BECAUSE THE NEW FORMAT OF THE OSCARS IS A SENSATIONAL OWN GOAL

Saying Oscar means having to deal with a ceremony that has changed a lot over the decades, in terms of rituality, composition and duration.

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The spirit that resides there and of course for its relationship with the public. In recent years, however, it seems to have partially lost charm in its essence as a television marathon according to some. 

The delivery of the most important film awards on the planet to the protagonists of the “Dream Factory”, after the debacle recorded last year, led to changes that however seemed really senseless and inelegant. The cure appears to be much worse than the disease. A disease that was certainly not born today …

An increasingly predictable evening?

In these hours the Academy is in very serious embarrassment, due to the changes studied by the production entourage together with ABC, the network that broadcasts the ceremony all over the world. Almost always the ceremony was a great success, a great moment capable of bringing the essence of the seventh art to every level, of showing the world the excellences, the great protagonists, of creating suspense above all.

In many editions, the Oscars have often subverted forecasts, sparked controversy, or have seen the undisputed domination of very few films indicated as the film event of the year and beyond. Of course, they have always had a glamorous side and gossip of great appeal, in which the initial show is still today one of the most anticipated and significant moments. For several years, however, a transformation has been underway within the Academy and above all in the mass film industry, by virtue of which it seems to many that meritocracy has taken a back seat. Assuming that it really has ever counted by calculating that men like Stanley Kubrick, Alfred Hitchcock, Pedro Almodovar, Ian MacKellen never had the golden statuette.

However, it seems to many that the new course, which also included inclusive quotas and very little merit-based nominations, has made the Academy essentially a dull and mechanical ceremony.

Perhaps artistic freedom but above all the ability to recognize the quality of works and interpretations has been set aside, in favor of a prefigured universal applause. All this to underline a substantial subservience to the “mood” of the moment, to the opinion of the public or supposed as such, since in reality, more than cinema, it seems to witness a marketing for events in a blatant way.

A disrespectful revolution



Perhaps the fundamental mistake was to believe that last year’s edition of the Oscars was not in the least affected by the cold and in some ways even absurd atmosphere connected to Covid.

Everything seemed in some ways also out of place from certain points of view, given the dramatic situation in which many countries found themselves, including the United States in particular. Certainly seeing so many stars free to stay close without a mask or distancing is not exactly that it attracted great sympathy, also considering the terrible economic situation that has increased the social and economic conflict even beyond the ocean. An evening for the privileged? It seems childish perhaps but it is a feeling that has been felt. To run for cover and avoid another share collapse, instead of trying to renew the structure making it more appealing to the international public, less American-centric, it was thought simply to create a kind of copy of the Super Bowl.

How?Completely setting aside a whole series of accolades . In order, the awards will not include: Best Editing, Best Sound, Best Soundtrack, Best Makeup and Hairstyles, Best Short Film, Best Documentary Short, Best Scenography and Best Animation Short Film .
The awarding of the prizes will take place before the ceremony, 40 minutes to be exact, will be recorded and will be almost without public, to be broadcast only at the end, when it is expected that all or almost all will have changed channels and above all there will be no more audience. in the hall. Something demeaning, humiliating and offensive for the dignity of the professionals involved, for the industry in general but above all for the honor of men and women who are historically a fundamental part of the film industry. Naturally, the answer was not long in coming and paradoxically concerns not only film professionals but also the public.

A debacle of image and reputation



Putting the scenography on the list among the “purged” seemed really absurd, but never like the soundtracks, which have always been one of the most interesting and loved elements by the general public. Well one of the first consequences is that the 5 composers competing to win the statuette have already announced that if the lineup is confirmed, to prefer musical shows and comic interludes to the detriment of their presence, they will not show up. These are Nicholas Britell ( Don’t Look Up ), Germaine Franco ( Encanto ), Jonny Greenwood ( The power of the dog ), Alberto Iglesias ( Madres Paralelas ) and Hans Zimmer (Dune ). This own goal could be followed by an even more disastrous boycott by the five finalist directors, who could also forfeit out of solidarity with their collaborators and colleagues.
Even more surprising, even part of the public seems not to have liked the surprise, designed above all to smooth the hair of the under 30-under 25, the same type of public that guarantees the highest receipts and for which the Oscar has also been studied. a most popular and loved movie. It was thought to do Marvel and its Spider-Man a favor, but the latest news gives the horrendous Cinderella starring Camila Cabello the advantage. What irony, don’t you think? By dint of thinking that the public should always be courted, in the end perhaps at the Academy they realized a simple and incredibly banal principle: the public is not a single and universal entity, it is made up of several currents, which sometimes share a sometimes they do not share opinions and tastes.

Thinking of chasing and smoothing the hair of this nebula has always been something absolutely wrong, counterproductive. It applies both to the new course of political correctness, and to having thought that everything must be a show from Yankee Stadium.

Can’t the industry do without the public? Not even the insiders, those who work there and who see their space, their position and respectability, transformed into a negligible element in a humiliating way. And in the age of communication, creating empathy towards this type of marginalization is perhaps one of the most glaring mistakes of recent years.