• “The Shape of Water” won best picture, and Guillermo del Toro won best director for the film.
• Frances McDormand won best actress for “Three Billboards Outside Ebbing, Missouri.” Gary Oldman won best actor for “Darkest Hour.” Allison Janney won best supporting actress. Sam Rockwell won best supporting actor.
• Ashley Judd, Salma Hayek and Annabella Sciorra — three of Harvey Weinstein’s accusers — took the stage and introduced a segment highlighting the importance of diversity in film.
Expected wins by Oldman and McDormand.
LOS ANGELES — The academy’s top acting honors went, as widely expected, to Gary Oldman (“Darkest Hour”) and Frances McDormand (“Three Billboards Outside Ebbing, Missouri”).
“If I fall over, pick me up, because I’ve got some things to say,” Ms. McDormand said.
She thanked “every single person in this building” and her sister before asking the female nominees in the room to stand. “Look around,” she said. “We all have stories to tell and projects we need financing.”
Jennifer Lawrence and Jodie Foster, appearing on crutches and joking that the reason was run-in with Ms. Streep, presented best actress in lieu of last year’s best-actor winner, Casey Affleck, who bypassed the ceremony amid continued criticism for settling sexual harassment suits in the past.
In a halting acceptance speech, Mr. Oldman thanked the film’s director and producers; Winston Churchill; his wife, Gisele Schmid; and his 99-year-old mother, who he said was home watching on the sofa. “Put the kettle on,” he said. “I’m bringing Oscar home.”
‘I am an immigrant.’
Guillermo del Toro was named best director. The honor was widely expected — he took the top prize at several preceding awards shows — and he was an omnipresent darling of the awards circuit, at one point bringing a case of tequila to an awards function. The win meant that Mr. del Toro had finally won the acceptance of Hollywood, after being looked down on as a horror director for much of his career.
“I am an immigrant,” an emotional Mr. del Toro started his acceptance speech by saying, continuing to note that art has the power to “erase the lines in the sand” between people of different ethnicities. “We should continue doing that when the world tells us to make them deeper.”
After a long wait, Roger Deakins wins.
The oscillation between past and present was encapsulated by the cinematography nominees. The first woman ever nominated for the prize, Rachel Morrison (“Mudbound”), competed against Roger A. Deakins (“Blade Runner 2049”), a 14-time nominee. Voters chose to honor Mr. Deakins, who had never previously won.
“I’ve been at this a long time,” he said. “Thank you. Thank you very much.” He started his career in the 1970s and was first nominated in 1995, for “The Shawshank Redemption.”
‘Get Out’ and ‘Call Me By Your Name’ win screenplay awards.
Jordan Peele, who wrote and directed “Get Out,” a film centered on racism in the liberal white suburbs, was honored for his original screenplay. Mr. Peele received a raucous standing ovation, indicating the Hollywood establishment’s respect for his movie and also his arrival as a certified member of that elite group. He thanked his mother, who, he said, “Taught me to love even in the face of hate.”
The four-time nominee James Ivory, 89, won his first Oscar, for his adapted screenplay for the gay romance “Call Me by Your Name.” All people, “whether straight or gay or somewhere in between,” can understand the emotions of a first love, Mr. Ivory said, reading from notes. (Mr. Ivory was previously nominated for directing “A Room With a View,” “Howards End” and “The Remains of the Day.”)
A #MeToo moment.
Activism and social politics were highlighted in a segment introduced by Ashley Judd, Salma Hayek and Annabella Sciorra, who all have gone public with allegations about enduring sexual harassment or worse at the hands of Harvey Weinstein.
The women recognized the seismic shift in Hollywood’s culture in recent months with the rise of #MeToo, and Ms. Judd spoke of the voices “joining in a mighty chorus that is finally saying Time’s Up.”
They were followed by an emotional video featuring Mira Sorvino, Sarah Silverman, Greta Gerwig, Geena Davis, and Kumail Nanjiani, who injected a note of levity by noting that the box office lucre enjoyed by recent diverse movies should be an incentive for Hollywood. “Don’t do it for society and representation,” he said, “Do it because you get rich, right?”
During their performance of the Oscar nominated song “Stand Up For Something,” from “Marshall,” Common and the singer Andra Day were joined on stage by 10 prominent activists, including Cecile Richards of Planned Parenthood; the labor leader and civil rights advocate Dolores Huerta; Bana Alabed, the 8-year-old Syrian refugee who documented the siege of Aleppo on Twitter; and Janet Mock, a transgender activist and television writer and host.
