It’s interesting that this year’s Oscars are being held the second Sunday of February. Usually they’re held the last Sunday or the first Sunday of March in a Winter Olympic year. It was pretty evident will all my cramming of my Best Picture reviews. I didn’t start until three weeks to go and I didn’t think I could review all nine in time. But I did! The last of the Best Picture reviews I posted on Wednesday. Next year they’ll be going back to the last Sunday of February. So hopefully reviewing them all will be a lot more relaxed.
Anyways I’m able to make predictions for this year’s Oscars. I’m even able to make some calls for what should win in some categories. I’ve seen enough films to make up 96 of the 124 nominations. They range from single-nomination films like Knives Out to Joker with the most nominations with eleven in total. Most categories have been very predictable with the same film or same effort winning film award after film award. That could help me with my Oscar bingo I’ll be playing once again this Sunday! However there are a few that appear unpredictable. So without further ado, here are my predictions for the 2019 Academy Awards:
All credit to Olly Gibbs for that excellent image of this year’s nominees. This year has a wide range of film among the nine nominees. Two are set during World Wars. Two are written and directed by a Hollywood couple. Four have had a domestic gross at the box office of over $100 million. Two are films that got moved to NetFlix after an initial box-office release. One is done by a master of gangster movies and another is done by his heir apparent, but not a gangster movie at all. One is a modern-day adaptation of a classic novel. One is a fictional account of a cartoon villain. One is of car racing. One is of a failing marriage. One if of classic Hollywood. One is of Hitler through a child’s eyes. One is a possible answer to a popular whodunit. One is of a journey during war. And one is of an impoverished family trying to break free. All are seen worthy of being nominated in the Best Picture category this year. So here is my rundown of the Best Picture nominees:
1917 – War movies usually win the Academy over, as long as they’re done well. This has been the darling of most awards shows. I predict this as my Will Win pick. I myself admire it for its cinematography and it’s storytelling, but it’s not the film I most want to win Best Picture. Usually for Best Picture, I feel it should have much of the best of the year in the three top categories: acting, directing and writing.
Ford v Ferrari – Very rarely do auto racing movies get nominated for Best Picture. This is more than an auto racing film. It’s about those that were behind the big moment and the family relation of the racer who was shunned behind. Definitely a crowd-pleaser, but it doesn’t look like an Academy-pleaser.
The Irishman – What can I say? This is the film in which I most want to win because this is a film that went above and beyond what I expected out of it. I admire films that go above and beyond what I expect. Plus it had top-notch acting, directing and writing. However it lost a lot of its energy it had back in November. That’s why I think it won’t win.
Jojo Rabbit – This is one movie that would normally not be Best Picture material. I have to say of all nine Best Picture nominees, this is my favorite. This is the most entertaining of the nine. However I know how to separate my personal favorite from the films I feel are the best. Besides I know how stodgy the Academy is towards comedies.
Joker – Last year was something how a superhero movie finally got a Best Picture nomination. This year is a case of a story of the genesis of a villain won crowds and won movie awards. This is an impressive story too. However I feel that it faces stiff competition in the Best Picture race from other films.
Little Women – To think this is the first Little Women adaptation to be nominated for Best Picture! I can’t complain at all as the film took some different twists and it came out a winning story. I admire the way it was directed, written and acted, but there are films that have more boost in this competition.
Marriage Story – Sometimes all it takes to win people is a story that connects with people. That’s the magic of Marriage Story. This film’s best qualities are the acting and writing. However this is another film that appears prone to fall under the weight of bigger competition. Plus this being on NetFlix may be an additional reason why its chances were hurt.
Once Upon A Time In Hollywood – This is one salute to the Golden Age of Hollywood with a twist. Also it will cause a lot of people to reassess their definition of what a Quentin Tarantino movie is. I know my parents still think Tarantino movies are all ‘blood and guts’ but this film shows a side of Quentin most people overlook. I do rank this as a film in the Top 3 most expected to win, but it’s not my top pick. I think its summer release may have caused it to lose much of its buzz.
Parasite – This is definitely the foreign-language film of the year. Undisputed! This is my Should Win pick because this film has accomplished more than any of the other nine Best Picture nominees. It’s a case once again that the best film of the year is not in the English-language. However I’m very doubtful it will win. I remember last year Roma was the best film but it lost out to Green Book. That solidified my belief the Academy will never make a foreign-language film a Best Picture winner.
I know a lot of people often think the Academy Awards are a case of Hollywood patting itself on the back. One can say an excellent example of this was last year when Roma lost Best Picture to Green Book. If Once Upon A Time In Hollywood wins this, then it will further prove their point. I am very doubtful Parasite will win. However if 1917 wins, it won’t look like Hollywood patting itself on the back because it’s a British film!
Should Win: Bong Joon-ho – Parasite
Will Win: Sam Mendes – 1917
I chose Bong Joon-ho naturally. Most people feel the common belief that The winner for Best Director should be the director of the Best Picture winner. It happens over 70% of the time at the Oscars. As a result my Best Director pick for Should Win is from the same film as my Should Win for Best Picture. I feel it’s right since Parasite is the film I admire most and it’s Bong who made it happen. I feel it will go to Sam Mendes because of his past awards success this year. Nevertheless I would not be disappointed if it did because 1917 is a film that’s worth admiring.
Should Win and Will Win: Joaquin Phoenix – Joker
What can I say? It’s not just about being widely praised as the acting performance of the year but of the movie role of the year. Nobody — not even the most loyal of Batman fans — expected Joker to be the film that it is. It’s a film that not only tells the story of the emergence of the Joker, the chaos of Gotham City and the genesis of Batman, but it takes one into the mind of Arthur Fleck. One knew that Arthur would snap any minute. What can I say? One could argue that it’s Joaquin that single-handedly made the work!
