Archive | March, 2017

The Best Best Supporting Actress and Actor Who Were Never Nominated for Best Supporting Actress and Actor, Part I

25 Mar

Hmmm, well the recent winners of Academy awards for Best Supporting Actress and Best Supporting Actor offer startling contrasts. In Best Picture winner Moonlight, Mahershala Ali’s Juan is situated in only the first act of a three-act tale, yet he makes a vivid impression that lingers throughout the remainder of the film; moreover, Ali rises, impeccably, to the challenge of a scene that requires him to act more internally  than externally. In other words, Juan is almost at a loss when asked difficult, troubling, questions,  but he knows he must answer truthfully, so he suffers silently while delaying the inevitable, choosing his words carefully.  Masterful. Ali packs a wallop, silent film style, with minimal dialogue.

In contrast, Viola Davis offers a much more robust portrayal as Rose, the  put upon wife of Denzel Washington’s Troy in Fences. Cliches be damned, Rose’s trajectory provides Davis the opportunity to navigate, full-throttle, one hell of an emotional roller coaster. Rose, god love her, wears her heart on her sleeve, and Davis, among our most majestic–and gutsiest–actresses, brings her speeches to brilliant life in scene after vivid scene.  It’s a startlingly raw performance rife with Davis’s own sweat and tears.  Ali’s and Davis’s portrayals are considered award worthy by Academy standards though they could hardly be more unalike.

Of course, I’m not here to second guess the Academy’s choices. Mainly, I just feel the need to reaffirm that, like so many other things associated with the Academy (and with life itself), there is almost no rhyme or reason when it comes to the supporting categories. Of course, after launching in the late 1920, the Oscars had been ambling along for just under a decade before the Academy expanded its acting awards from two to four.  The move was designed to improve the Academy’s numbers by luring members of the newly formed Screen Actors Guild into the fold. Let’s back-up just a bit. Seems by the mid 1930s, many actors no longer believed the Academy served their interests regarding representation within the Hollywood hierarchy (Wiley and Bona 55). Keep in mind that the Academy was formed not with the intent of awards but with the purpose of mediating labor disputes between talent and studio brass. (The awards were an afterthought, albeit self-congratulatory, but I digress.) The idea was that such governance in the form of an “academy,” so to speak, would preclude the need for unions, but the perception, not without some merit, was that the Academy failed to serve all members’ interests, thus the creation of the SAG (Wiley and Bona 47). To counter, the Academy offered to spread the wealth and create space to honor the achievements of so-called character players, thereby increasing its memberships since, after all, one had to be a member in order to vote for the awards (Wiley and Bona 70).

From the Nate D. Sanders auction house, circa 2012, this is the second Academy award for Best Supporting Actor, per Joseph Schildkraut (The Life of Emile Zola, 1937), the second such winner in Academy history. I often refer to this Oscar-variation as a plaque, as do many of the history books, but it functions more like a paper weight. Btw, the Academy’s advice to winners (or their families) who might want to auction off their trophies: Don’t. Since 1951, the Academy reserves first right to buy back all trophies for the tidy sum of $10.00. According to Stephen Ceasar of the Los Angeles Times, the Academy has the legal muscle to protect the integrity of its world famous its copyrighted trademark.

The Academy’s welcoming move also provided a convenient way to relegate character actors/actresses in such a way that would not necessarily pull focus from established brand name stars when it came time for awards consideration. Keep in mind, for example, that in 1935, the year prior to the creation of the supporting categories, three actors from Mutiny on the Bounty, Charles Laughton, Clark Gable, and Franchot Tone, duked it out for Best Actor. Laughton and Gable, as Captain Bligh and Fletcher Christian, respectively, were clearly co-leads in the famous tale, but Tone, in the lesser of the three roles, attracted attention based on one particularly showy speech toward the end of the picture (Wiley and Bona 60). Creating categories for secondary players would resolve such, er, uhm, inconsistencies. Oh, and keep in mind, as well, that the first few recipients of these newly created awards did not actually win traditional Oscar statuettes but plaques that featured a 3-D representation of the celebrated trophy. (Not to be confused, to clarify, with the “special” pint-sized versions of the trophy the Academy bestowed upon such juvenile stars as Shirley Temple, Mickey Rooney, or Judy Garland [See photo].) So, a year after Mutiny on the Bounty, and spurred by other factors, the Academy awarded its first ever supporting acting awards to Walter Brennan (Come and Get It) and Gale Sondergaard (Anthony Adverse). Btw, Gable, Laughton, and Tone lost to Victor McLaglen in The Informer.

