Final Cut: The gems and stars left off the Oscars list
If I could remove any word from Oscar conversations, it would be âsnubbed.â Itâs catchy and makes good headline fodder, but it implies that a cabal of Academy members sat in a room and consciously decided to ostracize this actor or that moviemaker. These ballots are filled out by 6,000 to 7,000 voters, ranging from visual effects experts to screenwriters to studio chiefs. I canât envision secret meetings to decide the fate of each candidate.
Jamie Foxx (Django Unchained) and veteran French star Jean-Louis Trintignant were both considered serious contenders for a Best Actor nomination; neither made the final cut, even though Trintignantâs co-star in Amour, Emmanuelle Riva, was nominated for Best Actress. At one point, the gifted John Hawkes was touted as a shoo-in for his brilliant performance in The Sessions. But Iâve learned never to use the word âshoo-inâ where the Oscars are concerned.
There were fewer surprises in the Best Actress category, although some pundits had predicted Helen Mirren for Hitchcock, Marion Cotillard for the French import Rust and Bone and Rachel Weisz, who won the New York Film Criticsâ award, for (The Deep Blue Sea). As it happens, they took a collective backseat to the youngest female ever nominated in this category, 9-year-old QuvenzhanĂ© Wallis (Beasts of the Southern Wild) and the oldest, 82-year-old Riva.
The always-crowded Supporting Actor and Actress rosters excluded such prominent figures as Nicole Kidman, Leonardo DiCaprio, Samuel L. Jackson and Maggie Smith, while admitting Philip Seymour Hoffman for what is clearly a leading role in The Master.
But the biggest buzz concerns this yearâs Best Director lineup. Experienced Oscar watchers could see this brewing, as the current Oscar setup has a built-in dilemma. To understand it, one need only do the math: With the Academy of Motion Picture Arts and Sciences now enabling nine films to compete for Best Picture — in fact, they allow as many as 10 — but retaining only five slots for Best Director, at least four world-class filmmakers are guaranteed to be left out in the cold. How those four happened to be Kathryn Bigelow, Ben Affleck, Tom Hooper and Quentin Tarantino this year is anybodyâs guess.
Only members of the directorâs branch get to nominate directors; thatâs an elite group of fewer than 400 people. The same constituency didnât cite Affleck for his terrific movie The Town a few years ago but did support Bigelow and Hooper, who went on to win for The Hurt Locker and The Kingâs Speech, respectively. They were early boosters of Tarantino, who won an Oscar for
directingBest Screenplay in Pulp Fiction in 1994 and was nominated again for Best Director for his last film, Inglorious Basterds. It may be true that theyâve undervalued Ben Affleck, but there is no logic to the omission of the three other Best Picture directors.
Whatâs more, the Academyâs director lineup doesnât coincide with that of the Directors Guild of America, which historically, and almost invariably, has forecast the Oscar winner. But that was before the Academy opened up the Best Picture category beyond its traditional five slots, so now all bets are off. (For the record, this yearâs DGA nominees are Affleck, Bigelow, Hooper, Ang Lee and Steven Spielberg.)
Every round of Oscar nominations brings its share of surprises and disappointments. Many people I know were counting on Judi Dench to be up for Best Supporting Actress, which would have made her the first person to be singled out for a performance in a James Bond movie in that seriesâ 50-year history. There was also great enthusiasm for Javier Bardemâs performance as the movieâs colorfully sinister villain. Both Dench and Bardem are former winners, so the Academy actorsâ branch clearly appreciates them âŠ just not enough to make this yearâs finals. Even so, Skyfall earned a record five nominations, including one for Thomas Newmanâs rousing music score and one for cinematographer Roger Deakins, who has been nominated 10 times and never taken home one of those gold statuettes. (Itâs the first time around for Adele, who sang and co-wrote the movieâs theme song.)
Over the course of the year, a handful of other films elicited critical notice that might have led to Oscar recognition: Richard Linklaterâs Bernie offered Jack Black an unusually juicy part as a real-life Texas character who may or may not have murdered his older female companion. Novelist Stephen Chboskyâs adaptation of his best-selling book The Perks of Being a Wallflower earned warm reviews for its deeply felt look at high school outcasts. Co-star Ezra Miller has been singled out in particular amid a talented young cast. Two of the best performances of the year were given by Jake Gyllenhaal and Michael PeĂ±a in David Ayerâs vibrant L.A. cop drama End of Watch, but their work has been largely overlooked. Fortunately, PeĂ±a is in the running for an Independent Spirit Award as Best Supporting Actor.
Christopher Nolan loyalists are still miffed that the filmmaker has been nominated for two of his screenplays (Memento and Inception) but never recognized as Best Director — and that the finale in his Batman trilogy, The Dark Knight Rises, did not earn a Best Picture nod this year.
Omissions donât come only in the boldface categories that attract the lionâs share of attention. Itâs understandable that The Hobbit: An Unexpected Journey, Life of Pi, Marvelâs The Avengers, Prometheus and Snow White and the Huntsman are competing for Best Achievement in Visual Effects. But if you stop and think about it, was there a more convincing or persuasive use of âmovie magicâ this year than a teddy bear come to life sharing the screen with Mark Wahlberg in Seth MacFarlaneâs Ted? To me, thatâs the most amazing kind of trickery, because youâre forced to believe what your brain tells you canât be true. Yet Ted didnât even make the Academyâs short list before the final five contenders were chosen.
For my money, there is one 2012 release that has truly been robbed. It happens to be a box-office blockbuster, which offers its creators (and backers) some consolation, Iâm sure. Still, The Avengers is the best comic book superhero movie of this, or possibly, any year, in large part because of Joss Whedonâs sensationally smart, funny screenplay. There is none of the self-seriousness that mars The Dark Knight Rises or the hollowness of earlier Marvel efforts like Thor. It doesnât run out of steam like Captain America or simply repeat itself like Iron Man 2.
Whedon pulls off the formidable feat of assembling an all-star cast of characters and giving each a purpose. He takes a two-dimensional villain from Thor and makes him truly menacing. He breathes new life into the lumbering Hulk. He makes us care about all these characters and gives them a cause worth fighting (and rooting) for. On top of that, he infuses his screenplay with a welcome dose of humor, including some of the funniest moments ever found in an ostensibly serious superhero saga. (Hereâs a sample exchange. Bruce Banner: I don’t think we should be focusing on Loki. That guy’s brain is a bag full of cats. You can smell crazy on him. Thor: Have a care how you speak! Loki is beyond reason, but he is of Asgard and he is my brother! Natasha Romanoff: He killed 80 people in two days. Thor: He’s adopted.)
Moviegoers around the world loved the result, and even critics sang its praises. But aside from a nomination for its excellent visual effects, the movie was shut out. Normally, this wouldnât be shocking, as the Academy tends to shun popcorn movies except in the technical categories, but The Avengers is no ordinary popcorn movie.
Then again, if the Oscars followed a predictable path — mine or anyone elseâs — they wouldnât be the Oscars. The final surprises will be unveiled on Feb. 24.
PHOTO:Â Robert Downey Jr. arrives at the screening of the film “Marvel’s The Avengers” for the closing night of the 2012 Tribeca Film Festival in New York April 28, 2012. REUTERS/Andrew Kelly