Historical Newspapers of South Carolina

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:: Oscar attempts to make up for past crimes OK, I admit it. I absolutely live for the Oscars. Although I sometimes like to think oth erwise, I, too, indulge in the same prurient fascination with celebrity that everyone else does. Maybe it has some thing to do with the fact that it’s one of the few nights of the year that hundreds of the greatest actors of our gener ation assemble in the same room. There’s just something about seeing Jack Nicholson, Tommy Cruise, Meryl Streep and other superstars sitting so close together. Or maybe it has to do with all the controversy this year — the lost voters’ ballots, the stolen statuettes, the un ethical” newspaper polling. Or maybe it’s simply because Billy Crystal is the best damned host in the program’s history. In any case, my fascination only grows as I get old er, despite the fact that I harbor some major grudges gainst all those old, white academy voters for com mitting some of the worst injustices in film histo ry. Remember when “Ordinary People” won for best picture in 1980? That, in itself, isn’t too much to be outraged by, except when you consider the movie it beat out — “Raging Bull,” arguably the greatest two-and-a-half hours of character acting ever captured on film. Or how about when “Dances with Wolves,” Kevin Costner’s big fluke, won over “Goodfellas”? Comparing the directing talents of Costner and Martin Scorsese is like comparing hog slop to prime rib. Forget, for a moment, the fact that Scorsese has never won an Oscar, a travesty in itself. Alfred Hitchcock, the supreme master himself, never even got one, which is almost unfathomable when one considers his influence on the industry. So this is my version of March Madness. I could go on about how the academy has con sistently snubbed deserving actors, actresses, di rectors and movies over the decades, but the fact is that an awards ceremony with this type of scope, magnitude and importance will never satisfy every one. Moreover, the academy during the past few years has made some commendable strides toward equity, silencing a lot of critics in the process. Take Sunday’s ceremony, for example. Most of the out comes were predetermined, which made for some pretty lousy office pools. Still, the 72nd annual Academy Awards were, for the most part, rea sonable and equitable. Best Picture: “American Beauty” simply had no competition here. We didn’t need The Wall Street Journal poll to tell us that. This film about the sometimes hilarious, always intriguing antics of dysfunctional family life struck a chord with viewers in a way that none of the other nominees (“The Cider House Rules,” “The Green Mile,” “The Insider,” “The Sixth Sense”) could ever have dared to hope. The only thing that troubled me about this category is how “The Green Mile” even got nominated. I understand that the academy has a hard-on for Tom Hanks, but the movie had more to do with a magic rat than a veteran actor. And even though Jim Carrey deserved a nod for por traying Andy Kauffman in “Man on the Moon” with frightening realism, at least the academy had enough sense to shut out George Lucas this year. That’s a fair trade, I think. Best Director It’s been said that as best pic ture goes, so goes best director. And for the most part, history has reflected just that, so it was no sur prise that “American Beauty’s” Sam Mendes scooped up the award here. One could have made a case for “Being John Malkovich’s” Spike Jonze. But it was Jonze’s first full-length feature, and the conservative academy wasn’t about to “waste” such an award on a man who cut his teeth directing Beastie Boys videos on MTV. Michael Mann had a strong showing for “The Insider,” but the movie crawled along in typical Mann fashion — at a snail’s pace. Best Actor in a Leading Role: Kevin Spacey scored a hard-earned and well-deserved victory here, despite major competition from Denzel Wash ington’s performance in “The Hurricane” and a pity vote that undoubtedly benefited “The Straight Story’s” Richard Farnsworth (the 79-year-old vet eran stuntman). I predicted a Washington triumph for several reasons: First, he’s a veteran actor who hasn’t won yet, so he’s due. Second, Washington should’ve won for “Malcolm X” several years ago, and the academy has a history of retribution in af ' fairs like that. Third, he won the Golden Globe this year over Spacey. Fourth, it’s typical for the academy to honor strong performances in mediocre movies, as was evident this year in the choice for best supporting actress (see below). Unfortunate ly, those factors weren’t enough to help Washing ton secure a win against one of the best actors work ing in Hollywood today. Best Actress in a Leading Role: This one, too, was over before it began. “Boys Don’t Cry’s” Hilary Swank had been the run-away