For the first time in eons, I had the satisfaction of picking a few of the winners; totally unfamiliar sensation, but one I hope to replicate in the future. The evening in general was delightfully bland and benign; no major faux pas, unless you count the woman with a huge white collar, blocking the view of rows behind her or the “missing” zippers, hooks and snaps, and the lovely presenter whose dress was too long, cauterizing mobility. Host, Jimmy Kimmel, in all probability did not lose any fans, but didn’t gain any either. It was an evening celebrating “family”, especially mothers.
Thrilled with the success of “Everything Everywhere All at Once” and its history making seven awards; the acceptance speeches, redolent with graciousness, exhilaration, and humility, touched audiences worldwide. Also pleased with the achievement of Netflix’s “All Quiet on the Western Front”, which stuns with its battle scenes (cinematographer James Friend, deserving of the Oscar) is a major coup. Cheers of joy for Sarah Polley (“Women Talking”) taking home the Best Adapted Screenplay Award. My greatest gratification was the Indian film “RRR” winning the award for Best Original Song, “Naatu Naatu”; Peneflix has been reviewing Bollywood along with Hollywood and Foreign since its inception, seeing at least two hundred of their movies; finally Western audiences are adapting, accepting the complexities, glories of the genre.
The only genuine disappointment was Colin Farrell’s (“The Banchees of Inisherin”) loss to Brendan Fraser (“The Whale”); Farrell’s heartbreaking depiction of “Padraic” will resonate perpetually in the realm of magnificence in Hollywood lore. Fraser’s acceptance speech was a legitimate tribute to the director Darren Aronofsky, and his troubled, “rocky road” to the Oscar.
Someone once said “movies are a complicated collision of literature, theatre, music and all the visual arts.” I concur.