The Oscars, 2007 edition

[dirac]

On the other hand, if applause isn't necessary, then leave it be. Like with standing ovations--it bothers me that almost every performance of any sort I attend gets one. It seems to undermine the ones given to truly deserving performances.

This ticks me off too. Every school play, every live performance of any genre all seem to get automatic

standing ovations (ASO).

It's like a currency that is completely worthless. How do you honor the truly fine performance? Pretty difficult!

Couldn't agree more. We've had threads on this before in other forums, BTW, fadedhour, so if you do a search you can probably pull up some pithy comments.

The Oscar ceremony generally has far too many, as well. One was especially dramatic - Elia Kazan received an honorary award, and some people stood up and some didn't. ( As I recollect, Warren Beatty stood up and clapped; Ed Harris sat on his hands; Steven Spielberg split the difference and clapped sitting down. Probably Beatty felt he owed Kazan for 'Splendor in the Grass.')

[fadedhour]

This ticks me off too. Every school play, every live performance of any genre all seem to get automatic

standing ovations (ASO).

It's like a currency that is completely worthless. How do you honor the truly fine performance? Pretty difficult!

Really! I wish there was some distinction. At the last ballet I went to, only a few people were standing when it ended, but eventually nearly everyone stood up and the standing ovation went on for several minutes. That, I think, got the message across.

I also really dislike the planned encore, but that's another subject.

[Helene]

The trip home from India was fraught with snafus, and, sadly, The Departed was off the movie list for March, and I only got to see three: Dreamgirls, Happy Feet, and Casino Royale. I really loved Jennifer Hudson's sweet vulnerability in the role of Effie White in Dreamgirls, but I preferred her when she was actually singing at the beginning of the movie, not what was, in my opinion, that dreadful soundtrack that encouraged the worst vocal excess.

Happy Feet was a visual delight, and an aural one, too, when Savion Glover was tapping.

I read that there were those who dismissed Daniel Craig's performance as James Bond in Casino Royale before it was even released because he was blond. I mean, really: spies are supposed to be either black, like my very first crush, Bill Cosby's Oxford-educated, multi-lingual Alexander Scott in I Spy, or blond. Haven't these people ever heard of Ilya Kuryakin? In one episode, when they teamed up the Man from U.N.C.L.E.'s assistant, the blond David McCallum, and the Girl from U.N.C.L.E.'s assistant, the blond Noel Harrison, I though my little pre-adolescent heart would burst.

(Of course, my post-adolescent-to-current heart burst at Alec Guinesses's George Smiley, Greg Morris's Barney in Mission Impossible, and Courtney Vance's Sonarman Jones in The Hunt for Red October -- which also featured my favorite performance by Sean Connery.)

I've never been a big Bond fan, because I don't find much appealing about the super-suave, interchangeable-arm-candy-on-each-arm, dark-haired man with a side part at all interesting or attractive. But give me a cragly-faced blond with a receding hairline -- and the camera really loves his face -- who looks like he could be cast as the bad guy, who's full of conflict, tension, and need, whose weakness gets him into trouble from which he needs to extract himself, and, voila!, some long-forgotten maternal instinct rears its ugly head, and I'm in love. Don't let the gratuitous action scenes, during which I buried my head in the flight magazine, fool you: Casino Royale is a date movie. Or, as Peter Bradshaw concluded in The Guardian:

It is all ridiculously enjoyable, because the smirking and the quips and the gadgets have been cut back - and the emotion and wholesome sado-masochism have been pumped up.

[dirac]

I really loved Jennifer Hudson's sweet vulnerability in the role of Effie White in Dreamgirls, but I preferred her when she was actually singing at the beginning of the movie, not what was, in my opinion, that dreadful soundtrack that encouraged the worst vocal excess.

