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1983 Oscars:
I r
By SHAWN ISRAEL
Collegian Staff Writer
Academy Awards time has ar
rived again. On Monday night, a
dozen or so films will be welcomed
into the exclusive canon of Oscar
winning motion pictures, as Holly
wood puts on its best glitter and
shines its brightest lights to honor its
own.
Cut me a break! It's just an overb
lown awards show, all developed
around the somewhat inane idea to
have members of a common indus
try compete against one another so
the winners can get a 15-inch-high
gilded ' nude man, the losers can
mope and fake smiles all evening
and the studio heads can (usually)
watch the dough roll in from the
seemingly holy prestige their .win
ning products have been bestowed.
The Oscars? Who cares?
The problem is, however, that I
love movies. Being a self-confessed
movie nut, I do have an aestetic
interest, if nothing else, in the
awards that are doled out year after
year. It is, perhaps, the very influ
ence Oscars carry in the financial
and historical aspects of the film
world that urges me to pay the
Oscars so much attention. Usually I
don't agree with the Academy's
choices, but I understand the politics
behind many of those decisions. The
Academy generally loves American
movies that make money and get
recommended by nine out of 10 crit
ics. I've come to expect that from
Academy voters.
Being a practicing critic with cer
tain ideas and preferences, howev
er, my patience with the Academy of
Motion Picture Arts and Sciences
can only go so far. As always, I have
a few complaints about this year's
nominations that will not go unmen
tioned. Bear in mind, however, that
these gripes are purely subjective,
however sincerely felt they might
I.)* Although Woody Allen's "Ze
lig", received two technical nomi
nations, Allen went unrecognized for
his work on this fine film (Boo!) ;
2.) Only Glenn Close was nomi
nated out of the brilliant ensemble of
actors in "The Big Chill" (Nuts! );
3.) "Flashdance" and "Yentl"
each received two count 'em, two
Best Song nominations. (What a
laugh!)
Now that I've done my whining,
let's get to the business of picking
winners from this year's crop of
Oscar nominees. Most of the major
races are pretty clear-cut. In the
Best Picture category, it looks as
though nothing can stop "Terms of
Endearment," James L. Brooks'
thoughtful, occasionally ornery, in
termittently soapy comic drama
about a testy mother-daughter
relationship; a good movie, even if
there are at least seven shots in the
film with microphones showing. The
movie seemed to have it in the
proverbial bag since its release four
It's a possibility Ingmar Bergman (r.) will receive the Best Director award for very well bring a little gold statue home for Best Cinematography. The film is
what he says is his last film, "Fanny and Alexander." Sven Nykvist also could also nominated for Best Foreign Film.
The good and the not so good predicted to win
Although not much of a fuss was made of it In this area, "The DresSer" has
received Oscar nominations for Best Picture of 1983 and Best Director,
Peter Yates. Tom Courtney (I.) and Albert Finney have also been 'honored
with nominations for Best Actor.
months ago, and there's virtually no
reason to think it can lose at this
point.
Running up against "Terms" are
"The Big Chill," "The Dres
ser," "The Right Stuff" and "Ten
der Mercies." I've not yet seen "The
Dresser" or "Tender Mercies," and
my personal preference of the five is
Lawrence Kasdan's "The Big Chill"
by a whisker. Although this comedy
about college chums . of the-'6osTeu
niting for the funeral of a common
friend was occasionally slick even
by Hollywood standards, it is impec
cably acted and succeeds at levels of
thematic complexity in exploring its
subject that "Terms" and "Right
Stuff" don't quite reach, as good as
they are.
In the Best Director slot, it looks
as though James L. Brooks will be
summoned up to the Dorothy . Chan
dler Pavilion stage tonight to collect
his prize for "Terms of Endear
ment." He won the Director's Guild
of America Award, a near-infallible
indicator of the Oscar winner. (Only
twice since the DGA began doling
out awards more than 30 years ago
have their choices and the Acade
my's not been the same.)
