Oscar Wrap-Up 2013

Art Tiersky - Contributing Writer

Two years ago, the Oscars crossed the line from Annual Guilty Pleasure into Annual Torturous Ritual, and by the look of things last night, that’s where it’s planting its feet. The main issue I raised in this space about last year’s telecast remains unsolved, namely that apparently no one running the thing actually comprehends why people watch the show in the first place. (HINT: Because they love movies and the people who’ve made them great. It’s not rocket science, folks.)

Once again, we get a bare minimum of movie clips, save for a stingy sprinkling of them throughout the well-produced In Memoriam segment and a half-hearted James Bond montage. Oh, and were any of the Bonds of the last fifty years even in attendance? Or the directors? The producers? If so, could they have maybe been pointed out? And if not, why not? Once again, the arguably most important and poignant segments of past telecasts — the special awards for lifetime contributions and humanitarianism — were given out in a previous, separate show altogether, which was then compressed into an ultra-brief montage and some wordless reaction shots of the recipients.

Why? Because efficiency! Gotta keep the show zipping along so the viewers don’t get bored, right? Except, of course, the show still went long, still felt even longer, and devoid of the few pearls that made the show watchable in past years, was more boring than ever, and boy howdy, is that saying something.

Comparing this year’s show to the previous two is like contemplating which type of rotten fruit you’d rather eat. How was Seth? Seth was fine. Seth wasn’t the problem. Like previous Oscar hosts Jon Stewart, Chris Rock and David Letterman, Seth suffered the misfortune of being an “edgy” choice for a show that has zero interest in actually being edgy. All you get out of that is a guy sheepishly delivering the type of hokey material that they have built an entire career ridiculing. That’s why Billy Crystal (and before him, Johnny Carson) were such ideal choices for this gig; not that they were so hilariously brilliant at it; it’s that they were exactly as square as the material was supposed to be.

I doubt he’ll be returning, but Seth was hardly the “WORST OSCAR HOST EVER!!!” as Nikki Finke had already decided long before he’d even stepped on stage. He wasn’t the right guy for this, but more to the point, regardless of who had been hosting, the show was pure, tedious crap, its few memorable moments being the rousing closing moments of the musical performances of Jennifer Hudson and the legendary Shirley Bassey. The show’s theme, incidentally, was musicals. Why, you ask? Because it was a big year for musicals, wasn’t it? There was a whopping… one! And it was awful. And in the previous years of five Best Picture nominees, it would have never made the cut.

FilmStripwrapBut whatever, the show’s theme was musicals, as carefully selected by producers Craig Zadan and Neil Meron, known best as the producers of previous BP winner Chicago, which they took great pains to remind us was celebrating its tenth anniversary, stopping just short of plugging the inevitable tenth anniversary DVD. Because they’re classy.

I still don’t get why the show is so hopelessly underwritten. It’s once a year, people. It’s a ten-minute monologue, a funny song or two, and maybe fifteen ultra-brief award intros. Your average late-night talk show goes through more material than that every day, four or five days a week, and it’s usually at least sort of good. But this was awful. Honestly, if you’ve been hired to write an awards show, and you can’t come up with a way for the likes of Paul Rudd and Melissa McCarthy to be amusing for thirty seconds, you should return all your paychecks and quit the business. I’m serious, it was that fucking bad. Those two in particular felt as if they’d both decided, independently of each other, to ignore the Teleprompter and just ad-lib something, but not bothered to tell each other. Try to watch it without cringing.

So that was the show. As for the awards themselves? Nothing to complain about, but no great upsets or triumphs either. All the winning actors were the best elements of their respective movies: Silver Linings went from nearly unwatchable to amiably diverting once Jennifer Lawrence entered it; Anne Hathaway’s big number was practically the only reason to see Les Miz; Christoph Waltz pretty much owned Django Unchained; and DDL was pre-ordained for the Oscar from the moment he was cast.

Tech awards for Les Miz, Lincoln and Life of Pi seemed appropriate enough, particularly the special effects for Pi, a movie I didn’t care for but will gladly concede that it gave good fake tiger.

And the rest of the awards were neatly and fairly divided among the other major nominees: Ang Lee’s visually spectacular (if heavy-handed and dramatically thin) Life of Pi bests Spielberg’s stately but stagy Lincoln; Amour deservedly gets Foreign Film but cedes Original Screenplay to Tarantino (who still, eighteen years later, is mind-bogglingly incompetent at giving Oscar acceptance speeches); Zero Dark Thirty, still battered by the controversy over its torture fact-fudging, is forced to settle for a lone technical award (and tying for it at that).

And the rest goes to Argo, a well-liked, perfectly competent non-fiction (well, half-fiction) thriller that manages to give America in general and Hollywood in particular a hearty pat on the back, which is no mean feat for a movie about the Iran Hostage Crisis, so it seems like a rather obvious choice now.  In my prognostications, I’d been leaning toward a Lincoln victory, only because of the non-nomination of Affleck’s direction, which remains puzzling. In any case, Argo, which I don’t consider quite the masterpiece others do, was certainly in the upper tier of the BP nominations, so no complaints there.