I was put off by her acting as well as her singing – she had two expressions, onoe pleasant, one petulant, and the latter had to do for anger, sadness, disapproval, etc. If the performance hadn't been so overpraised none of that would have bothered me, of course - I'd have made allowances and cheered her on. However, given the competition in the Best Supporting Actress category – a couple of foreign actresses, however excellent, that nobody had ever heard of, Cate Blanchett, a recent winner in the same category, and a little girl – the win was a foregone conclusion. I did enjoy the look on Beyonce's face when Hudson won, though.

(I think nominating children along with adults is absurd – awkward for both the youngsters and the grownups. I wish the Academy would go back to its old practice of giving outstanding child actors special Oscars, which recognized the kids without putting them up against performers who’d spent a lifetime mastering their craft.)

[Helene]

I was put off by her acting as well as her singing – she had two expressions, onoe pleasant, one petulant, and the latter had to do for anger, sadness, disapproval, etc.

I thought she had a third, which she resolved to after petulance, that showed a hurt child. My enjoyment doesn't mean I think she should have won; nor do I think hype should have anything to do with my enjoyment. Having seen Barazza and Kikuchi in Babel and Breslin in Little Miss Sunshine, I know there were at least three superior performances. But after Crash, I don't think anything in Babel had a chance, and like in The Godfather, when Pacino, Caan, and Duvall were nominated together, the actresses would have cancelled each other out, even if they had been in another movie.

Beyonce would have been silly to think that she could win with a goody-goody role like that. Had her character been the self-centered, manipulative careerist, she might have had a chance.

My favorite performance in Dreamgirls was Eddie Murphy's. Such a flamboyant role could have taken it over completely, but that it didn't, to me, showed tremendous skill. The only other performance among the supporting men that I saw was winner Alan Arkin's, and I didn't think it was nearly as accomplished as Murphy's.

(I think nominating children along with adults is absurd – awkward for both the youngsters and the grownups. I wish the Academy would go back to its old practice of giving outstanding child actors special Oscars, which recognized the kids without putting them up against performers who’d spent a lifetime mastering their craft.)

I agree.

[sidwich]

(I think nominating children along with adults is absurd – awkward for both the youngsters and the grownups. I wish the Academy would go back to its old practice of giving outstanding child actors special Oscars, which recognized the kids without putting them up against performers who’d spent a lifetime mastering their craft.)

I'm not against the idea, but I wonder how such a practice would play today. First of all, who would pick the awardees? Would someone like an Abigail Breslin in an $8 million independent film be likely to be picked to receive an award (which would not be voted on), or would it be far more likely to go to someone like Dakota Fanning in (oh, I don't know...) the big-budget, heavily publicized studio offering "War of the Worlds."

As I think about it, I guess I prefer that everyone just is entered into whatever category they fit into, and their peers vote. If they were good, they deserve to be recognized whatever their age. If it's awkward, well... oh, well, it's Hollywood. I think it's much more awkward that Dakota Fanning can greenlight a film, (which she basically can) and everyone's managed to get over that.

[dirac]

Yes - but. Where there’s a will, there’s a way. Sure, people get over what they have to, but I suspect that it’s still no fun to be in head-to-head competition with small fry. As for the kiddies, years ago when Haley Joel Osment was being nominated here and there for ‘The Sixth Sense’ I recall one ceremony – can’t recall which one, I think it was the Golden Globes – where he was clearly upset, at the point of tears, when he lost. I didn’t enjoy seeing that. (I read in the paper later that Harrison Ford went over to offer consolation, which was nice of him. ) And I think a Breslin would have as much of a shot as a Fanning, if the picture was notable enough.

[carbro]

Wasn't there once a "Best New . . . " category? Didn't Patty Duke win that for The Miracle Worker? It can include adults, but avoids pitting youngsters against legends. Of course, these days it would be dubbed "Best Performance by a New Actor/ess."

Which reminds me, one presenter (Blanchett?) opened the envelope and exclaimed, "And the winner IS . . . !" Well, well, well. Tell it like it is!

