennifer Lawrence – Silver Linings Playbook
Jessica Chastain – Zero Dark Thirty
Marion Cotillard – Rust and Bone

Supporting Actor

Alan Arkin – Argo
Christoph Waltz – Django Unchained
Javier Bardem – Skyfall
Philip Seymour Hoffman – The Master
Tommy Lee Jones – Lincoln

Supporting Actress

Amy Adams – The Master
Anne Hathaway – Les Misérables
Helen Hunt – The Sessions
Judi Dench – Skyfall
Sally Field – Lincoln

Original Music

Anna Karenina – Dario Marianelli
Argo – Alexandre Desplat
Life of Pi – Mychael Danna
Lincoln – John Williams
Skyfall – Thomas Newman

Cinematography

Anna Karenina – Seamus McGarvey
Les Misérables – Danny Cohen
Life of Pi – Claudio Miranda
Lincoln – Janusz Kaminski
Skyfall  – Roger Deakins

Editing

Argo – William Goldenberg
Django Unchained – Fred Raskin
Life of Pi – Tim Squyres
Skyfall – Stuart Baird
Zero Dark Thirty – Dylan Tichenor, William Goldenberg

Production Design

Anna Karenina – Sarah Greenwood, Katie Spencer
Les Misérables – Eve Stewart, Anna Lynch-Robinson
Life of Pi – David Gropman, Anna Pinnock
Lincoln – Rick Carter, Jim Erickson
Skyfall – Dennis Gassner, Anna Pinnock

Costume Design

Anna Karenina – Jacqueline Durran
Great Expectations – Beatrix Aruna Pasztor
Les Misérables – Paco Delgado
Lincoln – Joanna Johnston
Snow White and the Huntsman – Colleen Atwood

Make-up and Hair

Anna Karenina – Ivana Primorac
Hitchcock – Julie Hewett, Martin Samuel, Howard Berger
The Hobbit: An Unexpected Journey – Peter Swords King, Richard Taylor, Rick Findlater
Les Misérables – Lisa Westcott
Lincoln – Lois Burwell, Kay Georgiou

Sound

Django Unchained – Mark Ulano, Michael Minkler, Tony Lamberti, Wylie Stateman
The Hobbit: An Unexpected Journey – Tony Johnson, Christopher Boyes, Michael Hedges, Michael Semanick, Brent Burge, Chris Ward
Les Misérables – Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, John Warhurst
Life of Pi – Drew Kunin, Eugene Gearty, Philip Stockton, Ron Bartlett, D. M. Hemphill
Skyfall – Stuart Wilson, Scott Millan, Greg P. Russell, Per Hallberg, Karen Baker Landers

Special Visual Effects

The Dark Knight Rises – Paul Franklin, Chris Corbould, Peter Bebb, Andrew Lockley
The Hobbit: An Unexpected Journey – Joe Letteri, Eric Saindon, David Clayton, R. Christopher White
Life of Pi – Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer
Marvel Avengers Assemble – Nominees TBC
Prometheus – Richard Stammers, Charley Henley, Trevor Wood, Paul Butterworth

Short Animation

Here to Fall – Kris Kelly, Evelyn McGrath
I’m Fine Thanks – Eamonn O’Neill
The Making of Longbird – Will Anderson, Ainslie Henderson

Short Film

The Curse – Fyzal Boulifa, Gavin Humphries
Good Night – Muriel d’Ansembourg, Eva Sigurdardottir
Swimmer – Lynne Ramsay, Peter Carlton, Diarmid Scrimshaw
Tumult – Johnny Barrington, Rhianna Andrews
The Voorman Problem – Mark Gill, Baldwin Li

The EE Rising Star Award (voted for by the public)

Elizabeth Olsen
Andrea Riseborough
Suraj Sharma
Juno Temple
Alicia Vikander

–taken from bfi.org.uk

Ben Affleck Accepts the DGA Award

Kevin Winter/Getty Images Entertainment

UPDATED: Lena Dunham is lauded for “Girls”; Rian Johnson of “Breaking Bad‘ and Jay Roach of “Game Change” are also honored.

The 65th annual Directors Guild of America Awards ceremony saw Ben Affleck continue his streak of taking home prizes for Argo. The 40-year-old actor turned director won the DGA Award for Outstanding Directorial Achievement in Feature Films at the awards dinner, which was held Saturday night at the Ray Dolby Ballroom at Hollywood & Highland.

“I don’t think this makes ma a real director, but I think it means I’m on my way,” he said as he accepted the honor.