Eventually, the Academy saw fit to award supporting players actual Oscars, beginning with the 43/44 edition (that is, the 1944 ceremony honoring 1943’s films). Those history making recipients were Charles Coburn (TheMore the Merrier) and Katina Paxinou (For Whom the Bells Toll); however, confusion was still very much in play, per Barry Fitzgerald who, yes, earned nominations for BOTH Best Actor AND Best Supporting Actor for 1944’s Going My Way. Though unexpected, the rules allowed for Fitzgerald’s double whammy. Fitzgerald won the latter while top-billed co-star Bing Crosby took top honors, and the hit film took Best Picture as well.  The Academy responded by establishing a policy that left designations for leading and supporting to studio executives, responsible for submitting potential candidate rosters to the Academy in anticipation of first round voting.

That seemed to work, better than nothing, for awhile though egos had to be placated when studios wanted to hedge their bets during campaign season, meaning that some stars, reportedly, did not appreciate their star status being called into question for expediency’s sake. For example, look no further than Anne Baxter, the titular Eve in 1950’s smash All About Eve. She didn’t take too well to the suggestion of competing for Best Supporting Actress alongside Thelma Ritter and Celeste Holm from the same film (Miller n.p.). Sure, Eve manipulates much of the action, undeniably, but Baxter lacks the star power of Bette Davis, at her brilliant best as Margo Channing, the Broadway legend around whom most of the story–and ALL other characters–revolve. Clearly, Baxter fulfills the role of a second lead: the antagonist to Davis’s protagonist. Nonetheless, Baxter got what she wanted: a Best Actress nomination, and in so doing she may have very well split votes and cost both herself and her co-star the trophy. Judy Holliday, reprising her stage role in Born Yesterday, won Best Actress, and even Anne Baxter later expressed regret at her choice (Miller n.p.); however, that wasn’t the only hitch in the process.  Famously, the story goes that a typo cost Roddy McDowall consideration for his stand-out supporting performance in 1963’s lavish Cleopatra. Apparently, a memo from Fox, the studio that released the picture, to the Academy misidentified McDowall as a leading player, and that was that. The Academy wouldn’t budge, and Fox claimed its hands were tied in the matter (Wiley and Bona 358). So, the Academy changed rules yet again to give the ultimate say to the voters themselves, regardless of studio promotional campaigns (358).  Even with powers voters enjoy, studio heads and actors still attempt to exert control and sway outcome.

In the years since Cleopatra, controversies over such designations are commonplace because such designations are arbitrary, subject to whim. For example, juvenile performances that are for all practical purposes “leading” are often–not always– categorized as “supporting” out of concern that younger, relatively untested players (such as Timothy Hutton in 1980’s Ordinary People) cannot successfully compete against established veterans in starring roles. The strategy worked, btw, in Hutton’s case. The same studio that released Hutton’s Ordinary People, Paramount, marketed Susan Sarandon as a Best Supporting Actress candidate for 1981’s Atlantic City even though she was clearly the film’s leading lady and more than held her own against legendary Burt Lancaster in the same film (Wiley and Bona 606). Maybe Paramount execs felt that Sarandon, hardly an unknown at the time, needed a showier role in order to be a truly competitive Best Actress candidate. Maybe, on the other hand, studio brass felt that Paramount could not effectively support three Best Actress hopefuls among its stable, the others being Diane Keaton in Reds, who ultimately earned a slot on the final roster, and Faye Dunaway (Mommie Dearest), who did not–in spite of a genuinely buzzworthy performance that had actually made a showing in the award season derby. At any rate, even Sarandon expressed surprise that she was ultimately nominated for Best Actress (606), a move that showed Academy voters still have minds of their own in such matters, despite studio machinations.  Btw, no less than already legendary Katharine Hepburn made Oscar history that year, garnering an unprecedented 4th performance Oscar, per her leading role in the hugely popular On Golden Pond. It would take Sarandon a decade for a second Oscar race (1991’s Thelma & Louise), and few more unsuccessful bids for her crowning achievement with 1995’s Dead Man Walking.

