Time for a brief break from reporting on the Middle Eastern uprisings to discuss the Academy Awards. No, this is not a joke–by which I mean the break will be brief. But for now, I’ll just post the basic results (minus a few categories such as shorts in which I happen to have less personal interest), plus a few thoughts below.
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The Academy Awards 2011 (Abridged Results)
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Best Picture
Black Swan
The Fighter
Inception
The Kids are All Fight
The King’s Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter’s Bone
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Best Director
Black Swan: Darren Aronofsky
The Fighter: David O. Russell
The King’s Speech: Tom Hooper
The Social Network: David Fincher
True Grit: Joel and Ethan Coen
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Best Actor
Javier Bardem, Biutiful
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King’s Speech
James Franco, 127 Hours
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Best Actress
Annette Benning, The Kids are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Michelle Williams, Blue Valentine
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Best Supporting Actor
Christian Bale, The Fighter
John Hawkes, Winter’s Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids are All Right
Geoffrey Rush, The King’s Speech
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Best Supporting Actress
Amy Adams, The Fighter
Helena Bonham Carter, The King’s Speech
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom
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Best Adapted Screenplay
127 Hours, Danny Boyle and Simon Beaufroy
The Social Network, Aaron Sorkin
Toy Story 3, Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
True Grit, Joel & Ethan Coen
Winter’s Bone, Debra Granik & Anne Rosellini
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Best Original Screenplay
Another Year, Mike Leigh
The Fighter, Scott Silver and Paul Tamasy & Eric Johnson. Story by Keith Dorrington & Paul Tamasy & Eric Johnson
Inception, Christopher Nolan
The Kids are All Right, Lisa Cholodenko & Stuart Blumberg
The King’s Speech, David Seidler
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Best Editing
Black Swan, Andrew Wiesblum
The Fighter, Pamela Martin
The King’s Speech, Tariq Anwar
127 Hours, Jon Harris
The Social Network, Angus Wall and Kirk Baxter
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Art Direction
Alice in Wonderland, Robert Stromberg (Production Design); Karen O’Hara (Set Decoration)
Harry Potter and the Deathly Hallows Part 1, Stuart Craig (Production Design); Stephenie McMillan (Set Decoration)
Inception, Guy Hendrix Dyas (Production Design); Larry Dias and Doug Mowat (Set Decoration)
The King’s Speech, Eve Stewart (Production Design); Judy Farr (Set Decoration)
True Grit, Jess Gonchor (Production Design); Nancy Haigh (Set Decoration)
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Cinematography
Black Swan (Matthew Libatique)
Inception (Wally Pfister)
The King’s Speech (Danny Cohen)
The Social Network (Jeff Cronenweth)
True Grit (Roger Deakins)
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Costume Design
Alice in Wonderland (Colleen Atwood)
I Am Love (Antonella Cannarozzi)
The King’s Speech (Jenny Beavan)
The Tempest (Sandy Powell)
True Grit (Mary Zophres)
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Best Original Score
How to Train Your Dragon, John Powell
Inception, Hans Zimmer
The King’s Speech, Alexandre Desplat
127 Hours, A.R. Rahman
The Social Network, Trent Reznor and Atticus Ross
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Best Sound Editing
Inception, Richard King
Toy Story 3, Tom Myers and Michael Silvers
Tron: Legacy, Gwendolyn Yates Whittle and Addison Teague
True Grit, Skip Lievsay and Craig Berkey
Unstoppable, Mark P. Stoeckinger
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Best Sound Mixing
Inception, Lora Hirschberg, Gary A. Rizzo and Ed Novick
The King’s Speech, Paul Hamblin, Martin Jensen and John Midgley
Salt, Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
The Social Network, Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
True Grit, Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland
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Best Visual Effects
Alice in Wonderland, Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
Harry Potter and the Deathly Hallows Part 1, Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
Hereafter, Michael Owens, Bryan Grill, Stephan Trojansky and Joe Farrell
Inception, Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Iron Man 2, Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
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Best Animated Feature Film
How to Train Your Dragon, Chris Sanders and Dean DeBlois
The Illusionist, Sylvain Chomet
Toy Story 3, Lee Unkrich
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Best Foreign Language Film
Biutiful (Mexico)
Dogtooth (Greece)
In a Better World (Denmark)
Incendies (Canada)
Outside the Law (Hors-la-loi) (Algeria)
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Best Feature Documentary
Exit Through the Gift Shop, “Banksy” and Jaimie D’Cruz
Gasland, Josh Fox and Trish Adlesic
Inside Job, Charles Ferguson and Audrey Marrs
Restrepo, Tim Hetherington and Sebastian Junger
Waste Land, Lucy Walker and Angus Aynsley
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I agree with the Academy in giving the win for Best Original Score to The Social Network (though I’m surprised Tron: Legacy wasn’t nominated for its excellent score by Daft Punk, which led even the film’s fans to say it probably would have been just as good presented like the current cut of Fritz Lang’s silent classic Metropolis, silent aside from its breezy industrial rock). Inception has a marvelous, epic main theme by Hans Zimmer, but The Social Network has a great film score by Trent Reznor and Atticus Ross that with visible ingenuity evokes a variety of dark moods. The Liberal Ironist is a big fan of the distinct electronic tones, the rigorous execution, and the ironic pessimistic philosophy Trent Reznor put into Nine Inch Nails, and is glad to see that if popular music has clearly lost one of its brightest (if also darkest) stars, at least another part of our popular culture can clearly be said to have gained talent. For similar reasons, I’d edge Best Director to Fincher over Nolan (with all due respect to Tom Hooper) even though I personally enjoyed Inception better.
