The Oscars: Playing Their Own Wind-Up Music
IMAGE: The Oscars Broadcast (ABC)
Do you like white guys?
If you said ‘Yes, please!’ then – as the uproar across social media over this past month will attest – the upcoming Academy Awards are for you!
Since this year’s Oscars category nominations were announced few weeks back, much has been made of the seemingly whitewashed sausage party that Hollywood is planning to throw for itself this year, with no nominations for any women or any non-Caucasians in the Best Directing category, and a largely white, Y-chromosomey roster elsewhere else across the board. All 20 nominees in four acting categories are white. And who knows? Daniel Day Lewis is such a remarkable method actor, we still may get a plot-twist revelation when the winner for Best Female Actor steps up to the stage…
But for all of the rightful rage about this gallingly myopic exclusion, I am a little surprised that anyone can still bother being shocked.
Please don’t misinterpret my glib tone: I in no way disagree with the complaints. That the director of Selma, Ava DuVernay, should go ignored while Clint Eastwood is seemingly grandfathered into the shortlist on the back of probably his most toothless (and morally ugly) cinematic offering is indefensible. It’s just that to me it seems like less of a snub and more of the Oscars – having made the most token of efforts to shake out of their proverbial slumber by giving Lupita Nyong’o and Kathryn Bigelow awards in the past couple of years – once again slapping the snooze button and happily rolling back to sleep.
Because despite how pivotal it clearly is to address the injustice of repeatedly failing to acknowledge female and non-white artists, it’s not as if this wilful blindness is unique. The Oscars routinely ignore merit, celebrate the pedestrian, and trip over themselves scrambling to play catch-up with audiences that repeatedly show themselves to have more discerning taste. You only have to look at some of the other snubs in this year’s offerings.
To pick one (I think quite telling) example: The Lego Movie was the most playful, impossibly, wildly creative celebration of imagination and narrative in the last twelve months of cinema. It defied all expectation and was charming, audacious and fearless in its storytelling. So the fact that it wasn’t even nominated in the Best Animated Feature category says more than enough…
(And yes, despite expressing surprise that anyone would trouble themselves to complain about the Oscars, clearly I am about to go off on the three-hundred and fifty-seven thousandth* anti-Oscar rant published online in the past month… It’s called being wildly inconsistent and hypocritical – something I apparently share with the institution I am about to ineffectually slag off.)
IMAGE: The Lego Movie (Warner Bros.)
Because it’s easy to get dazzled by the Oscars.
I mean – what prestige! What class! What impeccable discerning taste!
What of those things?
It’s not like they ever really had that stuff, and lost it along the way to become their current glittering, gladhanding grotesquery of gauche. Even the most cursory look back at the films the Academy of Motion Picture Arts and Sciences have celebrated offers a fairly unflattering portrait for a ceremony that purports to celebrate excellence.
Remember when Citizen Kane won for best picture?
You shouldn’t. Because it didn’t. Neither did It’s A Wonderful Life, or High Noon, or A Streetcar Named Desire, or Roman Holiday, or Shane, or To Kill A Mockingbird, or Vertigo, or Apocalypse Now, or Raiders of the Lost Ark, or Do The Right Thing, or King Kong (the original!), or Pulp Fiction, or Metropolis. Indeed, most of history’s finest films – those that have transcended their age to delight audiences and profoundly inform generations of moviemakers since – have routinely been overlooked.
And yes, I acknowledge before I even get started that this is all highly unfair – peering back, with the benefit of decades of hindsight, to sneer at a clutch of ultimately meaningless awards.** But it does illustrate how poorly the Academy’s taste seems to date. For all of their posturing, the Oscars seem to have little impact on the shelf-life or reputation of a film. In retrospect they often seem to make those that they venerate look all the more farcical…
When was the last time you (or anyone) watched the mawkish Crash, winner of the 2005 Best Picture? Or that interminably pretentious The English Patient film that won in 1996? (Elaine Benes was right all along, people!) Go back and watch it now and you can see Kevin Costner already exercising all of his worst self-aggrandising, overblown filmmaking urges in 1990’s winner, Dances With Wolves (here’s the elevator pitch for every Costner vanity project: ‘Please save us, uncharismatic white man!’***) Meanwhile, 2001’s A Beautiful Mind , despite some solid acting and direction, plays more like a Lifetime original M. Night Shamalan joint.