Other times, star players, even when playing subordinating roles–with limited screen time–scoff at the very notion of being promoted as a supporting candidate, feeling such a move is akin to begging for an easy win (per Anthony Hopkins in Silence of the Lambs, among others) (Wiley and Bona 830). Still again, studios often see the Oscars as nothing more than a numbers game, such that performers who clearly function as an onscreen team, John Travolta and Samuel L. Jackson in Pulp Fiction, OR Heath Ledger and Jake Gyllenhaal in Brokeback Mountain, to name only two, have to be split for awards consideration in order to increase a film’s awards potential. For example, if Ledger and Gyllenhaal are both nominated for Best Actor, and the film as a whole is up for 8 awards, that means, at best, the film will only take home 7 awards, as one actor’s win assuredly equals the other’s defeat, provided, of course, that they don’t actually cancel out one another (and let’s not forget that ties almost never happen). In such a case, shaky distinctions are made that place Ledger and Travolta as leading while forcing Gyllenhaal and Jackson as supporting in order to improve the odds.

Then, of course, there’s the whole “supporting” thing. What does it mean to be a supporting actor? Keep in mind that the Tony award equivalent is “featured” rather than supporting and is based on barely more than, 99.9% of the time, whether a player is billed above or below the title. Simple. But when the word “support” is used, we expect to see one actor in service of another, and that isn’t always so apparent. That noted, I remain fairly convinced that Ed Harris lost at least one, possibly two, of his four Oscar races for playing roles that were not as “supporting” as they might seem at first glance. For example, he mostly acted in a vacuum in 1998’s The Truman Show. Sure, his performance, as the mastermind behind the whole Truman escapade, showed plenty of skill, but, really, how did his performance actually support that of lead actor Jim Carrey as Truman? Did the two actors ever occupy the same space, playing off one another? In a word, no. Carrey’s Truman goes about his life in a picturesque coastal community (real-life development Seaside, Florida), and Harris’s Cristof surveys his creation from the safety of a secluded control tower. Simply, the two actors never had to meet in order to film their scenes, thereby calling into question the nature of “support.”

On the other hand, consider controversial Vanessa Redgrave in 1977’s Julia. Yes, Redgrave is clearly billed above the title, and, more, the movie is named after her character; however, Redgrave’s “Julia” functions as barely more than a memory of playwright Lillian Hellman, played by Jane Fonda, the obvious protagonist who carries most of the picture. The relationship forged by the characters when they were still children (framed in flashbacks with teen actresses) is what drives most of the story, but, tellingly, the audience only ever sees Julia, that is, Redgrave, through Lillian/Fonda’s eyes, and their few shared sequences are like puzzle pieces as Lillian revisits her past in fleeting glimpses, trying to make sense of the wealthy enigmatic friend who leaves America in order to study in Europe and joins the Nazi resistance. The audience waits for the moment when the two friends are reunited, at last, and it’s a doozy, with each actress spurring the other to greatness in a scene fraught with love, tears, and, oh yes, plenty of tension. Redgrave’s is the very example of an outstanding supporting performance, no doubt. Her award was almost a foregone conclusion; likewise, 2015’s Best Supporting Actor winner Mark Rylance (Bridge of Spies) portrayed the character whose actions set the story in motion, but, make no mistake, Tom Hanks’s real-life James B. Donovan dominates the picture though he and Rylance strike a compelling dynamic.

Back to the present. What I so admire about Mahershala Ali’s Oscar winning performance in Moonlight is that he makes the most of his limited screen time, and his character is supporting in the most literal sense as in the sequence in which he teaches young Chiron (protagonist) how to swim in the ocean.  Perfect.

Davis’ performance more squarely follows the pattern of the “supportive spouse” that appeared with great frequency earlier this century, beginning with Dallas native Marcia Gay Harden (Pollock, 2000), Jim Broadbent (Iris, 2001), and Jennifer Connelly (A Beautiful Mind, also 2001) up through Alicia Vikander (The Danish Girl, 2015). No doubt, cases could be made that any or all of the above might just as easily be recognized as secondary leads. Again, these are roles that provide actors and actresses sizable opportunities (and a lot of screen time) but fall short of being their respective projects’ true protagonists.

Wow. I certainly did not mean to write so much about this topic. I intended a few short paragraphs as a build-up to a piece on two extraordinary supporting performances–one female, one male–that the Academy somehow overlooked. Of course, context and timing are everything as we know that history is 20/20. So, I’ll stop for now, and save THAT post for the near future. In the meantime, what about you, dear reader? Dare you try to guess the two performances that I aim to spotlight next? My only hint is that they are included in the same film. Give it your best shot.