In the process, a new awards season statistic was created. The DGA Award usually points the way to the best director Oscar winner, since on only six occasions since the DGA Awards began in 1948 has the DGA winner failed to become the Academy’s best director winner. But that number now goes to seven, since Affleck isn’t nominated for a directing Oscar.

Argo is nominated for seven Academy Awards, though, and now becomes the odds-on favorite since in recent weeks its won two Globes, two Critics Choice Awards, the PGA Award and the SAG ensemble award.

In addition to Affleck, this year’s nominees for film wereKathryn Bigelow, nominated for Zero Dark ThirtyTom HooperLes MiserablesAng LeeLife of Pi; and Steven SpielbergLincoln.

As is the tradition at the DGA Awards, each of the feature film nominees were invited on stage during the course of the evening to accept a medallion.

Introducing Affleck, Bryan Cranston said his Argo director has earned right to be considered “one of our industry’s best.” And Affleck responded, “I look out and see all these great directors. I feel I should be auditioning.” Lee told his fellow directors that the recognition meant more to him than even his Oscar because “you know how hard it is to make movies.” Bigelow, who has come under attack in some quarter’s for her fiilm’s depictions of torture, used her time to underscore the importance of artistic freedom, saying, “None of us here could do what we do without having the freedom of artistic expression.”

Hooper was introduced by Les Mis stars Anne Hathaway and Hugh Jackman, who playfully testified to the director’s demands, with Jackman calling the director “batshit crazy.” Hooper, in turn, spoke of the lengths the two actors went to to become their characters — saying it too was a form of craziness — and then invited his entire directing team, who flew in from London, onstage to share the honor of the nomination.

Martin Short, invited to introduce Spielberg, provided some of the best jokes of the evening. “It’s more than a thrill, it’s an obligation,” he said of his participation, adding, “obviously Bill Clinton was booked.” He went on to proclaim, “Tonight we honor Steven Spielberg for his magnificent movie,Abraham Lincoln, Vampire Slayer!” But Spielberg gave as good as he got, beginning his remarks by saying, “When you tell your assistant to contact Marty, you just assume she understands you’re talking about Scorsese.”

The award for outstanding documentary work went to Malik Bendjelloul for Searching for Sugar Man, the doc about musician Sixto Rodriguez, which also is looking like an Oscar front-runner in its category following its Critics Choice and PGA wins.

On the television front, Lena Dunham took home the first award of the night, for the pilot of her HBO comedy, Girls. In her acceptance speech, the 26-year-old said for to consider her fellow nominees her peers was “surreal.”

Jay Roach claimed the award for best MOV/Mini-series for his Sarah Palin-focused HBO film Game Change and noted that it has been “a year in which political films got made and got a lot of attention.”

Rian Johnson, who was honored in the dramatic series category for an episode of AMC’s Breaking Bad, said he was “lucky and privileged to ride on the bus for a couple of stops.”

The evening’s penultimate moments were given over to a video tribute to director Milos Forman, recipient of the guild’s Lifetime Achievement Award. Actors like Annette Bening and Danny DeVito appeared in the piece, which recounted the Czech-born director’s remarkable career with clips from such movies as The Fireman’s Ball, One Flew Over the Cuckoo’s Nest, Amadeus and The People vs. Larry Flynt, which underscored the importance that Forman — who fled Communism in his native country to establish a second career in America — placed on freedom.

Because of illness, Forman, who lives in Connecticut, was not able to attend. But DGA president Taylor Hackford read a letter from Forman, in which he thanked the DGA twice. First, for the current award. And then for the directors like Mike NicholsSidney LumetFranklin Schaffner and Buck Henry who stood up for him in the ’70s when he was in danger of being deported by the United States. Taylor then led the room in a glasses-lifted-on-high toast to Forman.

Among the evening’s other honors: Former DGA president Michael Apted was presented with the Robert B. Aldrich Award for his service to the guild. Longtime CBS News director Eric Shapiro was given the Lifetime Achievement Award in News Direction. Susan Zwerman was recognized with the Frank Capra Achievement Award. And Dency Nelson received the Franklin J. Schaffner Achievement Award.

The event, hosted by Kelsey Grammer for the second consecutive year, was live-tweeted by The Hollywood Reporter’s Gregg Kilday. (View his live-blog here.)

Grammer began the show by joking that waiting to hear who won must be “torture” for Bigelow. Riffing on 2012’s films, he said “In Django we learned that the D was silent but the N was not.”