[dirac]

Wasn't there once a "Best New . . . " category? Didn't Patty Duke win that for The Miracle Worker? It can include adults, but avoids pitting youngsters against legends. Of course, these days it would be dubbed "Best Performance by a New Actor/ess."

Which reminds me, one presenter (Blanchett?) opened the envelope and exclaimed, "And the winner IS . . . !" Well, well, well. Tell it like it is!

It was Kidman, wearing a bright red dress with a bow that seemed ready to swallow her. I agree. Brutal truth! I won! You lost! Bwa ha ha!

A lot of the kids have been around for awhile before they get nominated, though, although that's an interesting idea, too.

[Helene]

A number of films use "Introducing [Actor's name]" in the opening credits. That could be the equivalent of "new," although I'm not sure if that's always a debut debut, or a prominent role debut.

(I don't understand the Kidman story. I only saw intermittent parts of the broadcast from India. Would someone please explain?)

[papeetepatrick]

Wasn't there once a "Best New . . . " category? Didn't Patty Duke win that for The Miracle Worker?

She got it for Best Supporting Actress, didn't she? I think it was already the usual by then.

[sidwich]

As for the kiddies, years ago when Haley Joel Osment was being nominated here and there for ‘The Sixth Sense’ I recall one ceremony – can’t recall which one, I think it was the Golden Globes – where he was clearly upset, at the point of tears, when he lost.

Yes, I think something similar happened with Justin Henry when he was nominated for "Kramer vs. Kramer."

I don't know... I think there are a lot of things that are far less fun in the film business than being nominated (which yes, is still a great honor, and potential boon to a career) even if it's against a child actor.

As for the child actors, I guess it's a question of how much we feel we should treat them as professionals, how willing are we to subject them to the ups and downs of a professional acting career. If we're willing to let them suffer the rejection, exploitation and ridiculous scrutiny of an actor's life at such a young age, shouldn't we allow them to share in the accolades as well? (Mind you, I have a lot of misgivings and mixed feelings about professional child actors generally. Witness the Olsen twins.)

[sidwich]

Wasn't there once a "Best New . . . " category? Didn't Patty Duke win that for The Miracle Worker? It can include adults, but avoids pitting youngsters against legends. Of course, these days it would be dubbed "Best Performance by a New Actor/ess."

"Best New Artist" is a category at the Grammy Awards (infamously won by Milli Vanilli). It also used to be a category at the Golden Globes, but I think after Pia Zadora won it was discontinued.

A number of films use "Introducing [Actor's name]" in the opening credits. That could be the equivalent of "new," although I'm not sure if that's always a debut debut, or a prominent role debut.

I don't think "Introducing...." is quite as common as it once was. In the past, it was used when a performer (usually a young actress) was debuting in a prominent role, and the studio wanted the public to take note. For example, as I recall, in "Roman Holiday," Gregory Peck is given top billing and Audrey Hepburn's credit is "Introducing Audrey Hepburn."

Julia Roberts' credit in "Ocean's Eleven" is a very cheeky "And Introducing Julia Roberts."

ETA: In "Roman Holiday," Audrey Hepburn's credit started out as "Introducing..." and was changed prior to final release to a full starring credit.

[dirac]

A number of films use "Introducing [Actor's name]" in the opening credits. That could be the equivalent of "new," although I'm not sure if that's always a debut debut, or a prominent role debut.

(I don't understand the Kidman story. I only saw intermittent parts of the broadcast from India. Would someone please explain?)

You may recall that some time ago the ceremony was changed so that instead of saying upon opening the envelope, “And the winner is....” presenters would say, “And the Oscar goes to...” in order to de-emphasize the competitive aspect of things. When Kidman presented the other night, she used the older phrase, probably unintentionally.

I think we’re all agreed child actors should receive their fair share of praise – it’s just a question of how.