Thanks for your consideration….

Works Cited

Ceasar, Stephen.   “Winning an Oscar is priceless, but selling it gets you exactly $10.” Los Angeles Times, 25 February 2016.  Accessed  25 March 2017.

Miller, Frank.   “All About Eve (1950).”  Articles. TCM.  Accessed  25  March  2017.

Wiley, Mason, and Damien Bona.  Inside Oscar: The Unofficial History of the Academy  Awards, 10th Anniversary Edition, edited by Gail MacColl. Ballantine Books, 1996.

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Oscars 2016/2017: Fashion Gallery

12 Mar

I know, it’s been close to two weeks, but the Oscars never really end, especially debates about who wore what. I have three rules governing my approach. First, I don’t believe in plugging names of designers who ply actresses with expensive loaner gowns in exchange for free publicity. Tacky. That’s a game that gets plenty mileage elsewhere. Next, I refuse to dwell on the negative. I only spotlight my faves. If I like it, I feature it. If I don’t like it, I’ll skip it rather than demean it. That noted, sometimes a gown that looks fabulous on TV doesn’t translate as well to still photos, so I’ll take a pass. Anyway, please look somewhere else for cattiness. Finally, aside from the top pick, there is no particular reason preference unless specifically noted.

Fasten your seat belts…here we go…Oh, and I do not hold rights to any of these images.

Hidden Figures star Taraji P. Henson didn’t score an Oscar nod for her memorable performance, but she wins my vote for Best Dressed. (IMAGE: Life and Style)

 

Scarlett Johansson’s Oscar nominated flick, Hail Caesar! (from the Coens) went home without the gold in the Art Direction category, but Johansson is a stunner though, perhaps, not to everyone’s taste.

 

Best Actress nominee Natalie Portman (not pictured) missed the ceremony due to pregnancy related complications, but ever glamorous Isabelle Huppert, nominated for Elle, flew in from France on the heels of winning her country’s Cesar award. (IMAGE: Pintrest)

 

Best Actress nominee Ruth Negga (Loving) makes a vivid impression in red. Her bright blue ribbons shows support for the ACLU.

 

Jessica Biel, all golden loveliness, dazzled on the red carpet. Besides being a vision herself, she was on board to support hubby Justin Timberlake, who performed his Oscar nominated tune, “Can’t Stop the Feeling” from Trolls. (IMAGE: Glamlog)

 

Kirsten Dunst. featured in Hidden Figures, makes a bold statement in basic black.

 

2001’s Best Actress honoree Halle Berry (Monster’s Ball) is a perennial winner on the red carpet. (IMAGE: Seattle Times)

 

Actress Leslie Mann dazzles in a magnificent ball gown. (IMAGE: JustJared)

 

Best Supporting Actress winner Viola Davis (Fences) proves that the third time is truly the charm. (IMAGE: oscar.go.com)

 

Best Supporting Actor nominee Dev Patel (Lion) escorts his beaming mom Anita Patel. (IMAGE: IndianExpress)

 

In his acceptance speech for Best Supporting Actor, Moonlight’s Mahershala Ali revealed that he and his wife welcomed a daughter into their family only four days earlier. Congratulations!

 

To be perfectly frank, one of my favorite looks of the whole awards season was this fun frock singer-actress Janelle Monae (Hidden Figures AND Moonlight) wore to the Golden Globes in January.

Thanks for your consideration and, please, feel free to leave comments…

As the Gold Dust Settles, Moonlight is Stellar

5 Mar

So, this year’s Oscars included a hiccup or two, a couple of easy calls, and a few surprises. You know what surprised me the most? Not that Moonlight won Best Picture necessarily, but that its director (and Oscar winning co-screenwriter) Barry Jenkins DID NOT win in his category. As it goes, Damien Chazzell, at all of 32 years old, scores as the youngest ever Best Director winner for his original musical romance, La La Land. Well, good for him. I guess.

Barry Jenkins (l) and Tarell Alvin McCRaney (r) accept their Oscars for co-writing Moonlight, which Jenkins also directed. Their victory serves as hope to young people of color, and young people who do not necessarily conform to the gender binary, that their stories are not to be ignored any longer.

