Monday, March 31, 1997
FILM:
Big studio movies overlooked for superior work of small
companiesBy Emily Forster and Cheryl Klein
Daily Bruin Senior Staff
Oscar rolled out the red carpet for a flock of fresh faces March
24, determined to mesh Hollywood glitz with the likes of
self-proclaimed hillbilly Billy Bob Thornton, English stage actress
Brenda Blethyn and other unlikely newcomers. The media buzzed that
the 69th Annual Academy Awards would be an "Independents’ Day."
Yet while the academy was willing to offer "The English Patient"
a total of nine statuettes, film audiences are not necessarily as
eager to renounce big studios and big names.
No one illustrated this better than the boisterous crowd that
filled the bleachers outside the Academy Awards at the Shrine
Auditorium. As director Milos Forman ("The People vs. Larry Flynt")
made his way past larger-than-life renditions of Oscars, audience
members suddenly revealed "Pure Love Alliance" T-shirts and banners
proclaiming "No Oscars for Porn." Loudly expressing their
disapproval of the controversial film, the protesters drowned out
Best Actor Geoffrey Rush’s introduction.
Seemingly unconcerned with Rush’s portrayal of a mentally
troubled piano prodigy in "Shine," this was the same crowd which
demanded that Jenny McCarthy take the mike only minutes earlier to
give the latest details on her upcoming MTV show. The condoning of
McCarthy, condemnation of Forman’s film  an atypical
production for a big studio  and general apathy toward
soon-to-be Oscar winner Rush provide a close look at how audiences
perceive the films the academy chose to honor this year.
The night began with its only studio film honor for a major
category, awarded to Cuba Gooding Jr. and his flamboyant portrayal
of a professional football player in "Jerry Maguire."
Although he gave a speech as energetic and enthusiastic as his
"Jerry Maguire" character after winning the Best Supporting Actor
Oscar, he was rather subdued when he talked to reporters minutes
later.
"It didn’t matter to me what happened tonight, truly," Gooding
said. "I know that sounds like bullshit, but I thought it was like
a compliment and I thought if it didn’t happen it would be
interesting to see all the people who would say, ‘Oh, I thought for
sure you were going to win.’"
Many people were confident that Gooding would get the Oscar, but
if he was a likely candidate, acting legend Lauren Bacall’s
performance in Columbia/Tristar’s "The Mirror Has Two Faces" was a
shoo-in. Yet when it came time to reveal the Best Supporting
Actress Oscar, the award went to French actress Juliette Binoche
and her nurse character in the heavily honored "The English
Patient." Several audience members were shocked that Bacall was
passed over for the Oscar, including Binoche.
"I can’t believe it," said Binoche. "Thank God I was not
prepared for that. Could you imagine all the nightmares I would
have had? But I still want to say something about Lauren Bacall,
because I admire her. All of us, we were sure she was going to get
it, and I hope she has an honored Oscar next year, because she
really deserves it."
One actress that everyone seemed to agree received what she
deserved was "Fargo" star Frances McDormand. After getting the Best
Actress Oscar for her tough yet feminine role in the dark "Fargo,"
she was given a standing ovation.
The audience gave a mixed reaction to the news that "Shine"’s
Rush snagged the Best Actor award. But Rush knew that he would find
approval  if not with Oscar audience members, at least with
David Helfgot, the pianist he portrayed in "Shine."
"When I tell him, he’ll probably say something like
‘brilliantisimo,’ because he likes to make up words," Rush
said.
Despite the importance of audience approval, it is the overall
quality of the film that matters in the end. With this year’s
Oscars, smaller and generally better films were given honors that
previously slipped by the independent film scene.
But there is still more work to do. Big studio films surely have
the capacity to produce the same quality as these smaller studios
have, but as McDormand says, writers, directors and producers have
to keep on working.
"I congratulate producers … for allowing directors to make
autonomous casting decisions based on qualifications and not just
market value," McDormand said. "And, I encourage writers and
directors to keep these really interesting female roles coming, and
while you are at it you can throw in a few for the men as
well."