Should Win and Will Win: Renee Zellweger – Judy
I never reviewed Judy in my blog after I saw it back in November. It’s an excellent story of a period in the last year of Judy Garland’s life. It focuses on her attempt for a comeback and how it appeared showbiz took everything out of her. It also flashed back to her childhood and how she was raised to think that a normal life that the other girls were having is for mortals. Renee was excellent in embodying Judy as she looked like a person who just couldn’t come to terms with herself and even feared what she would mostly be remembered for. Renee was spot on in epitomizing Judy from the voice, to the singing to the hostile attitude to the troubled personality to even writing left-handed.
BEST SUPPORTING ACTOR
Should Win: Joe Pesci – The Irishman
Will Win: Brad Pitt – Once Upon A Time In Hollywood
One thing about this year’s acting nominees. A lot of people talked about the lack of racial diversity. That is true, and I even reminded people in social media of Spielberg saying the Academy is like a member-only club.
As for actors, another lack of diversity is that only six nominations went to performances from five actors who were never nominated before. For Supporting Actor, this is normally a ‘newbie-friendly’ category but all five have been nominated before in the past and only Brad Pitt has never won an Oscar. That appears likely to change as he is the heavy favorite to win for his scene-stealing in Once Upon A Time In Hollywood. Actually Brad has enough screen time to qualify for the Best LEAD Actor category! However I would be likely to go with Joe Pesci for his portrayal as a mob boss who appears like a father figure. Nevertheless Sunday will be Brad’s moment.
BEST SUPPORTING ACTRESS
Should Win and Will Win: Laura Dern – Marriage Story
Some performances nominated for Supporting Actor/Actress are usually lead roles that are ‘politicked’ as supporting roles, like I I mentioned about Brad Pitt earlier. Some supporting acting nominations and wins are because they’re good at stealing the show from the lead actors. And some nominations and wins in the supporting acting categories can also be because they do an excellent job of character acting. That’s why I have no problem with Laura Dern winning. She made you hate Nora! She did an excellent job as the manipulative sly-talking lawyer and she made her character of Nora almost look like she was a snake! Actors are taught about even using animal-like behaviors to enhance characters. This award is Laura’s for the taking. And on the day before her 53rd birthday to boot!
BEST ORIGINAL SCREENPLAY
Should Win: Boon Jong-ho – Parasite
Will Win: Quentin Tarantino – Once Upon A Time In Hollywood
If there’s one major category that I feel will be the hardest to predict, it’s actually both screenplay categories. Lately some of the award shows have given alternating views on who they think is the best. I agree with what Bong Joon-ho said in his acceptance speech at the Golden Globes: “Once you overcome the one-inch-tall barrier of subtitles, you’ll be introduced to so many more amazing films.” I agree, but I doubt if the Academy agrees. Roma may have won last year, but I don’t think they’ll make it two in a row.
BEST ADAPTED SCREENPLAY
Should Win: Steve Zaillian – The Irishman
Will Win: Greta Gerwig – Little Women
It’s interesting that Greta and her common-law partner Noah Baumbach are both nominated for screenplays this year. I had to go with The Irishman on this one because it’s a complex story that Zaillian is able to make work. I think they will give it to Great for putting a new twist to a story that’s been adapted numerous times. I think the biggest upset could come from Jojo Rabbit, but I’m still set on Little Women.
BEST ANIMATED FEATURE
Will Win: Toy Story 4
This year I did not see any of the nominated films. I only saw three animated films and none of them got nominated here. Even though Klaus won the Annie Award and the BAFTA, I have a feeling Disney is going to take it again. This is the one category Disney wants to win most. wouldn’t that be something if Toy Story 4 loses to a NetFlix film?
BEST INTERNATIONAL FEATURE FILM
Should Win and Will Win: Parasite (South Korea)
For those wondering, this is a new title for the category that used to be called Best Foreign Language Film. This year I saw four of the five nominees in this category, which is extremely rare for me. The others I saw are Pain And Glory, Honeyland and Corpus Christi. That means I can also make a ‘should win’ judgement in this category. It’s safe to say Parasite is the foreign-language film of the year. Also Honeyland makes history as the first documentary to be nominated in this category.
Will Win: Roger Deakins – 1917
BEST COSTUME DESIGN
Will Win: Jacqueline Durran – Little Women
BEST DOCUMENTARY FEATURE
Will Win: Honeyland
BEST FILM EDITING
Will Win: Yang Jin-mo – Parasite
BEST HAIR AND MAKE-UP
Will Win: Kazu Hiro, Anne Morgan and Vivian Baker – Bombshell
BEST ORIGINAL SCORE
Will Win: Hildur Guðnadóttir – Joker
BEST ORIGINAL SONG
Will Win: “(I’m Gonna) Love Me Again” – Rocketman
BEST PRODUCTION DESIGN
Will Win: Barbara Ling & Nancy Haigh – Once Upon A Time In Hollywood
BEST SOUND EDITING
Will Win: Ford v Ferrari
BEST SOUND MIXING
Will Win: Ford v Ferrari
BEST VISUAL EFFECTS
Will Win: 1917
SHORT FILM PREDICTIONS
JUST ONE MORE – TOP OSCAR UPSETS
Here are the five upsets I anticipate are most likely to happen. In category order:
- Taika Waititi for Best Adapted Screenplay for Jojo Rabbit
- Klaus for Best Animated Feature
- Michael McCusker and Andrew Buckland for Best Film Editing for Ford v Ferrari
- American Factory for Best Documentary Feature
- The Lion King for Best Visual Effects
And there you go. My predictions for the winners, and possible upsetters of the 92nd Academy Awards. Having a hostless Oscars last year was such a success, they did it again this year. Will it be as entertaining? Will there be some shock winners like Olivia Colman was last year? It will all be decided Sunday night.