Barry Jenkins (l) and Tarell Alvin McCraney (r) accept their Oscars for co-writing Moonlight, which Jenkins also directed. Their victory serves as a message of hope to young people of color, and young people who do not necessarily conform to the gender binary, that their stories are not to be ignored any longer. Hopefully we’ll one day arrive at a point in which films such as Moonlight are no longer unique exceptions to the norm…but we’re not there yet; after all, no black person has won Best Director…yet, and we still only have one female Best Director winner–and no female nominees since Kathryn Bigelow won for 2009’s The Hurt Locker, only the fourth female so nominated.

As I wrote last week, Chazzell clearly had a vision and the fortitude to make that vision a reality; however, my previous thought was that the Academy would have likely surprised us all by honoring La La Land, the safe and easy crowd pleaser, with the top award while singling out Jenkins for his work in the less overtly commercial, and arguably more challenging, endeavor. After all, Jenkins was, reportedly, working with one of the lowest budgets ever recorded for a Best Picture winner, and he had the daunting task of directing three actors, two of whom are juveniles, portraying a single character at pivotal moments in his life. How is that possible? Not magic, that’s for sure, but beyond that Jenkins also, as previously noted, directed yet another trio of actors playing a secondary character who steps in and out of lead Chiron’s life over the course of the movie’s dozen-plus years; moreover, what about this? Moonlight’s Best Supporting Actress nominee Naomi Harris, as Chiron’s mother, shot all her scenes on a tight three-day schedule. Again, a remarkable feat considering her character’s huge arc , including the aging process AND the fact that the native Brit learned an American accent.

I think that’s pretty stellar, definitely worthy of Best Director AND Best Picture accolades.  That Moonlight even got made, let alone made well, while also landing distribution, registers as nothing less than a miracle.

screen-shot-2017-02-25-at-9-25-30-am

Now out on DVD and Blu-Ray, Best Picture winner Moonlight.

Moonlight‘s Best Picture Oscar signals a number of Academy milestones.

  • For example, this is the first LGBTQ entry on the Academy’s Best Picture roster–11 years AFTER the allegedly groundbreaking Brokeback Mountain. And good for Moonlight for its role in cinematic history!
  • Furthermore, Moonlight is the first Best Picture winner directed by an African-American. And good for Barry Jenkins! Also, what about Jenkins’ award winning screenplay collaborator, Tarell Alvin  McCraney? Good for Tarell too!

Wait a second. You’re probably thinking, “Hey, wait a second, what about 12 Years a Slave? Didn’t that win in 2013?” Well, yes, but even though 12 Years was indeed directed by a black man, Steve McQueen, he hails from England. Not the same thing. But good for him, anyway. Even so, McQueen lost that year to Alfonso Cuarón (Gravity).

  • the-men-of-moonlight

    The leading men of Moonlight (l-r): Former Texas resident Trevante Rhodes, Alex R. Hibbert, and Ashton Sanders.

    Moreover, Moonlight is not only the first Best Picture winner to be directed by an African-American, it is also the first Best Picture winner to star a an all-black cast unlike, say, 12 Years a Slave or even Best Picture nominee Hidden Figures, which, yes, spotlights high profile black actresses (Taraji P. Henson, Octavia Spencer, and Janelle Monae) as groundbreaking real-life NASA “computers” but still features the likes of white cast members Kevin Costner, Jim Parsons, and Kirsten Dunst in secondary roles.  Not so, Moonlight. And good for Moonlight and its wow of a cast for breaking the Academy’s color barrier!

  • Best Supporting Actor Mahershala Ali is also the first Muslim actor to win an Academy award. And good for him!
In his acceptance speech for Best Supporting Actor, Moonlight's Mahershala Ali revealed that he and his wife welcomed a daughter into their family only four days earlier. Congratulations!

In his acceptance speech for Best Supporting Actor, Moonlight’s Mahershala Ali revealed that he and his wife welcomed a daughter into their family only four days earlier. Congratulations!