Other nominees are Peter Yates
for "The Dresser," Ingmar Berg
man for "Fanny and Alexander,"
Mike Nichols for "Silkwood" and
Bruce Bereiford for "Tender Mer
cies." Preference here goes to Ing
mar Bergman, who combined his
usual technical and storytelling ex
pertise in "Fanny and Alexander"
with a touching bit of sentimentality.
The Best Actor winner is almost a
sure bet to be Robert Duvall for his
portrayal of a down-and-out country
singer in "Tender Mercies." Duvall
has won just about every prelimi
nary award possible, and the Acade
my can finally reward him for more
than 20 years of quality work in
Hollywood films. It also helps Duvall
that he's the only. American nominee
in the bunch. Also nominated are
Britishers Michael Caine ("Educate
ing Rita"), Tom Conti ("Reuben,
Reuben"), Tom Courtenay and Al
bert Finney (both for "The. Dres
ser").
There's less of a clear-cut front
runner in the Best Actress slot, but
I'll predict Shirley MacLaine will
win for "Terms of Endearment."
MacLaine has won the most prelimi
nary awards to date, and this is her
fifth nomination in 25 years. I think
the Academy will finally see fit to
pay its due to MacLaine. Also run
ning are Jane Alexander ("Testa
ment"), Meryl Stree,p
( "Silkwood"), Julie Walters ("Edu
cating Rita") and Debra Winger
("Terms of Endearment").
I've seen all the performances
except Alexander's, and my prefer
ence vote goes almost equally to
MacLaine and Strec.p. •Neither have
ever been better than in their re
spective nominated performances,
One of the main reasons for the popularity of "Flashdance" was the energetic music throughout the film. Both the
title song "Flashdance...What a Feeling" and "Maniac" have received Oscar nominations for Best Song. They are up
against songs from "Yentl" and "Tender Mercies."
and perhaps ideally I'd like to see
them win the award jointly. (Forget
it. It'll never happen.)
Jack Nicholson has won almost
every preliminary , prize for(his sup
porting performance in "Terms of
Endearment.", He was even cited
Best Supporting Actor by Andrew
Sarris of the Village Voice, who
didn't like the film. Bet the ranch
and the Corvette on Nicholson to
win. His performance, a quietly im
pressive combination of killer
charm and leering hedonism, would
get my preference vote, too. Other
nominees include John Lithgow for
the same• film, Charles Durning
("To Be or Not to Be"), Sam Shep
ard ("The Right Stuff") and Rip
Torn ("Cross Creek").
Voting patterns of the last 20
years, recent preliminary awards
and industry hearsay all indicate
that Cher is going to win the Best
Supporting Actress prize for her
performance in "Silkwood." Call me
insane, but I'm going to defy the
trend on a hunch and predict Linda
Hunt for her incredible portrayal of
photographer Billy Kwan in "The
Year of Living Dangerously." Hunt
won a great many early critical
awards for her performance, and
the film was recently given new
exposure on cable networks last
month. It just might be enough to
land'her the Oscar I think she well
deserves. Also running are Glenn
Close ("The Big Chill"), Amy Irving
("Yentl" ) and Alfre Woodard
("Cross Creek").
James L. Brooks appears to be a
hands-down winner for "Terms of
Endearment" in the Best Screen
play Adaptation category. He's up
against' Harold Pinter ("Betrayal"),
Ronald Harwood ("The Dresser"),
Willy Russell ("Educating . Rita")
and University alumnus Julius J.
Epstein ("Reuben, Reuben").
The Best Actor
winner is almost a
sure bet to be
Robert Duvall for
his portrayal of a
down-and-out
country singer in
"Tender Mercies."
Best Original Screenplay? At last,
a race! The only obvious also-rans in
this category seem to be Lawrence
Lasker and Walter F. Parkes for
"War Games," which the Academy
voters will probably dismiss as a
nomination for, a "special effects"
movie. That leaves "The Big Chil
-1," "Fanny and Alexander," "Silk
wood" and "Tender Mercies."