I’m sure when most of you learned of Little Women about to be released, I bet most of you thought ‘not another Little Women adaptation.’ I admit I had those feelings at the start. However I was surprised to see how well it turned out.
In 1868, Jo March is a teacher in New York City. She has writing ambitions and takes her writing frequently to Mr. Dashwood who will publish her writing… under considerable editing. Her younger sister Amy is in Paris under the guidance of her elder Aunt March who never married and despises the idea of marriage. She meets her love from back home, Laurie and invites her to a party, in which he gets drunk to her dismay. Jo’s writing ambitions are kept alive by a professor named Friedrich Bhaer who supports her work but is constructive but blunt in his critiquing of her works. However Jo has to put everything on hold when she receives a letter that her younger sister Beth is sick. She has to return back home.
The film flashes back to the winter of 1861 in Massachusetts, just after the March’s father goes off to the Civil War, and the March sisters all dress up and prepare for a party where Jo meets Laurie, the grandson of their neighbor Mr. Laurence, for the first time. Just before Christmas dinner, the mother Marmee encourages the girls to give their food to their Mrs. Hummer and her group of hungry children. The girls return with a plentiful Christmas dinner thanks to Mr. Laurence and a letter from their father who just started fighting. During the trip, Jo is invited by her single elder Aunt March to come to Paris with her. Also during that winter, Amy is strapped by a teacher for her drawing in class and Laurie takes her in to his Latin lesson before her family arrives.
It’s obvious as Amy has artistic ambitions and Jo has writing ambitions, their ambitions clash, often violently. One night as Jo is out with the family for an occasion, Amy burns the notes to her novel. Jo discovers upon returning, and a violent fight ensued. However all animosity ends when on an occasion while skating, the ice breaks under Amy and is in danger of drowning. Jo saves her. Also during that winter, Mr. Laurence invites Beth to play on his piano as she reminds him of his late daughter.
Returning to 1868, Laurie apologizes to Amy for his drunken behavior the night before. He also begs Amy not to marry Fred Vaughn but marry him instead. That only makes Amy unhappy as she feels she’s ‘second to Jo’ at everything, including Laurie. Amy later rejects Fred’s proposal after she learns Laurie returned to London. Returning back to the past, there was a period of time when Marmee left to visit their father who was wounded during the War. During that time, Beth received a gift from Mr. Laurence: his piano! However she becomes ill with scarlet fever. With a weak heart, it means she might die. Her mother rushes home with their father, already recovered. All come home in time for Christmas and Amy is all better. However returning back to 1868, Amy dies shortly after Jo arrives from her train trip.
The film flashes back to the past on the day Meg is about to be married. Jo doesn’t want her to marry, feeling Meg doesn’t want to marry, but Meg reminds her Jo’s ambitions may be different from Meg’s ambitions, but they’re still her ambitions. It’s on the day of the wedding Aunt March announces she will take Amy to Paris instead of Jo. Laurie admits his feelings for Jo after the wedding, but Jo insists she doesn’t have the same feelings.
Returning back to 1868, a devastated Amy returns home with a dying Aunt March. Jo starts to wonder if she has second thoughts of her love to Laurie. She writes a letter confessing her feelings, but she soon learns Amy accepted Laurie’s proposal and rejected Fred Vaughn’s proposal. Jo later agrees with Laurie to just be friends. After she throws her letter of love to Laurie in the river, she’s inspired to write her novel about her and her sisters.
She takes the novel to Mr. Dashwood who dismisses it because he believes a lead protagonist female who marries is what sells novels. Mr. Dashwood is given a change of heart when he learns his own young daughters love the story. However he’s still skeptical and wants Jo to make the lead protagonist marry. Jo is at first against it as it is sacrilegious to her work. However she compromises, but on one condition. She gets a $500 up-front publishing payment and more than the original 5% profits promised. She starts at 10% but compromises at 6.6%. The novel Little Women is set to be published and the school Jo and her sisters wanted to open is opened in what was Aunt March’s house with Bhaer teaching children at the school.
This may be a film adapted from a novel written in 1868, but as one watches, one would be surprised to see its relevance for today. This may be a story set around the time of the US Civil War and in New England, but there are a lot of similarities to the present. One common theme is the competitiveness of sisters. We still have that. Ask any woman who comes from a family with a lot of girls! There’s also the story of women with desires and ambitions. Today’s young women have possibly the biggest ever ambitions for their future. Women may have had it rougher a century and a half ago, but it makes clear the ambitions the women shared, whether it be career ambitions, romance ambitions or artistic ambitions. We should remember from history that women had to work during the war while the men were fighting and that started suffrage groups and the first feminist groups. There’s dealing with dashing but stupid men, as seen in Laurie. There’s support and encouragement from others. There’s also the bond of the family. First of the March girls all live with their mother Marmee as they’re waiting for their father to come home from the war. Even dealing with the heartbreak of a sister that died too soon.
For those that read the novel Little Women, I feel the reason why it became so popular is that women could see mirror images of themselves in the March sisters. They shared similar goals, similar trials, similar ambitions and similar dreams. Here in the film, I felt the characters of the March girls were made to look very relatable to most young females of today.