The complete list of nominees are here http://bit.ly/14yBIhK

by Aaron Couch, Gregg Kilday for hollywoodreporter.com

 

Barbra Streisand To Perform On The Oscars® For The First Time In 36 Years

_barbra-streisand-clint-eastwood-dustin-hoffman

BEVERLY HILLS, CA – Two-time Academy Award® winner Barbra Streisand, who has sung on the Oscars only once before, will perform on the upcoming Oscar® telecast on February 24. Streisand last sang the love theme from “A Star Is Born” on the March 28, 1977 show, winning the Best Original Song Oscar for “Evergreen” that same night.

“In an evening that celebrates the artistry of movies and music,” said producers Craig Zadan and Neil Meron, “how could the telecast be complete without Barbra Streisand? We are honored that she has agreed to do a very special performance on this year’s Oscars, her first time singing on the show in 36 years.”

Streisand won her first Oscar for Best Actress in “Funny Girl” (1968), and was nominated again in 1973 for her lead performance in “The Way We Were.” She was also nominated for producing the Best Picture nominee “The Prince of Tides” (1991), which she also directed, and for co-writing the original song “I Finally Found Someone” from “The Mirror Has Two Faces” (1996).

Oscars for outstanding film achievements of 2012 will be presented on Oscar Sunday, February 24, at the Dolby Theatre™ at Hollywood & Highland Center®, and will be hosted by Seth MacFarlane live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.
ABOUT CRAIG ZADAN AND NEIL MERON
Craig Zadan and Neil Meron are producers of critically acclaimed and award-winning feature films, television movies, series, and Broadway productions. Their feature films include The Bucket List, Footloose, Hairspray, and Chicago, which won six Academy Awards including one for “Best Picture.” For television, they’ve produced films of “Steel Magnolias,” “Life with Judy Garland,” and “A Raisin in the Sun,” among many others and the series “Smash” and “Drop Dead Diva.” They recently returned to their roots in live theater by producing Broadway revivals of the Tony-winning “Promises, Promises” and the Tony-winning 50th Anniversary revival of “How to Succeed in Business Without Really Trying.”

source: oscars.org

 

Hollywood Foreign Press Association, 2013 Golden Globes Announcement

With the Oscar nominations and Critics Choice Awards announced on Thursday, it was up to the Hollywood Foreign Press Association (HFPA) earlier this evening to try to get in one final round of awards before the two-week wait until the Screen Actors Guild (SAG) and the even longer wait until Oscar night. Normally, I don’t take the Golden Globes very seriously, mainly because they’re a very different group from either the critics or the people in the industry honoring their own. These are foreign entertainment journalists working in Los Angeles and let’s just say that they’ve earned a rep for being easy to buy.The most important thing to remember is that the HFPA has separate categories for Drama and Comedy/Musical, which makes it far more difficult when honing down the acting categories to possible winners at the Oscars. It also doesn’t help that only 15 of the 30 actors nominated in the various acting categories at the Golden Globes have also received Oscar nominations, since there are ten less slots.

In the past, the HFPA has gone with movies as their Best Picture that don’t necessarily end up winning Oscars in that category. You’d have to go all the way back to 2008’s Slumdog Millionaire to find a year when the Golden Globes’ pick in the drama category and Oscar’s Best Picture were one and the same. Before that? The Lord of the Rings: The Return of the King five years earlier. In fact, some might even consider winning a Golden Globe in the Best Picture category to be bad luck or some kind of jinx in terms of an Oscar win going by their track record. Okay, maybe I’m going a bit far there since last year’s Oscar Best Picture winner wasThe Artist, which won the Golden Globe in the Comedy/Musical category, the only movie since 2002’sChicago to take home that pair.

_Argo_afleckSo where does that leave last night’s Drama winner Argo (Warner Bros.), which won the Critics Choice award a few nights earlier? It was going up against four other films in the Drama category that received Oscar nominations with only two of them that had corresponding directing nominations. This win came after the big surprise of the night as Ben Affleck won Best Director for the movie, his second win of the week and second since being snubbed for an Oscar nomination in the directing category. Argo really didn’t feel like a “Golden Globe”-type movie, but clearly audiences have taken to the movie and that’s also true with the journalists of the Hollywood Foreign Press. Or maybe they just had easier access to Affleck during the nomination process? Who knows, but having Affleck win two precursors and potentially winning the DGA as well leaves us with an Oscar category in which the director who wins on Oscar night may be doing so without any previous win. Except maybe the DGA. We have to keep in mind that it’s been a long time since a movie won Best Picture at the Oscars without having its director at least nominated.