victor from the beginning, and her only real competition was in the form of a very pregnant Annette Bening for “American Beauty.” Bening was good, but her per formance lacked the challenge and controversy that Swank took on by portraying a gender-bend ing woman. The perennially nominated Meryl Streep had the industry pull and the reputation as Hollywood’s greatest living actress on her side, but her movie blew chunks. Julianne Moore gave an other thankless performance in “The End of the Affair,” but she faces the same problem every year — competing against too much talent and too many veterans. But her time will come. This was Swank’s night: Best Actor in a Supporting Role: In what is generally considered the academy’s most com petitive category, veteran Michael Caine won the Oscar for “The Cider House Rules,” thanks in large part to a late Miramax push and the compa ny’s deep, never-ending pockets—not that Caine was undeserving. It’s just that Tom Cruise’s role as a misogynistic motivational speaker in “Mag nolia” was the best acting performance of the year. Unfortunately, Cruise makes it all look far too easy, which is why he didn’t win for “Jerry Maguire” a few years ago. In fact, Cruise will probably never win an Oscar, and with lines like, “Respect the cock,” his character in “Magnolia” didn’t have a chance with the elderly academy. Eleven-year-old Haley Joel Osment had been a strong favorite for his thoroughly amazing performance in “The Sixth Sense,” but I guess the “cute” factor just wasn’t enough. Best Actress in a Supporting Role: The movie sucked, but she was golden. Angelina Jolie’s performance as a mental patient in “Girl, Inter rupted” was enough to push her past the likes of “Being John Malkovich’s” Catherine Keener and “Boys Don’t Cry’s” Chloe Sevigny. Keener and Sevigny were in movies three times as good as Jolie’s, but Jolie had industry support (her daddy is Jon Voight) and was the favorite from the get go. Plus, she’s gorgeous, and you’d be surprised to know just how heavily good looks play into the politics of the whole thing. I’m not taking anything away from Jolie as an actress. She’s wonderful. But Keener was better. Finally, “The Cider House Rules” won for best adapted screenplay, and rightfully so. “American Beauty” received best original screenplay, even though no movie — not even that one — had a better script this year than “Being John Malkovich.” Kenley Young is a senior journalism major and editor of The-Gamecock. He can be reached by e mail at gamecockencore ©hotmail.com Beatty honored by Academy wife Bening w by Lynn Elber Associated Press Television Writer Los Angeles - Whrren Beatty and Annette Ben ing are one of Hollywood’s royal couples, but on ly one was crowned Sunday at the Oscars. Beatty, 63, an actor who also writes, produces and directs, received the Irving G. Thalbeig Award for consistent excellence in films. His work in cludes “Bonnie and Clyde,” “Reds,” “Shampoo and “Bulworth.” It was presented by Jack Nicholson, a close friend who noted Beatty’s 14 nominations and one Oscar and called him the “handsomest” Thalbeig recipient ever. Beatty won a best directing tro phy for the 1981 film “Reds.” “Due to Ms. Bening’s delicate condition and the age of the recipient, there will be no sex jokes,’ Nicholson said. “He’s a relentless producer. He’s even produced this presentation. He’s seen to it that all of the seat-fillers are board-certified ob stetricians.” Beatty might have let the cat out of the bag when asked how he’ll describe Oscar night to his unborn baby. More serious tributes were offered on film by colleagues and friends, including Bening, Julie Christie, Dustin Hoffman and A1 Pacino. “He’s always pushing the boundaries.He has enomious courage,” said Faye Dunaway, who co-starred with Beatty in “Bonnie and Clyde.” A moved Beatty was honored with a standing ova tion. “Although some might say it’s a little soon to be giving this thing to a guy in his early 40s... it’s been very helpful around the house,” Beatty joked. He touched on his other public role, that of political activist who has toyed with running for president. “I must say if you had your choice and you could take the Thalberg award or the White House, 1 think I’d stick with this,” he said. In his long and sometimes rambling speech, Beatty referred — obliquely — to his reputation as a ladies’ man before settling down with Bening. He called her and their three children “what I most treasure.” Beatty noted that their fourth child “could join us right here in the second row if I don’t wrap this up.” He said the drama of the night, in cluding Bening’s pregnancy, his award and her nomination, wouldn’t be believable in a fdm. “As a screenwriter, I’d never sit still for it,” he said. Special to the gamecock Jack Nicholson presents the Irving G. Thalberg Award to Warren Beatty on Sunday night.