I’m as happy as I’ve ever been following an Oscar ceremony. And good for me. Of course, this year’s landmark victories do not necessarily mean that the Academy or the Hollywood moviemaking machine is suddenly colorblind, meaning parity and/or equal opportunities for one and all; after all, 15 years after Halle Berry made history as the first ever African-American to earn the Academy’s Best Actress statuette (for Monster’s Ball), her triumph seems…isolated, for lack of a better term. In other words, not only has Berry struggled to find another role of equal award worthy caliber, the number of African-American Best Actress nominees in her wake is paltry, a walloping three, to be precise (Gabourey Sidibe, Precious, 2009; Viola Davis, The Help, 2011, and Quvenzhané Wallis, Beasts of the Southern Wild, 2012). Of course, this year also saw the nomination of Ruth Nega, born in Ethopia and raised in Ireland, as African-American Mildred in Loving, based on the historic Supreme Court case that paved the way for interracial marriage in the United States…but I digress…

And, of course, blacks are not the only people of color who still fight for better representation in white-dominated mainstream media; moreover, even though the first decade of the 21st century saw a trio of African American Best Actor winners, beginning with Denzel Washington (Training Day, 2001), followed by Jamie Foxx (Ray, 2004), and Forest Whitaker (The Last King of Scotland, 2006), well, those victories are starting to look…somewhat distant; after all, Whitaker’s victory was 10 years ago. And he was so very good in 2013’s The Butler (rather, Lee Daniels’ The Butler), for which he earned a SAG nod, but nada from the Academy.

Of course, speaking of Denzel Washington, many of us thought he was bound for his second Best Actor Oscar for Best Picture nominee Fences, which he also directed. My thought was that Washington’s work both in front of and behind the camera warranted the Academy’s full consideration as the more significant achievement among his fellow nominees; however, I guess I under-estimated the difficulty of convincing the Academy that third Oscars are a good thing; after all, Washington already has,  as noted, a Best Actor Oscar, but he also won Best Supporting Actor for his supporting turn in 1989’s Glory.  Maybe the Academy doesn’t want to appear too hasty? Look how long it took Meryl Streep to finally earn a third Oscar after winning two in something akin to rapid succession early in her career–and snatching up more than a dozen nominations in the decades long interim (that is, between Sophie’s Choice in 1982 and The Iron Lady in 2011). Furthermore, look how Tom Hanks, a back-to-back Best Actor winner for Philadelphia (1993) and Forrest Gump (1994), has had difficulty scoring a nomination in recent years in spite of Academy-friendly fare such as Captain Phillips, Bridge of Spies (both Best Picture nominees) and 2016’s Sully, for which he seemed an early shoo-in, at least for a nomination. Third Oscars are a rarity unless one is Daniel Day-Lewis who won his second and third statuettes in something like five years (and I’m not complaining), but I digress*. So, no third Oscar for Washington, but I think he still has additional nominations, additional chances, in his future.

So, even without the hurdle of a third Oscar for Washington, I’m still surprised that the Academy rallied in favor of Casey Affleck (Manchester by the Sea),  considering well-documented allegations of sexual assault leveled against the actor. Obviously, members of the Academy were moved by his performance in the widely hailed if downbeat offering. Indeed, writer-director Kenneth Lonergan netted his own statuette for his screenplay. Even so, I half-expected either Viggo Mortensen (Captain Fantastic) or Andrew Garfield (Hacksaw Ridge) to emerge victorious in the absence of a Washington triumph. Meanwhile, I’m sure nobody missed the frosty reception last year’s Best Actress winner Brie Larson accorded Affleck as he accepted his award. I would say good for her for sticking to her principles in light of Affleck’s rap, but maybe he knows something the rest of us do not. Larson, if you’ll recall, played a survivor of such assault in her award winner, 2015’s Room.

After the hullabaloo over Moonlight, my next favorite win has to be the Best Animated Feature Film award for Zootopia. Even after basking in the greatness of both Moonlight and Hidden Figures, and a few others, including La La Land, Zootopia still rates very high on my non-existent list of favorite movies from 2016. I don’t actually, physically, make a list, but I know what I like, and I keep a running list in my head. Even so, I would have loved for Zootopia‘s “Try Everything,” performed on the soundtrack by Shakira, to have been recognized as a Best Song nominee. No matter. Best Animated Feature is the biggie. I actually enjoyed “City of Stars,” the Best Song winner from La La Land though I’m a bit surprised that the Academy didn’t take the bait and cap Lin-Manuel Miranda’s historic year (winning the Pulitzer and multiple Tonys, among others, for Broadway blockbuster Hamilton) for his contribution to the Moana score. When the gold dust settled, btw, La La Land claimed victories, including Best Cinematography and Best Production Design, and Best Original Score, among its record-tying 14 nominations. And Good for La La Land.