Going by the last few years, Argo‘s win at the Golden Globes may pretty much end its awards run as now we get to the industry guilds and the Academy itself who rarely go with the same selection. What’s really going to be telling is the next few awards, starting with the Producers Guild’s award on January 26, the SAG Ensemble on January 27 and the DGA shortly after. One of those three groups could also pick Argo… or something else entirely. Basically, there are too many good movies in the running this year, so we shouldn’t be too surprised if we start seeing more support for some of the other movies in the running.

There were only two movies in the Comedy/Musical category that received Best Picture nominations, David O. Russell’s Silver Linings Playbook and the musical Les Misérables. These two were considered the strongest contenders to win the category depending on which way the HFPA members went with, neither having a corresponding directing nomination to give us a hint. When it comes down to it, the HFPA love their musicals–one of the reasons why they have this category–so it seemed that Les Misérables would be an easy choice for them.

What’s interesting is that all three of the movies mentioned above are up for the SAG Ensemble award along with Spielberg’s Lincoln (DreamWorks), another potential frontrunner, and whichever one wins that night may make it far more obvious which way the Academy may go when selecting their best picture.

As far as the acting categories, Jennifer Lawrence won in the Comedy/Musical category for Silver Linings Playbook, which kept her away from her strongest competition in the Oscar actress category, Jessica Chastain, who in turn won in the Drama category for Zero Dark Thirty. Like Daniel Day-Lewis and Anne Hathaway winning in their respective categories, Lawrence and Chastain were the least surprising wins of the Golden Globes, although it now makes it a full-on heads up horse race for which one will win on Oscar night. At least Hugh Jackman had some competition worth considering in the Musical/Comedy category with all the recent support for Bradley Cooper in Russell’s comedy, but Jackman’s win further proved the HFPA’s love for musicals as Les Misérables won a few moments later.

Incidentally, this is the first time since 2005 that the Critics Choice and Golden Globes for Supporting Actor went to two different performances despite being one of the most consistent categories over the years. In 2005, the Critics Choice went to Paul Giamatti for Cinderella Man. He went on to receive the Screen Actors Guild’s honor in the category, while the Golden Globe went to George Clooney for Syriana for which he won the Oscar. In 2006, Eddie Murphy won all three precursors, but then lost the Oscar to Alan Arkin. Philip Seymour Hoffman winning over the critics and German actor winning the Golden Globe (from a group including many foreigners) opens things up for the Screen Actors Guild to go elsewhere since Waltz wasn’t nominated by them and that could determine who wins on Oscar night, which could very well be a third actor altogether. Either way, it’s great to have a category where there may be some surprises.

As far as the screenplay category, it’s not one I’d normally take seriously when it comes to the Golden Globes, but they followed the very different Broadcast Film Critics Association by giving the award to Quentin Tarantino for Django Unchained two days earlier, so we have to start taking it seriously. Most people assumed that Mark Boal’s screenplay for Zero Dark Thirty had this in the bag on Oscar night, but there’s a chance the controversy the movie has stirred up–not to mention Mark Boal’s recent Oscar win… over Tarantino, in fact–could shift the advantage to Tarantino to win his first Oscar since Pulp Fiction.

Lastly, Animated Feature went to Disney•Pixar’s Brave as opposed to Disney’s own Wreck-It Ralph, which won the Critics Choice award, and the fact there isn’t one movie even those two groups agreed upon means that the Oscar is still anyone’s game.

Things may be a bit slow in terms of Oscar updates over the next few weeks though I do have a couple of ideas I’ll try to share while everyone else is at Sundance.

–source: edward douglas for comingsoon.net

 

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Could it be that the Golden Globes actually have better taste than the Oscars? After all, Globe voters this year found room for critically lauded performances by Marion Cotillard (“Rust and Bone”), Rachel Weisz (“The Deep Blue Sea”), John Hawkes (“The Sessions”) and Richard Gere (“Arbitrage”) that the Academy voters overlooked. And the Hollywood Foreign Press Association (the group that picks the Globes) had the sense to nominate Kathryn Bigelow (“Zero Dark Thirty”) and credit the Globes’ unique practice of expanding the field by breaking out a separate Comedy/Musical category, as well as the idiosyncratic makeup of the HFPA (a small group of about 100 entertainment journalists, contrasted with the Academy’s 6,000 or so movie-industry professionals).

The result, however, is a slate that — this year, at least — matches up only roughly with the Oscar nominees list, making the predictive value of the Globes more dubious than usual. And vice versa; you can’t predict the Globes by guessing how the Academy would vote.

Still, judging by what the HFPA voters like — movies and performers with international appeal, classical Hollywood filmmaking, and familiar faces who’ll brighten their televised cocktail party — it’s not hard to guess which stars and movies will win when the trophies are handed out on Jan. 13. Here’s a cheat sheet for your home ballot.

