In the interest of full disclosure, I feel it only proper to start by admitting that I do not watch the Oscars. From experience I have found the show to be tediously long. I really do not care which star is wearing which designer. And I have found most of the acceptance speeches predictable. So, no, I did not see the slap, although I have been exposed to the inane publicity which surrounded it.
When I consider the dire news coming out of Ukraine and the possible threat of another COVID surge, not to mention the several other crises which face us today, I see no need to concern myself with two actors behaving badly. However, despite all this, any fan of cinema should not ignore the results of Hollywood’s big night. This seems to be especially true of this year’s Oscar awards.
Perhaps the most obvious takeaway is that the Academy has clearly taken to heart the criticism levelled at it for being “Oscars so white” when 20 awards went to white people, mostly males, in 2015. The result this year seems to be an advertisement for political correctness: the first deaf male and a gay woman for best supporting performances, a woman recognized as best director, and a black man getting the best actor award.
The best film award went to CODA, an acronym for “children of deaf adults.” As usual, though in all honesty I have not seen all the films in contention, I found myself at odds with the Academy’s selection. It is true that CODA is a charming, gentle, and entertaining film. It certainly exposes the challenges that face a hearing child when the rest of the family is deaf, as well as the equally difficult challenges faced by the deaf family. It is a theme that is worthy of exploration and will doubtless enlighten many who, like me, have had no idea as to the difficulties of the situation. As such, CODA is not only revelatory, but also quite moving. It recounts the conflict that a high school student, Ruby Rossi, faces as she has to weigh self against family. She feels a real obligation to her loving family, who rely on her as a “translator” as they negotiate the hearing world. Opposing this is her own need for self-fulfillment in a way which would take her away from that family.
Altogether it is an entertaining and engaging film, certainly one of the best of the year. Its message that many can benefit from a challenging situation is timely indeed. However, I don’t think that it quite deserves the full recognition that the Oscars gave it.
It is true that the entire cast turns in superb performances, but rather than giving the best supporting actor award to Troy Kotsur, who plays the protagonist’s father in a winning manner, I would have given the same award to Eugenio Derbez, whose portrayal of a dedicated, enthusiastic, and often comical music teacher gives the film a strong and emotional dimension, which provides a necessary balance to the forces that occasion the central conflict.
As to the best picture of 2021, my enthusiastic choice is Belfast, which won the best script award but in my opinion deserves far more recognition than it has received. Which leads to another concern made apparent by this year’s Oscars. For most filmgoers many of this year’s nominees were only accessible through streaming services. For example, CODA right up to Oscar week was only available locally through its producer, Apple TV, while Belfast first appeared on Netflix. Of course, the convenience of this as well as the savings resulting from a whole family viewing a film via one streaming service makes such a situation somewhat favourable – though one may find oneself having to subscribe to several in order to see the films one wishes to see.
However, I find myself regretting the movie theatre experience: the sense of occasion that it brings, and the heightened enjoyment that comes from a shared experience. I do hope, therefore, that the success of the streaming services, a success aided by the COVID restrictions, doesn’t mean an end to going out to the movies. It will be interesting to see what films on future Oscar nights are like!