Best moment of the show? Drawing from some very thin gruel, but I guess I’ll go with when Sean Fine, the co-winner of Best Short Documentary (for Inocente) made a lovely comment on the importance of supporting artists, and managed to do so before getting cut off by the obnoxious Jaws music. Seriously, though, there were more classic movie clips in the pre-show than in the actual show. What the hell do we have to do to get the old Oscars back? I swear, if I thought it would do any good, I’d even sit through Les Miz again.*

*No.

OSCAR PARTYthx

7 Comments on Oscar Wrap-Up 2013


  1. I really thought Tarantino was just saying that it was the actors who made his script anything at all, come to life. I interpreted it quite differently. As for his attire, well, he can do what he wants, he’s QT man


  2. Art! Well-said.

    After sitting on this for a few hours, I’ve also come to the conclusion that, hard as this may be to accept, it was also The Most Narcissistic Oscar Show Ever.

    It started on the Red Carpet where new “reporter” Kristin Chenowith managed to make every interaction she had about her, reminding everyone of her friendship with the interviewee or her size or her show on Broadway or whatever.

    It took flight with Seth MacFarlane’s bit with William Shatner. Never mind that Shatner defines narcissism for many, he should never have been at the top of the Oscar ceremony. The problem there was the schtick, MacFarlane being informed from the future that he bombed as a host. Listen, Billy Crystal inserted himself for years into comic bits with the movies, but they were about the movies not about Billy. The MacFarlane/Shatner bit was only about MacFarlane as the host.

    Quentin Tarantino took it to another level, managing to stand up for the artistic rights of writers by complimenting himself for having the good sense to write a brilliant script brimming with character so he could then brilliantly cast with just the right actors.

    And the show producers, Neil Meron and Craig Zadan, while good guys and talented producers, fell into a trap of their own making by being the guys who won as Oscar for a musical ten years ago and then turning their Oscar show this year into a celebration of musicals, like theirs.

    Every year, every Red Carpet and every show has a fair amount of built-in narcissism but this one seemed to drip it and drown in it.


    • Actually, Tom Hooper wasn’t nominated for Best Director either (praise be!), so he technically didn’t take Affleck’s spot in the race. Personally, I’d have swapped out Zeitlin or Russell for Affleck.


      • You’re right, my bad. And I agree on both counts.


        • I started a hashtag #whereistomhooper when it took a few hours for the geniuses in the truck to show his face on screen. Great fun.


    • Arthur, I think there may be a couple of points about The Oscars that bear mentioning. What they used to symbolize to the rest of the world (and us here in the USA) was a real peek at movie stars and seeing them off the big screen and speaking directly to an audience. Were they funny, were they as serious as their roles, who were they really and could anyone make them smile. Sure, Hope and Carson and Crystal (at his earliest stage of funny) among a few others could “host” their party and we were eavesdroppers. This was all before a million channels and YouTube and the internet and social media. when seeing celebrities was a rarity and they were still viewed as America’s royalty. Not anymore. We see them in all their indignities, impurities and trivialities and know they are just like us but richer and more pampered. So the Show, the Oscars, must change with the times. Except they can’t. Not yet, anyway.Not until a Best Picture is made by some kid with an iphone. Then the Show may cease being a Show and be seen on YouTube Live. For now it is still an Award Show where people accept, thank, and move on. And companies pay a fortune to air commercials in the hope that people will still gawk at the stars, the off color moments and whatever “surprises”may still occur. It’s not Vegas, It’s not Broadway. When I worked the Oscars in 1984 as a novice, it was still the best show in town because, even if you worked the show, you got to meet the few people in Hollywood who really “worked” all the time surrounded by those who wished they did. And it was fun. It wasn’t trendy. It wasn’t much of anything accept it was glory for those of us who really simply loved movies, film and hoped to live our lives making them. So, it is ridiculous to try and make them anything other than what they are.So cater to the people who really watch them and go to films and want to see their heroes get their just awards – the good, the bad and the ugly. Maybe it should be done in a restaurant like the were a hundred years ago. The Iron Chef could host….


    • Gotta say, in retrospect, Seth as a host was a disaster. He was sexist, base, juvenile, just really a sorry host. They should have got Jimmy Kimmell. See his white House Correspondant’s Dinner routine. Outstanding. Edgy. Intelligent and humane. Back to Seth, a Sky News male reporter referring to his ‘boobs’ song commented that it was ‘bringing a hint of risk’ to the Oscars. Such staggering underplay thus proves the feminists correct. And one of the clips used was form a film involving rape. For reference: http://www.newyorker.com/online/blogs/closeread/2013/02/seth-macfarlane-and-the-oscars-hostile-ugly-sexist-night.html?mobify=0

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