BEST MOTION PICTURE – DRAMA
“Argo”
“Django Unchained”
“Life of Pi”
“Lincoln”
“Zero Dark Thirty”

In the night’s most important race (since it’s the most predictive of Oscar’s Best Picture category), where the Academy gave us a wide-open race among nine worthy contenders, the HFPA gives us essentially a two-horse competition between “Lincoln” and “Zero Dark Thirty”; the rest will be also-rans. “Lincoln” has the edge as a piece of classical filmmaking from Hollywood’s biggest brand-name director, but “Zero Dark Thirty” seems to have most of the awards momentum this season and is likely to squeak past.

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
Jessica Chastain (“Zero Dark Thirty”)
Marion Cotillard (“Rust and Bone”)
Helen Mirren (“Hitchcock”)
Naomi Watts (“The Impossible”)
Rachel Weisz (“The Deep Blue Sea”)

Just because I praised the Globe voters above for recognizing several of these performances that Academy members passed over doesn’t mean I don’t think that in the end, the HFPA will still go for Chastain, the hot rising star of the past couple years. For the rest, it’s just an honor to be nominated, though out of all of these, Cotillard or Watts could manage an upset for playing women in umimaginably extreme circumstances.

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA

Daniel Day-Lewis (“Lincoln”)
Richard Gere (“Arbitrage”)
John Hawkes (“The Sessions”)
Joaquin Phoenix (“The Master”)
Denzel Washington (“Flight”)

As with the actresses, Gere and Hawkes should be grateful just to have been invited. As much I’d love to see Phoenix win just to here what kind of gonzo acceptance speech the awards-averse actor would give, and tho i love more him more as Daniel Plainview but this race belongs to Day-Lewis, surely. Enough said.

BEST MOTION PICTURE – COMEDY OR MUSICAL

The Best Exotic Marigold Hotel
“Les Miserables”
“Moonrise Kingdom”
“Salmon Fishing in the Yemen”
“Silver Linings Playbook”

“Marigold” and “Yemen” are the kind of multinational comedies with older-audience appeal that hit the HFPA’s demographic sweet spot, and “Playbook” has buzz, but the smash “Les Mis” will take the category. Russel Crowe has a band, he’s the vocalist. Hugh Jackman i once saw him sang with Richard Marx. Anne Hathaway, oh boy, she’s not that bad at singing.

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
Emily Blunt (“Salmon Fishing in the Yemen”)
Judi Dench (“The Best Exotic Marigold Hotel”)
Jennifer Lawrence (“Silver Linings Playbook”)
Maggie Smith (“Quartet”)
Meryl Streep (“Hope Springs”)

Enough with Meryl Streep. I love Jen but Katniss Everdeen (who happens to be the only person in this category who also got an Oscar nod) is going to hit the bullseye on this target.

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
Jack Black (“Bernie”)
Bradley Cooper (“Silver Linings Playbook”)
Hugh Jackman (“Les Miserables”)
Ewan McGregor (“Salmon Fishing in the Yemen”)
Bill Murray (“Hyde Park on Hudson”)

It’s great that the HFPA are recognizing the Oscar-snubbed performances of Black, McGregor and Murray, but the race is between Cooper and Jackman. Cooper’s terrific in “Playbook,” but i will go with Dave Mustaine of Megadeth on this one Jackman’s titanic Jean Valjean in “Les Miz” is going to carry this one.

BEST ANIMATED FEATURE FILM
“Brave”
“Frankenweenie”
“Hotel Transylvania”
“Rise of the Guardians”
“Wreck-It Ralph”

It’s either “Frankenweenie” or “Brave”. Sorry Burton, but when it comes to Pixar i have to be brave on choosing “Brave”.

BEST FOREIGN LANGUAGE FILM
“Amour”
“A Royal Affair”
“The Intouchables”
“Kon-Tiki”
“Rust and Bone”

I am wondering why HFPA snubbed Emmanuelle Riva. She’s my fave on Best Actress category on Oscar next February. Maybe “Amour” was categorized in Foreign Languange Film. I don’t know. But “Amour” it is. In the name of love.

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE

Amy Adams (“The Master”)
Sally Field (“Lincoln”)
Anne Hathaway (“Les Miserables”)
Helen Hunt (“The Sessions”)
Nicole Kidman (“The Paperboy”)

You were good Mrs. Lincoln but no offense this prize belongs to the heart-rending Hathaway of “Les Mis.” She deserves it more.