Now Little Women has already been adapted into a film many times before. In fact this is the seventh film adaptation of the novel if you even include adaptations as far back as the silent era. To make people welcome a film adaptation of this in the present, there would have to be a freshness or a twist that works. Having it a case where Beth is one with no intentions to marry is a risky thing. I feel it did the smart thing by having it a case where Jo is the author of Little Women and trying to market it, and using the money to build the school, is a brave decision. I don’t think it does anything too sacrilegious to the book. In fact the character of Jo is to mirror that of Louisa. What the film does is actually give two alternatives of Jo: the Jo that’s common in the novel and the Jo who’s more of a reflection of Louisa’s own life and strong will when she deals with Mr. Dashwood. It’s a unique twist for Greta to make it happen. Plus instead of it defying the story, it actually adds a unique twist to it that works.
Top accolades of the film should go to director Greta Gerwig. This could have been another rehash of a commonly-adapted novel. Instead Greta adapts the story to make it very relatable to young women in today’s world and even adding a twist to the story without ruining the dignity of the original story. Gerwig bends instead of breaks. Even the constant flashes between the past and present work well. The best acting comes from Saoirse Ronan. Again she does an excellent acting performance that adds dimension and charm and speaks to the audience. Florence Pugh is also great as Amy: Jo’s most rivalrous sister and very good at stealing the show from Jo at times. Emma Watson and Eliza Scanlen are also very good as sisters Meg and Beth. Laura Dern is also good as Marmee, but her role is limited in dimension. Meryl Streep is also given a brief role as Miss March, but she delivers a character that commands your attention each time. Timothee Chalamet was good as the idiotic Laurie, but I feel he didn’t act 1860’s-ish enough.
The film also has a lot of great standout technical efforts too. There’s the costuming of Jacqueline Durran, there’s the score composition from Alexandre Desplat, the set design from Jess Gonchor and Claire Kaufman and there’s the cinematography of Yorick Le Saux.
The most recent adaptation of Little Women does the book justice, but it adds a twist at the end. I’m sure even the biggest fans of the novel will be happy how the film turns out.
DISCLAIMER: Some of you may wonder about the lateness of this blog. True, I could have posted this around the time of the nominations or around the time the winners were announced. However I was busy enough with watching and reviewing films around Oscar time. Also I was tired of blogging for a long time after the Oscars were awarded. This is something long-time subscribers of mine are familiar with where I take time out from blogging after the Awards. Nevertheless this is a subject that is relevant any time and is worth posting even now.
When the Oscar nominations came out Thursday January 15th, with it came the ranting and complaining from people. The Hollywood Reporter is right that if there’s one thing we love more than watching the Oscars, it’s complaining about them. Every year, there are complaints from people about nominations that deserved to happen but didn’t. The biggest example for this year would be The LEGO Movie snubbed in the Best Animated Feature category. There’s also the possible complaint from people, especially Republicans, that none of the eight Best Picture nominees had grossed even $60 million at that time. One such to raise eyebrows, especially at Box Office Mojo. However the biggest noise came over the lack of racial diversity among the nominees, especially the acting nominees. It was all over social media. It even appeared in a speech by Jessica Chastain at this year’s Critics Choice awards. The question being how legitimate is this claim? And what does this say of the film industry.
How The Oscar Race Works
One thing I’ve been doing in my fifteen years of paying close attention to the Oscar race is learning how nominations are won. One thing I already know that having a phenomenal performance or effort in a critically-renowned film is good to get the buzz started. Then it involves having it taken to all those Critics Circle awards, film body awards, Top 10 films of the year charts from critics, the Hollywood Foreign Press, the respective various guilds and members of the Academy through various DVDs with ‘for your consideration’ stamped all over it and even ‘for your consideration’ posters. Even things of merit like Oscar nominations require marketing to success in this lovely industry called showbiz.
Then it’s up for the Academy members to vote. How does one become a member? The easiest way– or should I say the most guaranteed way as nothing’s easy in showbiz– is be nominated for an Oscar. That’s the sure-fire method. The harder method is to earn consistent acclaim over the years with your efforts and performances. There are a lot of members that were never nominated for an Oscar so there must be some merit system towards achieving Academy membership. Performances and efforts get a lot of Oscar buzz and a load of acclaim from critics, critics’ boards and awards juries. It’s now up for the members of the Academy to vote for the nominees. One thing we need to remember is that nominating operates branch-by-branch. Actors nominate actors, directors nominate directors, scriptwriters nominate scripts, documentarians nominate documentaries, and so forth. One thing’s that’s certain is all members vote for Best Picture.
The funny thing is how many performances and efforts each year that are labeled Oscar-worthy. It’s like I always describe the nominations race: “Lots of performances deserving of the win. Only room for five nominees.” You can tell how hard it is to be among what should be called the ‘elite of the year.’ I even describe that by saying “Sometimes even excellent isn’t good enough.” It’s obvious why a lot of actors and other people in film rely on such buzz and advertising to get a nomination because they can’t rely on just their performance as-is. This is showbiz and it’s about that push and about politicking and advertising and cash pumping that lead to all these nominations and nothing is completely guaranteed. Even The LEGO Movie looked like a sure bet for the Best Animated Feature nomination but it didn’t get it. That to me was the biggest snub this year.
Then the nominations came. Selma was among the eight films to earn nominations for Best Picture. However the big shock came in the latter categories. Selma also had its best hopes in earning nominations in the Best Actor category for David Oyelowo and the Best Director category for Ava DuVernay. Both were already Golden Globe nominees and Critics Choice award nominees. However neither of the nominations happened. The only other nomination that Selma received was in the Best Original Song category for ‘Glory’ which had already won the Golden Globe.
