The Oscars
Published March 18, 2004
Like the movie Titanic, it's ending was predictable: the horse wins and everybody cries.
I cried, too, at the ending of Titanic. I couldn't believe such a wonderful, yet terribly tragic, story could be twisted into an idiotic love triangle that was suddenly and rudely interrupted by a giant iceberg.
It was the same with Pearl Harbor. After seeing the near historical masterpiece Saving Private Ryan, I was anxious to view this movie. My wife didn't want to see it, but I begged her to come with me. "It's history!" I cried. "History is far more interesting than fiction because it involved real people." At the end of the movie, as we walked home, neither of us spoke. I had been wrong. Very wrong. And I was ashamed of myself. At one point, I tried to take my wife's hand in mine, but she jerked it away and folded her arms. The next week was a very lonely one for me.
If you've never seen Pearl Harbor, contrary to the title, it's not about that battle. Instead, it's all about a love triangle momentarily disrupted by the Imperial Japanese Navy.
Why did they feel it necessary to inject a completely pointless, even lame, love story into this historic saga? It's like telling the story of the Battle of the Little Bighorn and mixing in a love triangle between Crazy Horse, Custer, and Sacagawea (a Shoshone Indian woman who traveled with Lewis & Clark many years before this battle, but remember, this is Hollywood and there's no reason to let facts get in the way of good fiction).
Remember back when the movie Shakespeare In Love won Best Picture over Saving Private Ryan? How is that possible? I'm sure if you find the answer to this burning question, you'll probably understand how Marisa Tomei stole her Oscar. And in digging for answers to these riddles, you'll probably also uncover some other hidden truths: does the U.S. government possess an alien spacecraft? Did the CIA really kill Kennedy? And why couldn't it have been Britney Spears who exposed her breast on national television during the Super Bowl?
So this is why I didn't watch the Academy Awards. There's no point in doing so. It's like watching a boxing match between Mike Tyson and anyone else. You can't predict who the winner will be, but sure as shit stinks on ice, someone's walking away from the match with a chunk of ear missing. So rather than wasting your money on a wager, you're better off watching it for the shear spectacle that is sure to come. Or, like myself, you could spend quality time with your family and read all about the massacre in the newspaper the next day.
- The Oscars
- Published: March 18, 2004
- Type:
- Section: Video
- Filed Under: Culture: Humor and Satire, Culture: Media, Video: News
- Writer: Tom Norris
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Comments
I love Shakespeare in Love!
No wait, I have strong feelings for Shakespeare in Love!
It was kind of odd that it would win Best Picture, but I never really thought Saving Private Ryan deserved the top nod anyway. I always thought the frame of that film, the old man visiting D-Day sight, family quietly standing behind him like a fucking Hallmark card - was so putridly sweet as to be repulsive. It almost ruined the entire film for me. I also thought the film tried to have its cake and eat it too - being a revealing work about the realities of war, yet giving us a story straight out of Sgt. Rock comic books. A well-made, though agonizingly uneven film.
Spielberg's missteps in filmmaking, and he makes a surprisingly large number, are so glaring as to make you question his entire legacy.





"Remember back when the movie Shakespeare In Love won Best Picture over Saving Private Ryan? How is that possible?"
Because not everybody liked SPR. Hype for SPR as a great war movie with extremely realistic depictions of a battle convinced me that I really didn't want to see it. For the right movie, I could have seen it in spite of that, but the plot of actually saving the private didn't seem likely to be very interesting. I could've been dragged to it by spouse and friends, but Tom Hanks, star of Monsters and Mazes, Bosom Buddies, Dragnet, Turner and Hooch, and Joe Versus The Volcano is a box office disincentive for me.
On the other hand, SIL had a clever Stoppard script, a fine cast, exceeded my expectations and we left the theater smiling and laughing and talking about the large and small things we'd liked in the film. I'd've voted for it and was pleasantly surprised when it won.
It also probably didn't hurt the oscar voting that it had a theater setting or strong studio support, but I don't think that was the deciding factor.