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
Alan Arkin (“Argo”)
Leonardo DiCaprio (“Django Unchained”)
Philip Seymour Hoffman (“The Master”)
Tommy Lee Jones (“Lincoln”)
Christoph Waltz (“Django Unchained”)

This may be the toughest Globe race to call. DiCaprio? Hmm.. Not now amigo.  Waltz? You’re not Hans Landa this time. Arkin? Nope. It’s two horse race between Hoffman and Jones. Hoffman’s best role was at “Capote”. So i’ll go with Tommy Lee Jones though i hate the wig.

BEST DIRECTOR – MOTION PICTURE
Ben Affleck (“Argo”)
Kathryn Bigelow (“Zero Dark Thirty”)
Ang Lee (“Life of Pi”)
Steven Spielberg (“Lincoln”)
Quentin Tarantino (“Django Unchained”)

It’s really between Spielberg and Bigelow. It’s political thingy. “Lincoln” is not my fave Spielberg’s  movie. “Schindler’s List” or “Saving Private Ryan” attracted me more. But who has bigger role in America history? Abe or Osama? Yes i’ll go with Spielberg.

BEST SCREENPLAY – MOTION PICTURE
Mark Boal (“Zero Dark Thirty”)
Tony Kushner (“Lincoln”)
David O. Russell (“Silver Linings Playbook”)
Quentin Tarantino (“Django Unchained”)
Chris Terrio (“Argo”)

Again, it’s a battle between “Zero Dark Thirty” and “Lincoln.” Again i’ll go with Kusner’s “Lincoln”

BEST ORIGINAL SCORE – MOTION PICTURE
Mychael Danna (“Life of Pi”)
Alexandre Desplat (“Argo”)
Dario Marianelli (“Anna Karenina”)
Tom Tykwer, Johnny Klimek, Reinhold Heil (“Cloud Atlas”)
John Williams (“Lincoln”)

I’m a fan of Alexandre Desplat. But it’s not his year. It’s either John Williams or Mychael Danna. His scoring is my lullaby. Me easily get carried away. Eversince “The Imaginarium of Dr Parnassus”, you have my vote Mr. Danna!

BEST ORIGINAL SONG – MOTION PICTURE
“For You” from “Act of Valor” (Monty Powell, Keith Urban)
“Not Running Anymore” from “Stand Up Guys” (Jon Bon Jovi)
“Safe & Sound” from “The Hunger Games” (Taylor Swift, John Paul White, Joy Williams, T Bone Burnett)
“Skyfall” from “Skyfall” (Adele, Paul Epworth)
“Suddenly” from “Les Miserables” (Claude-Michel Schonberg, Alain Boublil, Herbert Kretzmer)

In celebrating 50 years the James Bond franchise, well it’s not James Bond’s best song. Garbage and Carly Simon still top on my list. But  Adele still probably gets it, so “Skyfall” it is.

Well after all. It’s just a prediction. I may be wrong. But at least more than 30% of my predictions are gonna get along with HFPA. So place your bet before it’s too late.

— image from screencrush.com some words taken from moviefone.com

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This morning the Academy Award nominationswere revealed, and as usual, they’re bound to inspire debates over who got snubbed.

In light of today’s news (and, ahem, no Best Actor nomination for Jamie Foxx’s work in Django Unchained), we’re looking back at the biggest Oscar snubs of all time. To be clear, we’re not squabbling about nominees who should’ve won their categories—we’re talking about iconic and classic performances or films that were inexplicably overlooked and failed to even receive nominations.

15. Gary OldmanSid and Nancy (1986)
Overlooked for: Best Actor
Nominated Instead: Paul Newman (The Color of Money), Dexter Gordon (Round Midnight), William Hurt (Children of a Lesser God), Bob Hoskins (Mona Lisa), James Woods (Salvador)
It’s always tough to play a real person, but to play a punk icon/raging drug addict/probable murderer less than a decade after his high-profile death is a nearly impossible task. Oldman transformed into Sid Vicious for this film, both physically (at one point being hospitalized for losing too much weight for the role) and emotionally, pouring himself into the role.

14. Kathleen TurnerBody Heat (1981)
Overlooked for: Best Actress
Nominated Instead: Katherine Hepburn (On Golden Pond), Diane Keaton (Reds), Marsha Mason (Only When I Laugh), Susan Sarandon (Atlantic City), Meryl Streep (The French Lieutenant’s Woman)
As femme fatale Matty Walker in this neo-noir, Kathleen Turner made her film debut, but her performance makes it seem as though she’s been doing this forever—oozing the style, confidence and sensuality of a bygone era.