The snubs bit. Ava’s bit especially since this would have made her the fourth black director and the fifth female director to clinch a Best Director nomination. Just as irritating is who was nominated in their place. For Best Actor, Redmayne, Keaton, Cumberbatch and Carell had enough buzz to sit pretty. David Oyelowo and Jake Gyllenhall of Nightcrawler looked like to be the tightest race for the fifth spot. For Best Director, Inarritu, Tyldum, Linklater and Anderson had the biggest buzz while DuVernay appeared to have her biggest competition for the fifth sport from Clint Eastwood for American Sniper. As what should have been expected for Best Actor, it went to a peer: Bradley Cooper for American Sniper. This was the third year in a row he was nominated for an Oscar. Unexpectedly in Best Director, the directors went for a lesser-celebrated peer: Bennett Miller for Foxcatcher. This is his second nomination, first being for Capote in 2005.
As much as the snubs bit, it’s not that unusual for more celebrated performances to be snubbed out in favor of lesser-hailed performances and efforts by Academy ‘peers.’ I first learned that in 2000, the very first year I paid serious attention to the Oscar race, when after I saw Billy Elliot, I was rooting for young Jamie Bell to get a Best Actor nomination. I even said: “If Billy Elliot gets a Best Picture nomination, then Jamie better get a Best Actor nomination.” The Academy granted my wish by making neither nomination happen. Favored over Jamie in the Best Actor category was the performance of Ed Harris, who had two previous Oscar nominations, in his self-directed Pollock: a movie and performance whose buzz either slipped under the radar or was kept low key because it wasn’t as heralded by previous awards. I saw it repeated in 2004 in the Best Actor category when Clint Eastwood was nominated for Million Dollar Baby. Sure his directing work was hugely heralded and his Best Director nomination was expected but his Best Actor nomination was completely out of the blue as it neither won nor was nominated for any other awards, major or minor. I continue to see it on a yearly basis in the Best Original Score category. It’s a given that whenever John Williams composes a score for a film, he’s guaranteed to get nominated. Even if it’s mostly unnoticed, it will find itself on the nominees lists even over more lauded scores by lesser known composers. Surprise nominees have happened in other categories over the years too. Rarely but often enough to take notice.
You can bet the outrage would start after the snubbing of Selma. All the acting and directing nominees were white. All the directing and writing nominees were white males. Additional irritation came when the script of Gone Girl was not nominated. This would have made Gillian Flynn the lone female writer among screenplay nominees. The anger came fast. Sasha Stone at the Awards Daily website was fuming. Bill Maher lampooned it. Jessica Chastain talked about the importance of diversity among Oscar nominees in her Critics Choice award acceptance speech. There was even the hashtag #OscarsSoWhite. The craziest news came from the Rev. Al Sharpton and his plan to start up a diversity task force on the Academy. Actually Al’s remarks were the least of my concern. Al Sharpton is less of a civil rights leader than he is a drama queen.
However it was later exposed in an Entertainment Weekly article where DuVernay herself was personally interviewed by the magazine the real facts. It wasn’t racism as so many want to believe. It wasn’t even the controversy of her portrayal of LBJ. Nor was it even her involvement in raising activism over the not-guilty verdict over the shooting of Michael Brown or her promotion of the ‘I Can’t Breathe’ campaign. It was however marketing. Even though she had a Golden Globe nomination as did Oyelowo, the film was shunned out of the Screen Actors Guild awards, Directors Guild awards and the Producers Guild’s Golden Laurel awards, weakening Selma‘s chances for Oscar nominations. Even her own late distribution of the promotional DVD to Academy members, meaning members wouldn’t get it until later-December with little time to spare for nomination voting, decreased Selma‘s chances even further. Who you know doesn’t just involve getting acting jobs. It can even involve awards nominations too. In the end, Selma was nominated for Best Picture but its only other nomination was for Best Original Song for ‘Glory,’ which would go on to win the Oscar. However Selma became the first Best Picture nominee since 2002’s Lord Of The Rings: The Two Towers without additional nominations in acting, directing or scriptwriting.
Whatever happened, it did expose a lot of holes in the Academy. Having a group of peers declaring nominees does leave for a lot of subjectivity in its choices. You can describe a lot of performances as ‘deserving’ of an Oscar win or even a nomination but the reality is this is showbiz. As much as there are a lot of performances and efforts deserving of nominations, I’m also well aware that showbiz is one domain where you won’t get what you deserve no matter how hard you work. Being able to command at least $1,000,000 per film, getting the big break of a lifetime and even getting an Oscar nomination are all as much about luck as even making it as an actor, especially in Hollywood. And it’s not uncommon to see peer favoritism in terms of Oscar nominations and seeing a deserving performance from an up-and-comer snubbed out.
Such snubs especially bite when it happens to a minority. People magazine even did a 1996 cover article entitled ‘Hollywood Black-Out’ about how black actors and other blacks in the film industry are shunned out. It’s not just blacks. Seeing the rare times when an actor/actress of a different race is nominated brings up reminders how their race is also given too little acclaim from the Academy. Having black celebrities like Whoopi Goldberg and Chris Rock host the Oscars has done little to quell this controversy. The fact that the AMPAS Academy is headed by a black woman, Cheryl Boone-Isaacs, still did little to ease whatever tensions over diversity pop up. Even the awarding of Best Picture to Twelve Years A Slave last year was instantly forgotten. Even though I’ve faced the fact that this is showbiz and there’s really no such thing as unfair, I too would like to see more diversity happen.
Diversity Not Just Black And White
It’s not just a case of black actors or directors or other African-American filmworkers of various trades. We should also remember about Latin Americans. The last fifteen years has seen a good number of nominations going to actors from the Latin American countries or Americans of Latin American ancestry but even those are very rare as are the wins. I think Benicio del Toro is the only winner for this century. Just as excluded are Asian actors. I remember there wasn’t a single acting nomination for Crouching Tiger, Hidden Dragon despite its many nominations. There have only been two winners in the history of the Oscars: Miyoshi Umeki and Haing Ngor. Even actors of other races have been shunned aside or given limited acclaim.