Disney wins another Oscar for animated feature.
Kobe Bryant is now an Oscar winner: “Dear Basketball,” which Mr. Bryant made with the former Disney animator Glen Keane, overcame questions about Mr. Bryant’s past to win the trophy for best animated short — as some members of the audience exchanged incredulous looks. #MeToo activists had said that a 2003 sexual-assault case against Mr. Bryant was reason not to reward the movie. (The case was dismissed.)
“As basketball players, we’re supposed to shut up and dribble,” Mr. Bryant said in an apparent reference to the Fox News host Laura Ingraham’s recent criticism of LeBron James for speaking out against President Trump. Mr. Bryant went on to thank his wife and daughters.
Disney continued its Oscars dominance, as Pixar’s “Coco” was named best animated feature, Disney’s sixth straight victory in the category. “Representation matters!” shouted its co-director, Lee Unkrich, a reference to the characters and story line of the film, which is centered on Mexico’s Day of the Dead celebration.
“Coco” also delivered the best song winner, “Remember Me,” written by Kristen Anderson-Lopez and Robert Lopez. “Not only are we diverse, but we are close to 50-50 for gender representation,” said Ms. Anderson-Lopez, noting her fellow song nominees. She said she looked forward to the day when “all the categories look like this one.”
Early awards are spread around.
Slide Show
The Oscars Red Carpet: See the Arrivals
Keep refreshing as we update this slide show with looks from the 90th Academy Awards.
The first hour and a half of the Oscars ceremony honored a wide variety of films on Sunday, with no contender emerging as dominant.
“Phantom Thread,” Paul Thomas Anderson’s period romance about an obsessive dressmaker, won for costume design. Best hairstyling and makeup went to the World War II drama “Darkest Hour.” The Oscar for production design was given to “The Shape of Water.”
“Dunkirk,” Christopher Nolan’s layered war epic, collected Oscars for sound mixing, sound editing and film editing. “Blade Runner 2049” proved victorious in the visual effects category.
As expected, Allison Janney completed her awards-season winning streak, collecting the supporting actress Oscar for her performance as the figure skater Tonya Harding’s hard-bitten mother from hell in “I, Tonya.”
“I did it all by myself,” Ms. Janney said, arriving at the microphone, to prolonged applause. She then added, “Nothing is further from the truth,” and ran through a list of names at light speed.
“A Fantastic Woman,” from Chile, was named best foreign film. Rita Moreno, who won a supporting actress Oscar in 1962 for “West Side Story,” presented the prize. In keeping with the telecast’s theme of looking back at celebrated performances, a clip highlighted Ms. Moreno’s performance in “West Side Story.”
Netflix film wins best documentary.
In a surprise, the Oscar for best documentary went to “Icarus,” a Netflix film about systematic Russian doping at the Olympics. (Russia was banned from the recent Pyeongchang Games, though some of its athletes were still allowed to compete.) It was Netflix’s first Oscar for a feature film, having won last year’s prize for best documentary short, for “White Helmets.”
The expected winner had been “Faces Places,” a lighter, more nuanced film about Agnès Varda — known as the grandmother of the French new wave — and the environmental photographer JR. Netflix mounted a lavish campaign for “Icarus,” raising eyebrows in the rather staid documentary filmmaking community.
The first Oscars of Hollywood’s post-Harvey Weinstein era took care of its serious business first. As the 90th Academy Awards got underway on Sunday night, the host, Jimmy Kimmel, addressed the sexual harassment scandals that have rocked Hollywood in recent months.
“That’s the kind of men we need more of in this town,” Mr. Kimmel said, pointing to a colossal Oscar statue on the stage, noting that the figure “keeps his hands where you can see them” and has “no penis at all.”
He then grew serious for a moment and talked about the #MeToo and Time’s Up movements, which started in Hollywood after the revelations about Mr. Weinstein and have reverberated across the globe, challenging the entertainment industry to make good on its promise to reform itself. “The world is watching us,” he said. “We need to set an example.”
With that, the ceremony swerved into its usual piquancy, lightly teasing nominees like Meryl Streep, up for her 21st Oscar, and naming Sam Rockwell best supporting actor for his performance as a racist dimwit of a police officer in “Three Billboards Outside Ebbing, Missouri.” He thanked “everyone who’s ever looked at a billboard.”
A show with a lot of ground to cover.
