Oscar 2004
In this age of political correctness, there are no longer losers, just winners. Don’t believe me? Ask the back-slapping folks who hand out the annual Academy Awards. Actors, writers, directors, editors, all looking for an edge to make the final cut. Campaign advertisements, screeners, talk show appearances.
When it comes to taking home Oscar gold, it’s a dog eat dog world out there.
After the nominations are announced, those who barked the loudest say it is just a pleasure to be nominated. A pleasure. If you believe that, then you’ll also buy into that other award-season fallacy: the nomination is reward enough. Right. These are the same people that put on a brave face after they dig to the bottom of the Cracker Jack box to learn their prize is another set of Eminem temporary tattoos.
Remember when a winner was a winner? Those who didn’t win were losers, but no one wants to feel like a loser, do they? Which is why the line “And the winner is…” was changed to “And the Oscar goes to….” It’s bad enough the four non-winners are forced to share such an intimate moment with the lens of a camera shoved in their face, but pretend to be happy for the winner? Now that’s acting.
You can pick your seat, you can pick your nose, you can pick your vacation destination, and with a little help, you can pick the Oscar winners.
Best PictureWinner: Lord of the Rings-Return of the King
Imagine in this era of instant gratification having to wait three years to be recognized by your peers. That’s the “always a bridesmaid, never a bride” scenario of Peter Jackson’s universally acclaimed “Lord of the Rings” trilogy. Having spent a decade shepherding “Lord of the Rings” to the screen, Jackson’s name has become synonymous with grand, epic entertainment. While both previous “Lord of the Rings” films were nominated for Best Picture awards, it was obvious voters were taking a cautious wait and see approach before handing Jackson the gold. “Return of the King” proved with each successive chapter great storytelling can beget even greater storytelling, a rare and almost unimaginable feat. To deny “Lord of the Rings: Return of the King” a cumulative Best Picture win would be tantamount to admitting that Academy members are shortsighted and impotent. Awarding “Return of the King” Best Picture would validate Jackson’s complete vision, an epic not just for our time but for generations to come.
Runner-Up: Mystic River
If members of the Academy are in a dour mood, “Mystic River” with it’s potent cast and direction, could be responsible for announcing the “King” has left the building.
Best DirectorWinner: Peter Jackson, Lord of the Rings: Return of the King
Jackson, who literally leapt from a New Zealand niche director (Bad Taste, Dead Alive) to one of the most visionary voices to come along since Steven Spielberg, has racked up Golden Globe and Director’s Guild awards for his work on “King,” which like the Academy Award, translates into an award for all three films. Jackson proved what a director can accomplish when left to his own devices. Every frame in the trilogy is hand-stamped by Jackson, whose blend of larger than life fantasy and small, human moments achieve cinematic perfection.
Runner-Up: Clint Eastwood, Mystic River
Clint Eastwood is among a handful of actor-turned-directors who have achieved critical acclaim both in front and behind the camera. Mel Gibson (Braveheart), Kevin Costner (Dances with Wolves), Robert Redford (Ordinary People), Warren Beatty (Reds), like Eastwood (Unforgiven), have all won Academy Awards for directing. What distinguishes these men is their ability to draw natural, honest and at times heartbreaking performances from fellow actors. Eastwood does just that with his Oscar-nominated “Mystic River” cast.
Best ActorWinner: Bill Murray, Lost in Translation
All bets are on Sean Penn’s devastating father in “Mystic River,” but I’ve never been much of a betting man, so my pick is Bill Murray’s sly and observant performance as an American actor looking for signs of life while on a commercial shoot in Tokyo. Murray is seamless as he navigates the streets and nightlife of Tokyo with Charlotte (Scarlett Johansson), the bored wife of a photographer. People often ignore Murray as a real actor, even when his films include “Rushmore,” “The Royal Tenenbaums” and “Groundhog Day.” In his first Oscar-nominated role, none of Murray’s performance gets “Lost in Translation.”
Runner-Up: Sean Penn, Mystic River
Penn, who still might pull it out (now that would make an interesting Oscar moment). Penn defines grief on every level with his devastating performance.
Best ActressWinner: Charlize Theron, Monster
Personally I would like to see Keisha Castle-Hughes win for her very grown-up performance in “Whale Rider,” but that’s not going to happen. That leaves Charlize Theron’s brutally honest and emotionally ravaging performance as convicted serial killer Aileen Wuornos to lead the pack. Theron, a South African beauty, sacrificed a lot, both physically and mentally, to bring a frightening clone of Wuornos to the screen. Her cold, calculated and extremely dangerous performance is memorable.
Runner-Up: Diane Keaton, Something’s Gotta Give
Same reservations about Castle-Hughes, but if Theron doesn’t pick up the award, Keaton should win.
Best Supporting ActorWinner: Tim Robbins, Mystic River
Despite the Academy’s fears that Robbins might break into a political song and dance if he wins, Robbins seems to be the natural choice for Best Supporting Actor. His only competition comes from Alec Baldwin, making a surprising career resurrection in the independent thriller “The Cooler.” Robbins is positively riveting as a man whose loyalty to his friends is tested by his own dark demons. Robbins exposes those inner demons with the precision of a surgeon.
Runner-Up: Alec Baldwin, The Cooler
Baldwin’s turn as a casino manager transforms a familiar character into a sadistic thug whose sense of loyalty exists only in terms of dollars and cents. Baldwin won’t win, but he’s fun to watch.
Best Supporting ActressWinner: Renee Zellweger, Cold Mountain
Another bridesmaid on her way to becoming a bride is Renee Zellweger, whose feisty performance as a mountain woman aiding pretty farmer Nicole Kidman through rough times in “Cold Mountain” makes her a frontrunner in this category. After being slighted for “Chicago” last year, Zellweger, with her colorful character traits and dialect, will have plenty to sing about this season.
Runner-Up: Shohreh Aghashloo, House of Sand and Fog
Iranian actress manages to carve her own identity in “House of Sand and Fog,” playing Ben Kingsley’s understanding wife at the end of her wits. If a last minute Zellweger backlash kicks in (and why should it?) Aghashloo’s performance has the guts to take the gold.
What about the losers?It’s just a pleasure to be nominated, honest