Even gender is a diversity issue. Four women have been nominated for Best Director. The first being Lina Wertmuller in 1975. The fourth and most recent being Kathryn Bigelow in 2009 who became the first woman to win the Oscar in that category for The Hurt Locker. Scriptwriting has been more friendly with more female nominees but still predominantly male. Nevertheless this year bit when the script from the hugely successful Gone Girl which was adapted to film by the novel’s own author Gillian Flynn was shunned out of the nominations. Gender diversity is more active in the technical nominations like Best Costume Design or Best Film Editing and even in the short film categories. Nevertheless seeing missing nominations in the higher categories does cause one to notice the exclusivity.
New Century, Bigger Diversity
The biggest surprise of it all is that the 21st century has either equaled, or has come close to equaling, the diversity numbers of the 20th century. On the subject of black actors and actresses, they have achieved five wins and thirty-one total nominations in the whole 20th century and amassed a total of nine wins and twenty-nine nominations in the 21st century. The 21st century has also included breakthroughs like Halle Berry being the first to win Best Actress and Denzel Washington becoming the first ever to win two Oscars. Even in the Best Director category there was only one black director ever nominated in the 20th century: John Singleton for Boyz ‘N Tha Hood. This century there were two: Lee Daniels for Precious and Steve McQueen for 12 Years A Slave. It’s not just African-Americans getting nominations and wins but black actors from many countries being nominated in this century like Djimon Hounsou from Benin, Sophie Okonedo and Chitewel Ejiofor from the UK and Mexican-born Kenyan actress Lupita Nyong’o.
On the subject of other races, one bright light was that 2003 had the most racially diverse set of acting nominees with nine non-white actors nominated including New Zealand Maori Keshia Castle-Hughes, Iranian Shohreh Aghdashloo, half-Indian British actor Ben Kingsley and Japanese actor Ken Watanabe among the many.
Some of you may be shocked to know that 2014 is only the second year in the 21st century that the acting nominations went all to white actors. Makes you wonder what’s more shocking? The fact that all were white or the fact that this is only the second year in the 21st century to do such? The only other year that this has been the case was 2010. Only back then there were no performances by racial minorities that garnered significant buzz to stimulate Oscar buzz. Not like this year where efforts from Selma achieved noticeable buzz.
Diversity is slowly but surely opening up in the directing categories. The last three Best Director wins have been won by racial minorities: Ang Lee, Alfonso Cuaron and Alejandro Gonzalez Inarritu. The 21st century may have had only two female Best Director nominees including one winner but there were only two in the whole 20th century. The 21st century has also opened up to female writers more. I even noticed in 2007 that three of the five scripts nominated for Best Original Screenplay were written by women including the winning script from Juno by Diablo Cody.
The Future Of Diversity In Hollywood
Despite the improvement in diversity over the last few decades, we have to look at the big picture of diversity not just in the Academy but Hollywood as a whole. I will admit that minorities are underserved in terms of box office fare. It’s not like the 90’s or the noughts where there were bigger box office stars of different races. Actually this last century has been an enigma in terms of defining a movie star’s success altogether. However I will say there was noticeably more movies back during those decades where a minority was the main star. We all remember a lot of those hip hop movies from long ago? Or even rappers taking on acting roles? Sometimes you wonder if we should blame Hollywood or the movie-going public? Like why does it seem the most racial diversity we see in terms of blockbuster fare nowadays are Tyler Perry movies?
Back on the topic of the Oscars, I wanted to delay my blog about this because I wanted the firestorm after the nominations to die down. Yes, there were a lot of people angry about the lack of diversity this year. There even some angry enough to dismiss past diversity of Oscar nominees, including AwardsDaily’s Sasha Stone dismissing it as an “Illusion of inclusion,” which is typical of Sasha’s ranting. There were some critics however who pointed out there were a lot of other snubs from deserving efforts from non-minorities reminding us how chancy it is to get nominated. Even one anonymous blogger said “You can’t simply give a nomination to them because they’re a minority. You should nominate them because you feel their performance deserves it.” It is true. Even though I would love to see diversity happen amongst Oscar nominees, I am aware of the harsh realities of showbiz including that of the Academy. In actual fact, the Academy actually does not owe anyone diversity. Same as Hollywood doesn’t really owe anybody anything. The only thing the Academy really owes on ‘Nomination Day’ are nominations to the five best performances and efforts of the year.
One thing I do feel the Academy should do is reorganize itself. It should especially reorganize its ability in selecting members of the Academy. It’s not clear how members of the Academy outside of past Oscar nominees are selected. One thing it should do is allow for more fair rules for allowing for diversity. Whatever panel that selects Academy members should go to more film events like the various film festivals for selecting new members including those with focus on minorities. It should go to more media events as well. I’m even tempted to suggest the Academy should expand its nominees per category from five to seven but that’s up for the Academy to decide.
Since I mentioned film festivals, this is my next focus on how to increase opportunities for minorities, and this isn’t simply for Oscar nominations. Film festivals have to be the most minority-friendly of opportunities. I know because I’ve attended the Vancouver Film festival for many years. I’ve seen films from various countries directed by a diverse variety of people including many films directed by women. Minorities of both race and gender should seize every channel they can to get their works out into the public eye and film festivals are their best bet. There are even ‘specific’ film festivals dedicated to race and ethnicity and even women’s film festivals including one festival that advertises ‘by women for everyone.’ That’s why I said after the Oscar nominations: “You want diversity? Go to a film festival. There you’ll get diversity in film making.”
