“And the Nominees Weren’t...”
By Matt Conley, southcoast247.com National Correspondent
Artwork By Jim Reilly, southcoast247.com Associate Editor
Column CXXVII
It still makes me cringe seeing Ruby Dee’s name on this year’s Oscar ballot. It’s almost an abomination of all things that are pure. In the Supporting categories in particular there are rarely ever droughts of deserving talent, and yet a decent amount of people felt her walk up a hillside in American Gangster to view her new home was somehow Oscar worthy.
Or was it the scene where she curses out her son, played by Denzel Washington, for being a deceitful bastard that garnered her an Oscar nomination?
It must be the ladder, for that is the little clip all the awards shows played after her name was read this season, and it was basically one of two scenes she actually appeared in.
Yes, that’s the scene that iced the nomination.
How weak.
But Ruby Dee was not the only undeserving nominee at this year’s telecast, for there will always be debates surrounding the nominations, let alone the winners.
So, without further ado, I shall reveal my list of nominees that unfortunately were just not meant to be...
BEST PICTURE
Into the Wild
Not only was Into the Wild this year’s best film, but it was definitely the most moving and involving experience of any studio film. I can see this film from all angles and there is certainly a rebellious streak in it, as well as a “fuck you” to society message all over it, but it’s a brutally honest look at one man’s choice to leave a life of privilege and go the primitive route. Packed with colorful characters, a non-linear storyline, and reminding us that films like Easy Rider used to be made, Sean Penn’s inspiring and haunting adventure clearly should have ousted at least Juno!
BEST ACTOR
Emile Hirsch (Into the Wild)
If Emile Hirsch’s performance as Christopher McCandless didn’t land sixth place in the voting for this category, then I’m hitting the road for Alaska as well. It’s never an easy sell for a young actor to land a Best Actor nomination, but recent nominees over the years have included Ryan Gosling and Adrien Brody (who, at under 30, pulled off a surprise win for The Pianist a few years ago.) Hirsch got burned on this one big time and even had a resume far richer than either Gosling or Brody at the time of their nominations, so this case will remain unsettling to me for quite a while.
BEST ACTRESS
Helena Bonham Carter (Sweeney Todd: The Demon Barber of Fleet Street)
In my opinion Sweeney Todd didn’t get its due this year. Even when Tim Burton has branched out into more dramatic territory with films like Big Fish, his work rarely gets recognition from the Academy outside of the artistic categories. And he really got a jewel of a performance from Helena Bonham Carter this year as a pie shop owner that befriends the vengeful Sweeney Todd, a London barber with a mean streak. Carter added so much depth to the film, for her performance practically begged the audience to see the story from her character’s point of view, a mix between jealousy, selfishness, and compassion.
BEST SUPPORTING ACTOR
Jason Bateman (Juno)
This is my ultimate dark horse selection, and I stand firmly behind this choice. To say the film Juno came off as sarcastic is common knowledge. Even Ellen Page’s lead performance (deemed Oscar nominee worthy) was just overly jeering and risked having any connection with the audience. Jason Bateman however created a warm character that was receptive to Juno’s character, but only because he made an attempt to develop a relationship with Juno’s true self, not just her spunky attitude. The fact that Bateman’s character lead an imperfect life beneath the nice house and trophy wife allowed for the actor’s strong appeal to really shine, even as he faced some tough decisions and revealed even more of his vulnerability toward the end of the film.
BEST SUPPORTING ACTRESS
Jennifer Garner (Juno)
If you compare the characters played by Jennifer Garner in Juno to Tilda Swinton’s in Michael Clayton (a role that won Swinton the Supporting Actress award this year) then you have two characters who could be considered a bit icy. But Swinton could have played that villainous Clayton role in her sleep (and has before; Chronicles of Narnia anyone?!) and yet Garner was a surprise to be so unlikable. Another thing to examine between the two were their redeemable traits. Swinton had zero and played her role on the same plateau from start to finish, while Garner’s character evolved on screen to someone we could be capable of feeling happy for (even if we didn’t see it coming.) Garner and Bateman really belonged in the respective Supporting categories, and it’s a shame they weren’t.
BEST DIRECTOR
Sean Penn (Into the Wild)
You know when a writer-director wins a Best Screenplay award early during the Oscars, gives a great speech, and then returns to the podium later in the evening to accept a Best Director award? Chances are the second time you see them up there you could give a fuck what more they have to say. And, in turn, they often respect the audience and keep it short and sweet. Well, with Into the Wild mentioned so often in this week’s column, I’ll just say that one scene in particular encapsulates Sean Penn’s Oscar-worthy direction. Watch the scene where Emile Hirsch and Kristen Stewart visit a man in the desert who discusses his feelings on God and love. It was the best scene of the year and should have solidified Penn’s place on the Best Director roster. But it’s the Oscars... and we shall forever gripe about them.
It still makes me cringe seeing Ruby Dee’s name on this year’s Oscar ballot. It’s almost an abomination of all things that are pure. In the Supporting categories in particular there are rarely ever droughts of deserving talent, and yet a decent amount of people felt her walk up a hillside in American Gangster to view her new home was somehow Oscar worthy.