The late Roddy McDowall was once interviewed on a documentary about child actors, he of course being a very well known one, and he said the thing to remember was that the child is not there of his own free will. He may enjoy the attention, he may ‘want to’ in a sense, but he’s there in makeup at 6:00 am because some adult is pushing. It is a difficult matter, but acting isn’t the only profession where they sometimes have to start off very young. Jodie Foster, appearing poised and gorgeous as usual, appeared late in the broadcast to remind us all of how well a child star can turn out. The horror stories we know, too.

A number of films use "Introducing [Actor's name]" in the opening credits. That could be the equivalent of "new," although I'm not sure if that's always a debut debut, or a prominent role debut.

You don’t see it as often as before, but it’s still around. I saw one just the other day, can’t recall the movie now. I have the impression it's current practice to show the names of better known leading cast members first, with the newbie bringing up the rear preceded by an "and" ("and Cassie Clutterbuck as Fiona"). Or, as sidwich notes, using the slightly anachronistic 'introducing' as a joke.

[carbro]

It was Kidman, wearing a bright red dress with a bow that seemed ready to swallow her.

I don't understand the Kidman story. I only saw intermittent parts of the broadcast from India. Would someone please explain?)

To coin a cliche, a picture is worth a thousand words. I think Kidman, with her long, slender frame, could have pulled this off better if her hair had been up. It might have given the illusion of more neck.

[canbelto]

I just saw Pan's Labyrinth last night and I thought it was one of the most intensely beautiful films I had ever seen. The whole theatre was crying. I can't count how many times I had to look away from the screen yet I was rivetted from start to finish.

[dirac]

Helene writes:

My favorite performance in Dreamgirls was Eddie Murphy's. Such a flamboyant role could have taken it over completely, but that it didn't, to me, showed tremendous skill. The only other performance among the supporting men that I saw was winner Alan Arkin's, and I didn't think it was nearly as accomplished as Murphy's.

I was mildly pleased to see Murphy lose - another overhyped performance IMO. The performance that really stood out for me in ‘Dreamgirls’ was that of Anika Noni Rose, although she had less to do. I haven’t seen Little Miss Sunshine, but Arkin certainly deserved one of those body-of-work Oscars that the Academy gives out from time to time.

canbelto writes:

I just saw Pan's Labyrinth last night and I thought it was one of the most intensely beautiful films I had ever seen. The whole theatre was crying. I can't count how many times I had to look away from the screen yet I was rivetted from start to finish.

Very fine film. Difficult choices to be made in the Foreign Language category this year.

[scoop]

Pan's Labyrinth is hands down the best movie I saw last year (well, there IS my secret guilty pleasure of a movie, Casino Royale, I feel exactly as Helene does about Daniel Craig ). The way the child's fable and the real war intertwined in Pan was truly amazing storytelling, and every performance was top-notch. The ending was just devastating, and brave. I can't believe it didn't win the Oscar -- so I'm guessing The Lives of Others must be a pretty amazing film.

[canbelto]

The ending of Pan's Labyrinth reminded me a lot of Giselle actually. It was devastating but at the same time uplifting.

Edited March 6, 2007 by dirac

[dirac]

Pan's Labyrinth is hands down the best movie I saw last year (well, there IS my secret guilty pleasure of a movie, Casino Royale, I feel exactly as Helene does about Daniel Craig ). The way the child's fable and the real war intertwined in Pan was truly amazing storytelling, and every performance was top-notch. The ending was just devastating, and brave. I can't believe it didn't win the Oscar -- so I'm guessing The Lives of Others must be a pretty amazing film.

I didn't see all the nominated pictures in the foreign language category, but of the ones I have seen Water, Pan's Labyrinth, and the one that did win, The Lives of Others, would all have been worthy. As it was, Pan's Labyrinth was recognized pretty generously for a non-Hollywood product. It's a fine movie.

Others have commented on the film in the 'Movies of the Season' thread, I should note.