Since I’m on the topic, that’s another thing I feel minorities should overcome: beating out false stigmas associated with their works. I know I’ve talked a lot about changes and improvements certain professionals should make. I can’t really say the same about minority actors and directors because they’re not really doing anything wrong. They should all keep doing what they’re doing and follow their dreams. Even David and Ava did nothing wrong really and they should keep on chasing their dreams. However they are sometimes given a stigma with their works and efforts that’s not entirely true in which they should fight off. I often feel that most of the film world thinks of black directors to be like Spike Lee who always has an angry view of white people. It’s not 100% true as Selma showed the white supporters of the Selma marches in a positive light. As for female directors, I feel there’s a bit of a myth that sometimes female directors can either direct ‘chick movies’ or be the type that mocks men just like Roseanne Barr used to. It’s not true as I’ve seen films directed by women at the VIFF that depicted men in a fair light. Plus I never saw Ava try to give a negative impression of men in Selma. Yes, these stigmas are an undeserved burden for them but they should fight it by letting their works speak for themselves.
In conclusion, the lack of diversity among the 2014 Oscar nominees not only exposed a big hole in the Academy but also in Hollywood. As if showbiz isn’t unfair enough. 2015 is only three months old. The 2014 Oscars were decided a month ago and the nominations for 2015 are 9 1/2 months away. There have already been film festivals like Sundance, SXSW and Berlin showcasing films for this year. There will be more film festivals this year like Cannes, Venice and Toronto and even smaller film festivals showcasing a multitude of films locally and around the world. Time will tell which will receive Oscar buzz. Time will also pay close attention to potential nominees. However tracing improvements or declines in diversity can’t be traced in a single year. This is something that will have to take at least a decade or two to see if progress in terms of diversity has been achieved. Even though Hollywood and the Academy is as much of a clique as any other channel of showbiz and even smaller film communities, barriers still should be broken and diversity of newcomers should still be welcomed.
2014 was definitely a year when minorities of both race and gender were overlooked in terms of Oscar acclaim. Despite the Academy being more open in the last two decades, most people were left with the common impression: “The more things change, the more they stay the same.” Only time will tell if improvements in diversity within the Academy and film making as a whole have been made.
One of the most notable things about the VIFF is that it features a huge selection of documentaries both in the number of films aired and the variety of topics. Many documentaries are focused on topics revolving Canada. The documentary of Miss Representation is focused in the United States but one can see a lot the issues discussed in the documentary facing Canada in similar ways too.
Tired of your daughter trying to make a sex object of yourself? Tired of your daughter imitating the stupidities of reality show stars? Ever stop to think about how women are depicted on television? Ever feel a lack of female roles or smart female roles in movies? Tired of the lack of females in CEO positions or politics? While some people, including other women, overlook it, there are women that don’t and are unhappy about the state of things. This dilemma is well-stated in the documentary Miss Representation.
Miss Representation has an impressive lineup of women interviewed for this documentary from actresses like Geena Davis, Jane Fonda and Rosario Dawson to feminists like Dr. Jean Kibourne and Gloria Steinem to newscasters like Katie Couric and Rachel Maddow to politicians like Condoleeza Rice and Nancy Pelosi. It does an impressive investigation of how women are portrayed in today’s media, in both entertainment and news. It highlights the negative depictions of them in ‘reality shows’ and misogynistic treatment in hip-hop videos. It shows how computer enhancements shorten a model’s waistline to an unrealistic width. It shows sexist depictions in television ads. It shows networks’ news shows hiring women for sexiness over professionalism. It shows the negative role models girls are given via reality shows and MTV. It also highlights how these images have affected their self-esteem, especially in terms of eating disorders, depression and even undergoing cosmetic surgery.
It doesn’t just stop at entertainment but also focuses on politics too. It points out the United States ranks 90th in the world in terms of the percentage of female politicians in office and noticed a decline in 2010 that was enough cause for alarm. It shows how American female politicians get more copy over what they wear than what they have to say in office. It shows how right wing conservative pundits and their ridiculing of female politicians also are part of the blame. Even conservative groups who hurl slurs at Hillary Clinton like “Iron my clothes” have their part in this. It also focuses on the business world, on how it’s like being a woman with a top position in a room full of men. It also talks of the lack of female CEOs. Funny how when we’ve made progress in the last 40 years, we learn there’s more to be done, and at a faster pace.
Mind you it doesn’t completely dwell on the negative. It also features messages of hope. It also shows of the efforts of young teenage girls in their own political pursuits. It shows a discussion with teenage students–both boys and girls– and how they feel about this. Just when you think teenage America is eating it up and enjoying it all, there are some teens that are concerned. It even talks of Miss Representation, the campaign. The documentary Miss Representation is as much a campaign as it is a documentary film. Its goals are to empower women and girls to challenge limiting labels in order to realize their potential. They are encouraging actions that lead to a cross-generational movement to eradicate gender stereotypes and create lasting cultural and sociological change. They are using various media outlets like girls using social media to speak their mind, a school curriculum to educate and encourage activism, community screenings where discussion is encouraged, and consumer empowerment to encourage the success of female-friendly entertainment.
The unique thing is that the film is done from the point of view from the director and the founder and CEO of the Miss Representation campaign. The filmmaker is Jennifer Siebel Newsom. She is married to former San Francisco mayor Gavin Newsom. Siebel has a Masters Degree from Stanford, completed acting studies at the American Conservatory Theatre and had done environmental work overseas through Conservation International. Her acting credits include films like Something’s Gotta Give, Rent and In The Valley Of Elah. Her television credits include Strong Medicine, Numb3rs and Mad Men. This documentary is her directorial debut. Miss Representation is as much a personal focus of hers as it is a documentary as she filmed it just after she had given birth to her daughter and wonders what type of world she would grow up in. Anyone else who has a daughter might want to question the same thing too.