13. Steven SpielbergJaws (1975)
Overlooked for: Best Director
Nominated Instead: Milos Forman (One Flew Over the Cuckoo’s Nest), Robert Altman (Nashville), Federico Fellini (Amarcord), Stanley Kubrick (Barry Lyndon), Sidney Lumet (Dog Day Afternoon)
Sure, the directors’ category was pretty stacked in 1975, and it’s tough to decide who we’d bump to make room for him, but with Jaws, Steven Spielberg essentially created the summer blockbuster and forever changed how we see movies while laying the groundwork for the auteur’s impressive career—no small feat.

12. 2001: A Space Odyssey (1968)
Overlooked for: Best Picture
Nominated InsteadOliver!Funny GirlThe Lion in WinterRachel, RachelRomeo and Juliet
As we wrote when we declared this one of the slowest (but also greatest) movies of all time, “Straddling the boundary between art film and sci-fi epic, Stanley Kubrick’s space-age fantasia is loaded with arresting images. The legendary opening, with the apes and the bone—would you really want that passage hurried? The scene builds like a symphony, and then hurtles us into space, where the action moves with appropriate gravity. The menace of HAL is partly in the deliberateness with which he operates. If you’re looking for exploding Death Stars and quippy little alien creatures, you’ve come to the wrong place. Kubrick takes interstellar life seriously.” If you’re still not convinced, think about how visually stunning the film remains to this day and consider what it’d be like to watch it in 1968—before we’d even put a man on the moon.

11. Dennis HopperBlue Velvet (1986)
Overlooked for: Best Supporting Actor
Nominated Instead: Michael Caine (Hannah and Her Sisters), Tom Berenger (Platoon), Willem Dafoe (Platoon), Denholm Elliot (A Room With A View), Dennis Hopper (Hoosiers)
The Academy chose the wrong 1986 Dennis Hopper performance. He’s great in Hoosiers, but as Frank Booth in David Lynch’s Blue Velvet, he’s positively terrifying. Booth is one of the most memorable movie villains of all time—sometimes funny, frequently disturbing and always riveting. Plus, he was drinking PBRbefore it was cool.

10. The Dark Knight (2008)
Overlooked for: Best Picture
Nominated InsteadSlumdog MillionaireThe Curious Case of Benjamin ButtonFrost/NixonMilkThe Reader
The Dark Knight was more than just a movie; it was an event. Christopher Nolan’s sequel to Batman Begins managed to transcend genre and become much more than a simple comic-book movie. It’s a visually stunning morality tale that raises some important questions about good and evil, and Heath Ledger’s performance as The Joker—hideous, deranged and yet hugely charismatic—is one for the ages.

9. Bette Davis, Of Human Bondage (1934)
Overlooked for: Best Actress
Nominated Instead: Claudette Colbert (It Happened One Night), Grace Moore (One Night of Love), Norma Shearer (The Barretts of Wimpole Street)
There was such a massive public outcry when Bette Davis was snubbed for her star-making performance in Of Human Bondage that the Academy essentially owned up to their mistake and actually allowed a special write-in campaign to get her on the ballot.

8. Alfred Hitchcock, North By Northwest (1959) (but also basically every other film he made)
Overlooked for: Best Director
Nominated Instead: William Wyler (Ben-Hur), Jack Clayton (Room at the Top), Billy Wilder (Some Like It Hot), George Stevens (The Diary of Anne Frank), Fred Zinnerman (The Nun’s Story)
The fact that one of the greatest—if not the greatest—directors of all time never received a Best Director Oscar seems unreal and borderline criminal. Despite making almost 60 films, the lion’s share of which his directorial work is more than worthy of a nomination, Hitch was only nominated for the award five times and never won.

7. The Shining (1980)
Overlooked for: Best Picture
Nominated InsteadOrdinary PeopleCoal Miner’s DaughterThe Elephant ManRaging BullTess
Though it’s considered a classic today, The Shining failed to receive the recognition it deserved when it initially came out; in fact, it actually received two Razzie nominations—a Worst Actress nod for Shelley Duvall and a Worst Director nomination for Stanley Kubrick. Thankfully, audiences have since come to their senses and realized what a gem this Stephen King adaptation truly is.

