Let’s start with the requisite best dressed, where we comment on the women’s looks and bodies and completely ignore the men’s looks and focus only on their work. Cate Blanchett’s Givenchy dress. Modern. Feminine.
I have no idea why she was at the Oscars. Blanchette presented “Best Make Up.”
Despite being billed as the ‘younger, hipper Oscars’, the only thing remotely hip was James Franco’s live tweets from backstage and even that was boring. There’s a reason cameras don’t go back there and it’s not because of a threat to National Security. I hate to say this (so I’ll use “perhaps” to qualify it): Perhaps the biggest disappointment was Anne Hathaway who remained so sadly old school that she was boring. Remember when Annie played an amazing and well-written female lead in my favorite motion picture of 2008, Rachel Getting Married? WHAT HAPPENED TO MY SWEET GIRL?
On the other hand, you can’t say Anne didn’t earn her paycheck last night. Or to put it another way,
‘Hathaway worked her derriere off and Franco came off like that lacrosse boy you wish your daughter didn’t hang out with so much, sort of heavy-lidded and smirky.’ – Washington Post
Next up was Supporting Actress. It went to Melissa Leo who also won most overly-acted acceptance speech. But really, how can I complain when all I can say is I’m so GLAD it went to a woman.
Stuart Smalley Aaron Sorkin worn for Best Adapted Screen Play for The Social Network. The only two women in the movie, Rooney Mara and Rashida Jones, will be playing gay characters in their next films. I think we’re all hope that this results in more lines.
The Oscar for Best Documentary went to Inside Job, beating out Banksy’s Exit Through the Gift Shop. Director Charles Ferguson took the opportunity to make a politicalized acceptance speech, which either made him the Debby Downer of the egocentric evening or the only off-the-books bright spot, depending on who you talk to.
It ended up being the only political speech of the evening and, if your counting big P politics at the Oscars (in contrast to gender politics), it’s only the 5th subversive speech at the “World’s Biggest Award Show”. My two favorite are Michael Moore’s anti-war solidarity speech and Brando’s 1973 protest where he rejected the award because of Hollywood’s portrayal of Native Americans in films and television.
And speaking of identity politics, The Kids Are Alright did not win Supporting Actor (Mark Ruffalo), Lead Actress (Annette Bening), Best Picture or Original Screenplay (Lisa Cholodenko & Stuart Blumberg). But Lora Hirschberg kissed her wife (named Laura) and accepted the award for best sound mixing for Inception. Once on stage, Hirschberg yelled back and forth with someone in the audience, ironically illustrating the auditorium’s acoustics and proving that you kind of didn’t need all the microphones. Garry Rizzo accepted the award:
“Oh my gosh, this is, this is unbelievable. Thank you, thank you to all the Academy voters. Thank you to our family and our wonderful wives, Susan, Laura and Jennifer.”
Wouldn’t it be great if I could post a clip of how that all went down, you know, with video? Turns out the young and hip Oscars failed to make available ANY clips from last night’s show for posting on blogs and embedding. Great way to reach younger audiences, no? Instead they decided to post the text from the acceptance speeches, no images or video. So… here’s a picture of her about to do the actions described above. You had to stay up past 11 to catch the best part: PS 22 singing “Somewhere Over the Rainbow”. Because, remember, it was the ‘young and hip Oscars’ and nothing says young and hip like an online viral video phenomena featuring kids in a Bronx public school singing. But regardless of the PR behind it, the kids were the best performance of the evening because they were genuinely excited. Here they are at the closing number. This overhead shot is also a nice real-time infographic illustrating the gender ratio of winners.
Maybe next year they’ll invite this young woman to write a screenplay.