Voting patterns tend to favor Ameri
can films over foreign works. (The
last foreign-language film to win in a
writing category was Claude Le
louch's "A Man and a Woman" 17
years ago.) Best Picture nominees
are slightly favored, having won 16
out of the last 26 times. However, the
last three Oscars in this category
have gone to biographies or films
claiming to be biographies ("Melvin
and Howard," "Chariots of Fire"
and "Gandhi"), which might shift
the odds toward "Silkwood."
Hmmm . . .
Acting purely on a hunch, I'm
going to predict Lawrence Kasdan
and Barbara Benedek for their lay
ered, witty, articulate script for
"The Big Chill," which has some of
the best movie dialogue of the past
year. (Yes, it's also my preferential
choice.) Regardless of who wins,
however, this race will be close.
There's also something of a race in
the category for Best Cinematogra
phy. The odds significantly favor
Best Picture nominees, which have
won 13 out of the last 16 times.
(Before 1967, there were separate
categories for black-and-white and
color films.) If the Academy follows
this trend, "The Right Stuff," the
only best pic nominee in the group,
should win easily. However, also
nominated is Sven Nykvist for "Fan
ny and Alexander." Considering
that the Bergman-Nykvist team is
one of the most celebrated director
cinematographer collaborations in
screen history, and that Bergman
will probably' not go empty-handed
because this is his "last" film, Nykv
ist has a pretty good chance. Also
worth note is Gordon Willis, who,
after many years of fine work and
being widely touted as "America's
greatest cinematographer," finally
got a nomination for his work on
"Zelig," and the Academy could be
softening just enough to finally give
The Daily Collegian
Friday, April 6, 1984
Willis recognition after virtually ig
noring his work all this time.
It's anyone's guess, but I'm going
to predict that Sven Nykvist will win
for "Fanny and Alexander." Other
nominees in this category are Don
Peterman ("Flashdance") and Wil
liam A. Fraker ("WarGames"). My
preference vote goes hands down to
Gordon Willis for his extraordinarily
authentic special effects photogra
phy and seamless imitation of the
textures of old 1930 s newsreel foot
age in "Zelig."
Best Song is another sure bet.
"Flashdance . . . What a Feeling,"
the most popular of the nominees,
seems unbeatable, even though I
find it uninspiring, pretentious and •
without much feeling. (I'm such an
ogre.) Also nominated are "Ma
niac," also from "Flashdance"; two
songs from "Yentl" "Papa, Can
You Hear Me?" and "The Way He
Makes Me Feel;" and the gentle
country ballad "Over You" from
"Tender Mercies." Preference vote
goes to "Over You."
Here are the rest of my predic
tions for tonight's winners:
Foreign-Language Film: "Fanny -
and Alexander" (Sweden).
Costumes: Marik Vos, "Fanny
and Alexander."
Sound: Ben Burtt, Gary Summers,
Randy Thom, Tony Dewe, "Return
of the Jedi."
Documentary Feature: "Seeing
Red."
Documentary Short: "Sewing
Woman."
Original Score: Bill Conti, "The
Right Stuff."
Original Song Score or Adaptation
Score: Michel Legrande, Alan and
Marilyn Bergman, "Yentl."
Animated Short Subject: "Mick
ey's Christmas Carol."
Live Action Short Subject: "Boys
and Girls."
Editing: Glenn Farr, Lisa Frucht
man, Stephen A. Rotter, Doug Stew
ard, Tom Rolf, "The Right Stuff."
Art Direction/Set Decoration: Ge
offrey Kirkland, Richard J. Law
rence, W. Stewart Campbell, Peter
Romero; Pat Pendin, George R.
Nelson, "The Right Stuff."
Sound Effects Editing: Ben Burtt,
"Return of the Jedi."
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