And I’m nutty for Shakespeare, so a playful riff on the early years of the bard, penned by Rosencrantz and Guildenstern playwright Tom Stoppard and stuffed full of every living actor and neck ruffle in the British Isles is about as up my alley as it is possible to get, but even I don’t think Shakespeare In Love should have beaten The Truman Show, Rushmore, Out of Sight, or The Big Lebowski (none of which were even nominated) in 1998.
At best, you might call some of these winning films ‘products of their time’ (American Beauty; Chicago), but frequently they are just the most ‘Oscar-baity’ work on the roster that year – spectacle and emotional histrionics dressed up as profundity. It’s cheesy, mythologising pap and period pieces awash with tales of adversity like Forest Gump and Titanic, or bloated mythologising bombast like Braveheart – a rote tale of tragi-heroism so perfectly engineered that it even won a second time when someone slapped on a new coat of CGI paint and resubmitted it under the revised title: Gladiator.
IMAGE: Heroic Protagonist #1, Gladiator (Universal Pictures)
And just in case you think that comparison between Gladiator and Braveheart is undeserved, let me just quote an IMDB plot summary and see if you can guess which film I am talking about:
A supercilious Australian actor in an unconvincing accent, beloved by the perpetually unwashed extras that populate his historical foreign land, is compelled to stand up against a cartoonish, moustache-twirling villain after his wife suffers the most cruel fate of all: murder by plot convenience.
This embittered warrior reluctantly leads an impossible revolution to bring down a corrupt oligarchy; inspires the masses in an improbable revolt; is beloved by the anachronistically hot and arbitrarily sympathetic matriarch of the land (who can do nothing to save him); and ultimately sacrifices himself to become a glaringly asinine Christ-metaphor that conveniently ignores all the putting-swords-through-people’s-faces business that preceded it for two-and-a-half ass-numbing hours.
Did you guess?
That’s right: it was both of them. (Partial credit if you guessed Ben-Hur, an earlier draft of both films that I believe also did quite well at the Oscars in 1959.) If there was a TV Tropes for ‘Hackneyed Historical Epics’ (and there probably is, I haven’t checked) these two films would handily win the ‘Most Expensive Cut and Paste’ award for screenwriting.
IMAGE: Unique Archytpe #2, Braveheart (20th Century Fox)
Meanwhile, the Academy routinely fails to acknowledge the people who bring the most innovative and influential works to life. Stanley Kubrick never won an Oscar. Alfred Hitchcock. Buster Keaton. Robert Altman. Charlie Chapman. Orson Welles. Howard Hawks. None of these figures could (if they ever wanted to) tout themself as an ‘Academy Award Winning Director’. (Even Martin Scorsese finally only won one for The Departed, a perfectly serviceable, idiosyncratic Scorcese work, but hardly, I would argue, his best.) And that is just for directing. Similar examples (far too numerous to get into here) abound in the acting and writing categories.
Mostly the Academy finds itself scrambling for retroactive relevancy, dispensing Lifetime Achievement Awards to filmmakers whose work they have otherwise ignored. It’s here that the names like Hitchcock and Altman and Chaplin finally appear, invited to ascend to the stage to receive an accolade that, by that point in their career, should be retitled the ‘Yeah, No Duh Award’.
And yet despite all the evidence to the contrary, the Oscars – seemingly by sheer force of will on behalf of the Academy that stages them – somehow continue to be treated as though they inherently possess some relevance or prestige; that they in fact represent the definitive voice of the industry.
But the second that you dig into the specifics of the peculiar voting processes around which this whole ceremony revolves, things become very murky indeed. Because the Oscars are not judged by audiences, or critics, or even a cross-section of peers. In truth, the whole nomination and voting process is carried out by a small, highly secretive club of only around 6000 members.
For more detail on this whole weird secret-best-friends-group-hug of a society, Sean Hutchinson at Mental_Floss has provided a fine overview of their mysterious admissions process, but the short version is this: any hopeful wanting to get in has a brief window, once a year, in which they need to be sponsored by two already-sitting members. This person must also have ‘demonstrated exceptional achievement in the field of theatrical motion pictures’ – at least to whatever standard the Academy’s Board of Governors deems appropriate (and it’s not as if those members yearly oversee a gaudy ceremony that directs floodlights of scorn onto their questionable judgement).