I found this documentary quite intriguing. I especially took note of what they said about entertainment. Entertainment and how it’s delivered to various peoples is a big interest of mine. Interesting is during the film, they pointed out to entertainment in the early 90’s that took women’s roles in new directions, like Thelma & Louise and A League Of Their Own. It brought back memories back in the 90’s when women were defying convention in entertainment. We had the sitcom Roseanne where the star Roseanne Barr looked like an actual mother. We had A surge of female singer/songwriters whose intimate work helped spawn off the Lilith Fair festival. Nowadays you could say it’s a memory with profit-oriented entertainment more competitive than ever. We shouldn’t forget about entertainment sinking to new lows for the sake of new highs in profits. In fact I myself could even right an essay on how the improvement of women’s image and role in music in the 90’s suddenly grounded to a halt thanks to Britney and “Oh Baby Baby…” I could also write how Paris Hilton reversed the women’s movement. Or even my thoughts on Snooki. But I’ll save it for now. I’m sure you have your own annoyances too. I’m just glad Lilith Fair hasn’t been replaced by Tartapalozza.
It also got me thinking about how things are doing in Canada. I often feel that Canada is not as sexist as the US but I’m frequently reminded that there’s still work to be done. Even though wage parity between male and female workers is closer than its ever been, female workers are still paid less than male workers. Canada ranks 50th on the world scale of females holding political office. 70 on the 308 seats in the House Of Commons are women; 27 from the victorious Conservative party. Canadian teenage girls have done their share of idolizing Britney and other reality show stars. In fact it encouraged one Canadian magazine journalist, Anne Kingston to write an article that made the cover story for Maclean’s, Canada’s national magazine. For those who want to read it, here it is: http://www2.macleans.ca/2010/08/10/outraged-moms-trashy-daughters/ Glad to see that while Americans mostly ignored this issue, one Canadian writer decided to speak up.
Miss Representation is a film that’s angry about the portrayal of women without having to ‘shout’. It shows stats and views to show its disappointment but also offers messages of hope. Jennifer Siebel Newsom put in a lot of effort and research to get her message across. I’m sure her frustration would not only be shared by mothers like her but fathers of daughters as well. For those interested in the Miss Representation campaign, go to: http://missrepresentation.org/
On Wednesday, April 6th, it was made official mention by the International Olympic Committee. Six new events will be added to the Winter Olympic program and one of which will be Women’s Ski Jumping.
For those who were living in Vancouver, this was a big news story before the 2010 Winter Olympics were to begin. Of the fifteen sports to be contested at the Vancouver Olympics, two of which–ski jumping and nordic combined– would not have women competing. This was disheartening to many young women who were competing in ski jumping, including at the 2009 World Nordic Championships. IOC president Jacques Rogge had always maintained the it was due to the level of the competition. It was not competitive enough and not World class enough. Many of the young women complained it was discrimination. In fact some even pointed to Canada’s Charter Of Human Rights, which prevents gender discrimination. They tried in three different courts to get their case heard and it was always the same result: While it was discriminating, the IOC decision overrides any other court. There was definitely disappointment. World Champion Lindsay Van of the USA made things look bad for them by describing the Canadian justice system as ‘weak’ and the IOC as the ‘Taliban.’
Just before the IOC was to announce new events for the 2014 Winter Olympics in Sochi, Russia, the World Nordic Championships were held again this year. The entries in the women’s ski jump event went from 36 women from 13 countries in 2009 to 43 women from 15 countries this time. The competition results were a lot stronger this time too. Then came the official announcement from the IOC of the new events added to the Winter Olympic programs. Women’s Ski Jumping – Small Hill was one of the six added to the program. The announcement was greeted with celebration from the women whom some have fought as long as seven years to get it included onto the Olympic program. Some have even said Sochi may be the first gender-equal Winter Olympics. One exception is that the sport of Nordic Combined (combined event of jumping and skiing) has yet to have a women’s event.
One of the common beliefs people shared around this subject was that the International Olympic Committee was sexist. Sexism was further echoed during the Vancouver Olympics when IOC president Jacques Rogge demanded that women’s hockey up its competitive level in eight years or it will face removal. This came after Canada won a preliminary round against Slovakia 18-0 en route to a gold medal-winning final against the USA: the third USA vs. Canada gold medal final out of four Olympics contested. One thing we should remember is that the IOC wants parity amongst sports on an even level. Every sport has a demand placed of having national federations in so many countries over so many continents for Olympic eligibility. Baseball and Softball were eliminated from the Olympic program for London 2012 because of that reason. I know it was disheartened for many to see no Women’s Ski Jumping event at the 2010 Winter Olympics, especially since ski jumping has been contested since the first Winter Olympics in 1924, but it’s because of that lack of parity and competitiveness that women’s ski jumping was left off the Olympic program in 2010. In fact it didn’t even have a World Championship event before the new events for 2010 were announced. The first ever women’s competition was held in 2009. Now it had it’s chance to demonstrate again at the 2011 World Championships and it proved itself worthy of being contested at the next Winter Olympics in 2014.
Already many women ski jumper who retired after being disheartened by their losing campaign at getting an even for Vancouver have immediately come out of retirement or are now reconsidering. Lindsay Van herself said she’s taking things one day at a time. In the meantime, gender parity is one step closer at the Winter Olympics. All that remains now for full parity is a Women’s Nordic Combined. Then we’ll really have a gender neutral Winter Olympics.