If Inception’s writer-director was robbed this year (and point-of-fact, he surely was), it was for Best Original Screenplay. As one of my friends put it during the cermony, it’s weird to think that Inception cleaned up with awards for execution (Best Cinematography, Best Sound Editing, Best Sound Mixing, Best Visual Effects) while failing to win acclaim for the concept those effects brought to life. On this same note of integration in execution, I think a lot of Zimmer’s theme’s power to inspire in Inception comes from its balance with action, especially when you consider that the last several scenes are widely-separated in time, space, the sorts of characters present and even the states of consciousness involved–and yet they are essentially accompanied by that resolute theme right up to the end–hence its wins for Best Sound Editing and Best Sound Mixing.
The King’s Speech, I think is more of a “Best Picture”-type film than either The Social Network or Inception, but this is the award I’d more-readily grant Inception because I think its power is more in the relationship of its concepts to the effects than in its direction. Then again, a lot of people felt that Nolan was cheated out of a win for The Dark Knight at the 2009 Academy Awards–and they were right.
The Best Actor win for Colin Firth in The King’s Speech and the Best Actress win for Natalie Portman in Black Swan were widely-anticipated; they were also spot-on. Interestingly, both leading wins went to portrayals of characters who lived a straightjacketed existence, trying to perfect a rarefied form of performance art they have been carefully-groomed for, but at the cost of their capacity to express themselves freely. The King’s Speech is the more-understated (and its protagonist certainly the more-mature) of the 2, but many of this year’s good wide-release movies features protagonists contending with one or another kind of splendid desolation. In Firth’s Prince Albert we see a man worthy to be king but blocked by deep-seated inhibitions because of cruelties confronted in childhood; Natalie Portman’s Nina is unable to be childlike without also being childish, maintaining a devotion to ballet that is so innocent that she cannot even see how harsh and unsustainable her artistic ambition is because it is so simple and pure.
There is something oddly-fitting about the much-deserving Hailee Steinfeld being passed over for Best Supporting Actress for her (lead?) role as Mattie Ross in the Coen Brothers’ adaptation of True Grit. The young nominee greatly exceeded the much-older winner in elegance, sense of fair play, and for those who caught the Oscars ceremony last night, circumspection.
Regarding the Best Documentary win, I only saw 2 of these documentaries, Gasland and Restrepo. Gasland is a disturbing account of the horrifying deterioration of groundwater quality in the wake of natural gas drilling in the American interior (notably in rural Pennsylvania). It is a troubling account of the often almost-invisible rural poor and the ravages of an energy industry that comes dangerously close to writing its own regulations. Speaking of writing one’s own regulations, Charles Ferguson apparently sought in Inside Job to expose what he interprets willfully-criminal behavior of the banking and hedge fund executives. To my mind, however, the 2008 Financial Crash isn’t really the result of a crime, but rather good old-fashioned hubris–as I discussed months ago in my review of Scott Patterson’s book The Quants.
The only other of the 5 documentary nominees I’ve seen yet (and the one I would have preferred to win) was Restrepo, a strangely-funny, occasionally jarring, always riveting account of about a year’s tour of duty at a hastily-constructed combat outpost in one of the most-dangerous postings of our military’s mission in Afghanistan. The documentary is less than 90 minutes but somehow feels much longer in a good way, giving an account of every sort of experience to be had in the Taliban-contested valley, from the pervasive locker room-type antics inside the fortified combat outpost, to calls from Afghan villagers whose loyalties are simply opaque, to mission briefings, to phone calls home, to a battle with casualties, seen from headcam perspective. It’s unpretentious yet outstanding.
Inception, The King’s Speech, and The Social Network happen to be my favorite of 14 wide-release films that I saw in 2010 that I thought were very good or great. You might have noticed that they are all about people trying to shape humanity through the mastery of a powerful new medium: This year, film rose to the occasion of portraying the inner lives of those shaping forces greater than it. It was a great year for movies.