And the results speak for themselves!
Because while you might be under the impression that the Oscar voters are all just a cluster of old white men, according to an LA Times report only 94% of them are white, and only 77% are male. Also, their median age is a spritely 62.
…Which, okay, looks bad.
But don’t worry about it. That report was published waaaaaaay back in 2012. They’re probably posting some radically different numbers now. Especially since the memberships are for life.
To anyone still unconvinced, anyone worried that such an insulated process might result in people who aren’t the most illustrious of filmmaking doyens having their say, I say to you:
Steve Guttenberg is a member.
That’s right. The man responsible for this nuanced New Zealand accent is judging others on their acting prowess.****
As is Lorenzo Lamas. Because his parents nominated him. So take that, anyone who dares suspect nepotism in the selection process!
But if you’re still thinking that such a system risks being a little too elitist, and potentially discriminatory, it should be noted that anyone can, of course, also become a member of the Academy if they were nominated for an award in the past year. …So lucky for Selma director Ava DuVernay. She won’t have to expend that mental energy wondering whether she’ll be getting an invite.
In any case, even then, after all those hurdles for membership are cleared and you are deemed as important to the film industry as Meatloaf (yep, he’s a member too), the actual process through which films get nominated are still fairly suspect.
Those who cast their votes don’t have to have seen all (or any) of the films they select. It really is just up to whatever they want to pick, whether they have thoroughly scrutinised the year’s features or not. This is something complicated further by the fact that it therefore often falls to the companies releasing these films to get the screeners into people’s hands – to spruik their product. In fact, in the case of Selma, some have stated that this might be part of the problem: according to David Carr in The New York Times, Paramount was throwing all their weight behind Interstellar before its mixed critical reaction sent them into the fallback Selma position.
So after all this – a clandestine, unrepresentative governing body; suspect members; no oversight on who is nominating what, and why – it’s hard to see why anyone puts so much stock into such an anachronistic spectacle as the Academy Awards.
Even with the Gute on board.
IMAGE: Selma (Paramount)
That is not to dismiss every Oscar win, of course. For what it’s worth, although their process is suspect, their taste questionable, and their authority laughable, many would argue that they do get it ‘right’ sometimes, occasionally picking a winner that stands even the most perfunctory test of time. Usually it’s when the performance or film is undeniable – the first two Godfather films, Casablanca and Unforgiven spring to mind; and Meryl Street isn’t doing nothing out there – but as their terrible average and labyrinthine selection processes show, they clearly have biases, quirks, and are addicted to some pretty cheesy melodrama that does not age particularly well.
So ultimately, rather than see this is as some targeted conspiracy against any specific demographic, I look as this year’s Oscar nominations as just another example of the tunnel vision that has always made them ridiculous. This recent outcry against their exclusionism is not solely about sexism or racism, but a reaction against their whole outdated culture.
Perhaps, now that the film industry is thankfully starting to diversify (at least relative to the status quo that has maintained for generations) audiences are now able to see the stark divide that has always existed between quality, transformative cinema, and those films that the Academy chooses to glorify in its empty, inward-looking pageantry.
Maybe that’s why The Lego Movie was subject to such an egregious snub; perhaps the message of that film cut a little too close to home…
A film about a boring old uninspired white guy, making vapid, cookie-cutter products, who refuses to share his toys with the wildly creative next generation?
Yeah. It’s not hard to see why that one might sting a little.
IMAGE: Non-White Guy Emmet, from The Lego Movie (Warner Bros.)
* We have to take a number like at a deli.
** Also, who cares if I’m being unfair? This is my nitpicky rant, on my tedious, unloved blog, so the gross rhetorical injustice will stand!
*** Although, it’s almost worth sitting though the turgid idiocy of The Postman just for the hysterically self-important scene at the end when a kid holds a letter out for Costner – in the most needlessly melodramatic way possible – to collect. He will post that letter. Because he is a postman. Who posts things. In the post.
**** This is a long shot, but ‘Hi!’ to any Get This listeners out there. I hope this managed to ‘full the yurning void…’