Also, what an amazing evening for sound mixer Kevin O’Connell!  After earning 21 nominations over more than three decades, he finally won an Oscar–for Best Picture nominee Hacksaw Ridge;  to clarify, he was one of four recipients on the winning team, but, clearly, his hard earned victory captured viewers’ imagination. His first nod, btw, was for 1983’s Best Picture winner Terms of Endearment, and his other nominated efforts include Top Gun (1986), Twister (1996, starring the late Texas native Bill Paxton, who died last weekend shortly before the Oscar telecast), and the first Spiderman reboot.

Per the Wikipedia, btw, O’Connell’s mother worked in the sound department of 20th Century Fox once upon a time and helped him secure a job as a projectionist when he was a mere 18 years old. He holds an Emmy for his work on Lonesome Dove.

No doubt, Best Supporting Actress winner Viola Davis (Fences) gave the acceptance speech of the evening. Davis endears herself to audiences because she is seemingly incapable of being anything less than her genuine authentic self. Her performance in Fences is also no less than a master class in acting, in storytelling. She is an inspiration to anyone who has had to fight, to work hard, to make a name for herself, coming from a background steeped in poverty and oppression. Now, she has steered the heights to glorious success. And good for her.  She is also now the first African-American actress to win an Oscar,  an Emmy, and a Tony in performance categories. Make that two Tony awards. One for the revival of Fences and another for Best Featured Actress in King Hedley, written by the late August Wilson who also penned Fences. That’s huge. Good for Viola. (To clarify, Whoopi Goldberg has also won an Oscar, an Emmy, and Tony, but she won her Tony not for performance but as one of the producers of  Best Musical winner, Throughly Modern Millie–and Good for Whoopi!)

In addition to her Oscar, Emmy, and two Tonys, Viola Davis has earned an incredible 5 Screen Actors Guild awards. And good for her!

In addition to her Oscar, Emmy, and two Tonys, Viola Davis has earned an incredible 5 Screen Actors Guild awards. And good for her!

Yes, Davis’s Oscar victory is the stuff that dreams and legends are made of, but I still think, Halle Berry’s Best Actress award would be less lonely at the top, today, if Davis and the powers that be had pushed harder to have the actress’ performance recognized in the Best Actress rather than Best Supporting Actress category. Maybe I shouldn’t be so puzzled, all things considered, and maybe I should just let it go….and maybe Emma Stone should have REALLY THANKED Davis in her Best Actress acceptance speech because I think Davis had as much to do with Stone’s victory as anyone involved in the making of La La Land, and I DON’T mean because Stone and Davis once shared the screen in The Help. Think about it.

Thanks for your consideration…

The fashion gallery will follow shortly. Thanks for your patience.

Enough said.

Enough said.

*Besides Meryl Streep and Daniel Day Lewis, the only other three-time performance winners are Walter Brennan, Ingrid Bergman, Jack Nicholson, and Katherine Hepburn, the latter of whom actually won four times. Brennan snared a trio of Best Supporting Actor awards in a five year period in the late 1930s and early 1940s, including, to clarify, the very first Best Supporting Actor award (for 1936’s Come and Get It, starring Edward Arnold and Frances Farmer). Incredibly, Brennan’s record is 3-1, losing only in his fourth bid for 1941’s Sergeant York.  Next, Bergman’s first Oscar was for 1944’s costume melodrama Gaslight. After a tumultuous period in which her love life became scandalous news, she made a comeback with 1956’s Anastasia, and the Academy responded in kind. Her third Oscar, almost 20 years later, was for a supporting turn in the deluxe adaptation of Agatha Christie’s Murder on the Orient Express. Jack Nicholson’s second Oscar, for Best Supporting Actor (Terms of Endearment, 1983) came 8 years after winning Best Actor for One Flew Over the Cuckoo’s Nest. His Best Actor trophy (As Good as It Gets) followed in 1997. Finally, Hepburn’s second and third Best Actress Oscars arrived back to back in light of such triumphs as Guess Who’s Coming to Dinner (1967) and The Lion in Winter (1968) though, technically she tied for the latter with the one and only Barbra Streisand in her film debut, Funny Girl. Just over a dozen years later, Hepburn reigned once again for 1981’s On Golden Pond, opposite Best Actor winner Henry Fonda. Whew!