Rarely had more pressure been placed on an Oscar telecast. The Academy of Motion Picture Arts and Sciences had the burden of trying to keep ratings from falling, while celebrating films that have, for the most part, not been widely seen. The ceremony was expected to acknowledge the appalling sexual harassment scandals that have engulfed Hollywood in recent months — and then go back to gazing lovingly at the history of moviemaking to mark Oscar’s 90th birthday.
Other conflicting pressures included poking fun at last year’s envelope mix-up, which found “La La Land” mistakenly named best picture instead of “Moonlight,” while taking the recognition of cinematic achievements like sound mixing and film editing supremely seriously.
The tonal tug-of-war between frothy self-celebration and serious discussion of the #MeToo and Time’s Up movements made for some awkward red carpet moments. ABC veered from a raucous interview with Taraji P. Henson, who was asked about her recent action film “Proud Mary,” to Mira Sorvino and Ms. Judd, both of whom came forward last year with allegations of sexual harassment against Mr. Weinstein.
“I want people to know that this movement isn’t stopping,” Ms. Sorvino said about Time’s Up, an initiative started by Hollywood women and focused on fighting systemic sexual harassment across industries. Ms. Judd, who was scheduled to present an award during the ceremony, said she was grateful that women who speak out about mistreatment are no longer being “disbelieved, minimized, shamed.”
Three Weinstein accusers speak out.
Several women deeply involved with Time’s Up, including Ava DuVernay and Shonda Rhimes, explained why there were no overt displays from the group on the red carpet.
“We are not an awards show protest group,” Ms. DuVernay said at a meeting with a small group of reporters last week. “We made a conscious choice not to do that again.”
Viewers wondered if a celebrity would turn the questions around on Ryan Seacrest, the host of E!’s red carpet coverage. He has been accused of sexual harassment, claims he and his network, backed by a third-party investigation, have vigorously denied. But no such confrontation was broadcast — though Ms. Henson did fix him with a pointed stare that was widely interpreted as such — and he did not address the accusations. His interviews with celebrities stuck to the typical fare of fashion and film. An article in The Hollywood Reporter on Sunday said the E! broadcast would run on a 30-second tape delay.
In the two months since Time’s Up officially began, the group has amassed $21 million for its legal defense fund and, said Tina Tchen, a lawyer heading that initiative, has fielded 1,700 requests for assistance from landscapers, government workers, police officers, prison guards, and hotel and catering workers. (Some 1,250 have been connected with lawyers.) A sister initiative has sprung up in Britain; a group of male allies has formed; a partnership with StoryCorps, the story-collecting organization, has been forged; and the process of making the group a nonprofit foundation has begun. “We are global at this point,” Ms. Rhimes said.
Prepare to stay up late.
Last year’s show ran 3 hours 49 minutes, with the most dramatic moment coming right at the end, when Faye Dunaway and Warren Beatty mistakenly presented the best-picture trophy to “La La Land” instead of “Moonlight” after a PwC accountant handed them the wrong envelope. Ms. Dunaway and Mr. Beatty are scheduled to return to present the best picture Oscar. Not returning: Brian Cullinan and Martha L. Ruiz, the PwC accountants responsible for last year’s bungle.
A handful of firsts.
Academy insiders believe that aggressive efforts to diversify the organization’s overwhelmingly white and male membership are starting to have an impact on its signature awards. For the first time in 90 years, a woman, Mr. Morrison, was nominated for best cinematographer. She was singled out for her work on “Mudbound,” which was directed by and written with Dee Rees. Ms. Rees received a nomination for best adapted screenplay (written with Virgil Williams), making her the first black woman ever recognized in that category.
.
Best Picture is up for grabs.
The best picture race has been unusually competitive, with no consensus among movie insiders about which film is the favorite. “The Shape of Water” has won precursor contests that often result in Oscar gold, including the top prize at the Producers Guild Awards.
That makes the winner of this year’s SAG ensemble award, “Three Billboards,” a candidate to win the best picture trophy. “Three Billboards,” directed by Martin McDonagh, also was the biggest winner at the Baftas, given by the British Academy of Film and Television Arts.
A third possibility is that “Get Out.” That would be quite a feat since few horror movies have ever achieved best-picture status. (One exception: “The Silence of the Lambs,” which won in 1992.) “Get Out,” with four total nominations, also has another bit of history working against it: Oscar historians say no film has won best picture with fewer than five nods since “Cavalcade” in 1933.
Posts
No comments:
Post a Comment