While in most years an early favorite emerges months before Oscar night, this year’s crop of films continued neck and neck into the final ballots. When the curtain opened Sunday night at the Kodak Theater, the Howard Hughes biopic “The Aviator” flew in early with a quick four Oscars, but it was the boxing picture “Million Dollar Baby” that took home the prize, capturing Best Supporting Actor, Best Actress, Best Director and Best Motion Picture.
It is a night to shine, a way for the elite of Hollywood to appear before the public as individuals and receive the praise and admiration of fans and colleagues alike. Unlike in years past, however, the typical self-congratulatory tone of the Academy Awards often gave way to some poignant and stirring tributes to those people who have been lost to time.
In one of the most moving scenes in recent Oscar memory, the mournful and deliberate sounds of Johann Sebastian Bach’s “Suite No. 6” sang out a requiem to the tragic loss of some of Hollywood’s greatest. In the gathering darkness above cellist Yo-Yo Ma, screens flashed faces: Ronald Reagan, Jerry Orbach, Janet Leigh, Ossie Davis, Christopher Reeve, Marlon Brando, Tony Randall and others. As the glow of one image was replaced by another and then finally darkness, the cameras panned slowly over a crowd that grew contemplative, quiet and saddened. When the final notes slipped out of Yo-Yo Ma’s fingers, here and there a quiet tear could be seen.
Former Oscar host Johnny Carson received his own tribute, a look back at his funniest and most poignant moments on the Academy’s stage. The three-minute tribute painted Carson in his own words, with only a small introduction by host Chris Rock.
The night wasn’t all poignancy, however. Rock’s opening monologue, where he welcomed everyone to “the 77th and final Academy Awards” took quick jibes at everyone from President Bush to Jude Law to himself, quipping, “If you want a star and can’t get one, just wait. If you want Tom Cruise and get Jude Law, just wait,” adding “if you want Denzel Washington and get me, just wait.” The joke sat well with the audience, who continued to laugh throughout the monologue, until Sean Penn and his notorious lack of humor later attempted to teach Rock about Jude Law’s appeal. Rock, however, shrugged it off with mirth, noting “Sean Penn, my accountants want to have a word with you.”
Rock made waves prior to Sunday with his suggestion that few African-Americans had reason to watch and opened the show by noting the record number of black nominees. “We have, like, four black nominees. It’s kinda like the Def Oscar Jam tonight,” he joked.
The Yo-Yo Ma solo was only one of a handful of musical performances during the show. Counting Crows frontman and Bobcat Goldthwait look-alike Adam Duritz belted out their hit single “Accidentally In Love” from “Shrek 2,” while Beyonce appeared on stage performing no fewer than three nominated songs. But it was Carlos Santana and Antonio Banderas who shook the house with their rendition of Oscar-winning “Al Otro Lado Del Rio” from “The Motorcycle Diaries.”
The showdown between “Million Dollar Baby” and “The Aviator” began early in the evening, when “The Aviator” took a quick four Oscars for Art Direction, Costume Design, Film Editing and Cinematography. The epic Howard Hughes biopic also pulled in Best Supporting Actress for Cate Blanchett, her second Oscar nomination and first Oscar win.
But “Million Dollar Baby” took four of the top five awards away from “The Aviator.” In a brief and subdued acceptance for Best Supporting Actor, Morgan Freeman thanked “everybody and anybody who ever had anything to do with the making of this picture,” singling out co-stars Hilary Swank and Clint Eastwood. The Best Actress award went to Hilary Swank, for her portrayal of boxer Maggie Fitzgerald. She jokingly noted, “You can’t do that. I haven’t gotten to Clint yet,” as the band attempted to play her off during her tearful acceptance speech.
It was certainly Clint Eastwood’s night, with awards for Best Director and Best Motion Picture. Ever the stately actor, Eastwood accepted the awards with poise and dignity, acknowledging the work of those around him and the inspiration of those who came before. Widely respected, the audience at the Kodak Theater came to their feet, applauding as his name was announced for Best Director.
Ray Charles’ biopic “Ray” pulled in Best Actor for Jamie Foxx, whose tearful acceptance speech left many in the audience wishing they had bought stock in Kleenex. It also won an additional award for Best Sound Mixing.
Although critics’ favorite “Sideways” never materialized in its spoiler role, it was able to garner Best Adapted Screenplay. Walt Disney and Pixar Films’ “The Incredibles” took home Best Animated Feature and Best Sound Editing.
While “Finding Neverland’s” mysterious Johnny Depp went home empty-handed last night, the film won Best Music for Jan Kaczmarek’s original score. A noticeably grateful and shaken Kaczmarek accepted the award, thanking everyone, including Depp, for their work and inspiration.
While slightly more subdued than Academy Awards shows of earlier generations, this year’s Oscars saw the return of more lavish sets and attire. Massive LCD screens were suspended above the stage, working in tandem with music and lighting to set the mood. The set was more elaborate than in the last three years, but remained understated in deference to the war in Iraq. In his opening monologue, Chris Rock stated the Academy’s beliefs, ending his monologue by sending “love out to our troops fighting all over the world.”
