Boy, this was the best Oscar show of 1991. Billy Crystal came back to host (for the umpteenth time) after eight years away, and he pulled out all the old reliable shtick: the opening musical number, the “what are they thinking” skit. After trying something different last year with Anne Hathaway and James Franco (I didn’t think they were that bad), and coming close to an Eddie Murphy-hosted evening, the Academy fell back on the tried and true. Crystal was Crystal: amiable, relaxed, professional. You knew he was going to steer this ship without hitting an iceberg. You also knew he wouldn’t do anything much worth talking about the next day.
The lack of surprise infested the whole evening, though Hugo did win more awards than I expected it to, throwing a couple of spanners in the works of the Artist Oscar juggernaut machine. Nobody who follows these things doubted that The Artist, which seems tailor-made for self-regarding Hollywood insiders to vote for and feel good about themselves, would go the distance. The theme of the evening appeared to be looking back fondly on cinema experiences that, while not dead yet, have definitely seen better days. The question is whether The Artist star (and new Best Actor winner) Jean Dujardin will parlay the wins into a Hollywood career. Like Roberto Benigni, he might be the foreigner who has his day in the American sun and then retreats to his home country, seldom to be seen on these shores again.
Something occurred to me as Cirque du Soleil were performing their death-defying acrobatics and the show cut away to a lingering shot of George Clooney watching them: Clooney may be the new Jack Nicholson, comfortably seated in front and enjoying the many tributes paid to him. He didn’t win anything, but the night seemed to revolve around him and his amused humility. Among the presenters, Robert Downey Jr. got a laugh out of me with his documentary shtick, and Will Ferrell and Zach Galifianakis clashing their cymbals at least kept me awake. Towards the end, just when I thought we might get out of there in under three hours, the presenters for Best Actor and Actress (last year’s winners Natalie Portman and Colin Firth) had to stop and say nice things about each of the nominees, as if Natalie Portman had seen A Better Life and was qualified to talk about Demian Bichir’s performance.
Possibly I’m forgetting something, but nothing in the show struck me as tacky or incomprehensible this year, which removes half the fun of post-Oscar analysis. Even the standard “in memoriam” segment was tasteful; lately they’ve been telling the audience not to applaud, whereas before you’d get “Joe Schmoe, sound mixer” and there’d be a polite golf clap and then Beloved Film Star would get a loud response. They always leave out a ton of people, but this year they found room for oddball backyard filmmaker George Kuchar, and there was a nod to “Steve Jobs, executive,” who was there because he co-founded Pixar. (Who won nothing; Pixar had an off-year with Cars 2.)
Other than perhaps The Help, did any of the nominated films engender any rooting interest among the normals — the non-film-geeks? Nine films nominated for Best Picture and they didn’t have space for Bridesmaids. One odd, bright detail: Jim Rash, better known as the weirdo dean on Community, now has an Oscar for screenwriting (The Descendants), and he did some funny vamping onstage while cowriter Alexander Payne delivered a gracious speech. And Meryl Streep may sense that people think she’s won enough Oscars, but she hadn’t actually won one since thirty years ago — she’s just been nominated a ton of times. Also, as usual, I heard “Scorsese” pronounced two different ways: “scor-SAY-see” and “scor-SEZ-ee.” For the record, the man himself says it the latter way. Y’know, if you ever meet him.