Tag Award Winners

The envelope please…

Michael Leave a comment

And the envelope please…

Ah, Major Movie Award time. The Academy is cracking down in unauthorized used of the gold statuettes’ nickname but you know what Major Movie Award I mean. The Major Movie Award ceremony was last night and I missed it – again. Intentionally. I love movies and this year I actually saw most of the nominees for the Major Movie Award best picture award. But I love old movies a whole lot better and I dislike awards shows even more. Awards shows, awards banquets, recognition ceremonies, even graduations, but especially awards show when anybody who ever got lucky enough to be cast in a good movie demonstrates how valuable screenwriters are. Anyway, I didn’t watch the ceremonies but instead, as is my custom, I watched a couple Major Movie Award winners from 60 years ago.

In general, forty years is my cut off.  If a movie is still entertaining (and relevant, if possible), 40 years after it first hit the theaters, then that’s a good movie. I would say I’ll be re-watching this year’s winner in 40 years but in 40 years I’ll be well ensconced in the centenarian camp, so…that’s a maybe.

So with all this experience of watching long-lasting, significant award winning movies from 40, 50, 60, 100 years ago, you’d  think I could pick out this years winner effortlessly. Yeah, no. A hundred, 90, 60, 50 years ago, significant was defined differently. Right around 40 years ago, it started to be more important to have the right message than to have the right stuff. But that’s okay. That only holds true for the “big” awards.  The true magic in movies, the costumes, sets, music, and cinematography are still awarded on merit so there will always be good old movies to watch. Even forty years from now.

moviefilm

It so happens that I am writing this before the Major Movie Awards ceremony and the announcement of best picture. So, given that I’ve seen them, what movie would I vote for if I were a member of the Major Movie Award voting bloc?  I will say I don’t think the one I would vote for will win, but it should.  I think several of the best picture nominees are definite possibilities for cinematography and costume and would be worthy of those honors. But those same movies have no story, no coherence, or are just not good enough to be “best.” And there are so many this year (10 nominees for best picture), the field is clearly watered down.  But I digress.

What movie would I vote for if I were a member of the Major Movie Award voting bloc? West Side Story. It will have a hard time getting to the podium.  Although remakes dominate moviedom, rarely do remakes get nominated for the best picture award. To win the award, the odds are greater than finder teeth in a hen, but just barely. Only twice has a best picture been a remake. (Ben-Hur in 1959 and The Departed in 2006). To make it an even higher mountain to climb, West Side Story is the first time a remake of a previous best picture winner (1961) has even been nominated for best picture.

So … if I don’t think the. Ivies I would vote for will win for best picture, where would I put my money? Although almost all of the rest of the world thinks, The Power of the Dog will be so honored, I think last night’s winner was CODA. But wouldn’t it be a hoot if Licorice Pizza walk away with it?

We could do this for the other 23 categories too but I have to get dinner on the table.

How did I do?

Script Girl

Michael 2 Comments

February might be my favorite month. It’s certainly in the top ten. (I can do without March and its schizophrenic weather patterns and August’s unending humidity. The rest are okay.) February is among my favorites because of the Academy Awards. Quite honestly I don’t think I could possibly care less who goes home with an Oscar this year. I love February because of the old winners.

I love old movies and there is no better time to get a fill of them than in the month leading up to the Oscars. Whether your film love is for musicals, thrillers, book adaptations, war, epics, comedies, or tragedies you will find it on a small screen near you in February. February is when movie services and networks go all out to rake in the viewers with past nominees and winners. The good movies. The ones produced before Hollywood decided America needed a conscience and it was the perfect choice. These are the ones you watch and say to yourself, “they wouldn’t do that today.”

Something else about those old movies they don’t do today is the credits. (Hmm. Some things else are the credits?) I’ve bemoaned the state of movie credits before but it never rears its ugly head as much as now when the screens are filled with the elegance of crediting those who deserve credit and not every Tom, Dick, and Harriet who come close to the set or is close to the financiers.

Buried in those early credits is another thing “they wouldn’t do today.” Among the actors, director, producer, editor, cameraman, set designer, and costumer, almost always is “Script Girl.” Sexism notwithstanding, the title was gradually changed to Script Supervisor in the 60s and 70s, long before males entered the role. But for years, and as long as February remains Oscar Movie Month, for years to come, “Script Girl” was how the continuity expert was defined around the world. Literally.

AdmitOneJust over the weekend I was watching the 1974 Best Foreign Language Film winner, François Truffaut “Day for Night.” (Reading maybe as much as watching as my French comprehension was never as good as my high school grades suggested. Hooray for subtitles.) As the credits rolled (before the movie as they should be) after the acteurs, among the équipage, and before the producteur and the réalisateur was “Script Girl,” just like that, en anglais, capitalized, and in quotes.

And what does this “girl” do. At one time she or he, although then it was almost exclusively she would be the director’s secretary and would record information about how of each scene was shot, prompt actors, and often write notes to be used in publicizing the movie before it’s release. Today the Script Supervisor also keeps notes of wardrobe, props, set dressing, hair, makeup and the actions of the actors during shooting to assist the editor in maintain continuity during and between scenes. Thus when the hero enters a scene with a half full cup of coffee it doesn’t turn into a can of ginger ale 24 seconds later in the final cut.

I’d love to stick around longer and talk about old movies but there’s only 17 days left to February and my DVR is filling up. I have to catch up on some classics today.