6. Anthony Perkins, Psycho (1960)
Overlooked for: Best Actor
Nominated Instead: Burt Lancaster (Elmer Gantry), Spencer Tracy (Inherit The Wind), Trevor Howard (Sons and Lovers), Jack Lemmon (The Apartment), Laurence Olivier (The Entertainer)
Like the director himself, Alfred Hitchcock’s actors were historically overlooked by the Academy. As the villainous Norman Bates, Perkins played against type and delivered an iconic, creepy, yet wildly sympathetic performance. Norman’s a murderer with his dead mom stuffed in the attic, but he’s also a seemingly sweet, awkward guy who just got pushed to the brink by an unbearable relative. Hey, we all go a little mad sometimes, right?

5. Gene Kelly, Singin’ in the Rain (1952)
Overlooked for: Best Actor
Nominated Instead: Gary Cooper (High Noon), Marlon Brando (Viva Zapata!), Kirk Douglas (The Bad and the Beautiful), Jose Ferrer (Moulin Rouge), Alec Guinness (The Lavender Hill Mob)
The epitome of Old Hollywood glamour—and a triple threat if ever there was one—Gene Kelly received a special Oscar in 1952 (the same year he stunned in An American in Paris) for “his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film.” That same year, he turned in arguably his most iconic performance in Singin’ In The Rain, but despite his exuding grace and pure joy in the titular number, the Academy rained on his parade at the following ceremony and failed to recognize him.

4. Sidney Poitier, In the Heat of the Night (1967)
Overlooked for: Best Actor
Nominated Instead: Rod Steiger (In the Heat of the Night), Warren Beatty (Bonnie and Clyde), Dustin Hoffman (The Graduate), Paul Newman (Cool Hand Luke), Spencer Tracy (Guess Who’s Coming to Dinner)
In 1967, Sidney Poitier starred in not one, but two extremely important films about race. At a time when Civil Rights tensions were boiling over, Poitier brought a glimpse of the African-American experience to the mainstream. His white co-stars (Rod Steiger for In the Heat of the Night and Spencer Tracy for Guess Who’s Coming to Dinner) were both nominated for their portrayals of men who must confront their own prejudices, but Poitier himself wasn’t rewarded for his work. His performance as homicide detective Virgil Tibbs in In the Heat of the Night is especially profound, as he brings a quiet, restrained anger to the performance.

3. Do The Right Thing (1989)
Overlooked for: Best Picture
Nominated InsteadDriving Miss DaisyBorn on the Fourth of JulyDead Poets SocietyField of Dreams,My Left Foot
As Scott Wold wrote when we declared it the third-best movie of the ’80s, “the violence of Do the Right Thing erupts as an extension of literal and metaphorical long-simmering neighborhood temperatures, and finally boils over as something of a catharsis while never coming off as mawkish, or giving audiences the ability to escape conversation after the credits roll. A remarkable cast sells the complicated relationship with their Brooklyn neighborhood flawlessly.” The titular “right thing” in the film is hazy and thought-provoking, but instead, Driving Miss Daisy—a story about race with a much more upbeat, Hollywood ending in which the two protagonists put aside their differences and share a piece of pie—took home the top prize.

2. Hoop Dreams (1994)
Overlooked for: Best Documentary Feature
Nominated InsteadMaya Lin: A Strong Clear VisionComplaints of a Dutiful DaughterD-Day RememberedFreedom on My MindA Great Day in Harlem
Hoop Dreams is one of the best films of the ‘90s—documentary or otherwise—and despite appearing on more critics’ Top 10 lists than any other movie in a stacked year that included Pulp FictionForrest Gumpand The Shawshank Redemption, it failed to make even the shortlist for the Oscars. There was (justifiable) outrage, and many campaigned for the film to be nominated for Best Picture, but sadly, director Steve James and his team got shafted. History repeated itself last year when James’ The Interrupters was overlooked as well.

1. Vertigo (1958)
Overlooked for: Best Picture, Best Actor (James Stewart), Best Director (Alfred Hitchcock)
Nominated Instead: Best Picture: GigiCat on a Hot Tin RoofAuntie MameSeparate TablesThe Defiant Ones
Vertigo is Alfred Hitchcock’s masterpiece, and it features frequent collaborator Jimmy Stewart’s finest performance. As we wrote when we declared it to be the best Hitchcock film, “His typically warm everyman on-screen persona is gone, and here he’s neurotic, cold and obsessed—and brilliant. It’s also regarded as Hitchcock’s most personal film; the idea of a man remaking a woman in the image of another he’s lost is often said to reflect the director’s decision to keep casting Grace Kelly-esque blondes after feeling abandoned by Kelly, who retired from acting in 1956.” So, what did Vertigo get at the Oscars? Squat, save for a few minor technical nominations. For shame, Academy voters, for shame.

 

— image taken from fineartamerica.com articles written by bonnie stiernberg for paste magazine

 

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