Posted on 03/06/2006 5:35:10 PM PST by Aussie Dasher
NEW YORK -- We chatted about it, joked about it, argued about it, spoofed it. "Brokeback Mountain" was everywhere in our popular culture - yet it lost the big Oscar it was supposed to win.
Was there a "Brokeback Backlash," or was "Crash" just the worthy contender that came on strong in the final Best Picture stretch? There were as many theories being offered up Monday as there are "Brokeback" parodies on the Internet.
One theory was that, despite the hoopla, the endless late-night monologues and the clever imitations, people (Academy voters, that is) didn't really love the soulful saga of two gay cowboys - and perhaps even felt uncomfortable with its themes.
"Sometimes people pretend to like movies more than they actually do," said Richard Walter, who heads the screenwriting program at UCLA's film school. "But this film wasn't really THAT good. What it tried to do was great, sensational. But what it actually accomplished wasn't so great. You can't really buy the love story."
Film critic Kenneth Turan, writing in the Los Angeles Times, said the problem wasn't with the film's quality. Rather, he said, "you could not take the pulse of the industry without realizing that this film made people distinctly uncomfortable."
"In the privacy of the voting booth ... people are free to act out the unspoken fears and unconscious prejudices that they would never breathe to another soul, or likely, acknowledge to themselves. And at least this year, that acting out doomed 'Brokeback Mountain."'
Gay activists did not necessarily agree.
"I don't think it has anything to do with the subject matter," said Joe Solmonese, president of the Human Rights Campaign, the largest national gay rights group. He noted that "Brokeback" and "Crash" both dealt with "tough issues like indifference and intolerance."
"I was certainly disappointed," Solmonese said. "But I would trade that Oscar for all the positive conversations that this movie spurred between parents and their gay children, or between employees and their gay co-workers. That impact transcends any accolades."
Some people focused on the demographics of the typical Academy voter: older, and city-dwelling. Author and "Brokeback" co-screenwriter Larry McMurtry thought that was key to his film's loss.
"Members of the Academy are mostly urban people," McMurtry, who won the adapted screenplay prize with Diana Ossana, said backstage at Sunday night's ceremony. "We are an urban nation. We are not a rural nation. It's not easy even to get a rural story made."
McMurtry could have added that not only are Academy voters urban, they also are from Los Angeles - the city that is the heart of "Crash," a racial drama depicting the intertwining experiences of an array of characters over 36 hours. The film, featuring a huge and accomplished cast ("Raise your hand if you're NOT in 'Crash,"' host Jon Stewart quipped to the crowd), also won for original screenplay and film editing.
"Brokeback" director Ang Lee, who won the directing prize, said he hadn't a clue why the film didn't take the best-picture award. "They didn't vote for it," he said. "I don't know. You asked me one question, and I don't know the answer."
But his brother had an opinion. Lee Kang, speaking in Tapei, Taiwan, suggested American bias was involved. "When the locals are voting, they will have this, whether you call it nationalism or something else," he said.
"Crash" writer/director Paul Haggis, for his part, said he hadn't "for a second" believed the whispers, which grew louder as Oscar night approached, that "Crash" had the momentum to overtake "Brokeback."
"I didn't believe any of that nonsense," he said. "In fact, we were so shocked. I mean, we're still trying to figure out if we got this."
"Crash" came out to mixed reviews in May, considered much too early for a film to stay in voters' minds. But Lionsgate Films reminded voters and critics of the movie's potency by flooding them with copies of the DVD late in 2005.
In winning over the heavily favored "Brokeback," the film evoked major upsets of the past, most recently the 1999 triumph of "Shakespeare in Love" over "Saving Private Ryan." Another famous underdog champ was "Chariots of Fire," which in 1982 beat both Warren Beatty's historical epic, "Reds," and the family story "On Golden Pond."
One disturbing difference for the Academy: a lot more viewers tuned in to see those upsets. An estimated 38.8 million people watched Sunday's telecast on ABC _ down 8 percent from last year and the second-worst showing in nearly two decades, according to Nielsen Media Research. Except for the 2003 count of 33 million viewers - when "Chicago" took the best-picture award - viewership hadn't dipped below 40 million since 1987.
So what is to be learned from Sunday night's upset result? Not much, says Walter, the film professor. You just really never know what Academy voters are going to do.
"It's just a crapshoot," Walter said. "You go to Vegas and you put your money on number 17.
"There is NO lesson to be learned from all this. It doesn't mean a thing."
Speaks volumes about how Hollywood views America.
Accidental Tourist!? That was one of only 2 films in my 40+ years of watching movies that I walked out on. Most dreadful waste of film ever!
I had completely forgotten (thankfully) that piece of garbage until just now!
IMHO - Brokeback never stood a chance. ABC/Disney kept the buzz going trying to get the ratings (and supposed suspense) up to a very high level. They also knew that a victory for Brokeback would further amplify Hollywood's complete misunderstanding of flyover country. Can you imagine the headlines today in Christian and conservative circles had Brokeback won?
The other, who has other homosexual affairs and travels to Mexico for hustlers, ends up dead from a possible gay-bash murder (real or imagined, it's left to the viewer).
They also spend time talking about having a ranch of their own.
"It's just a crapshoot," Walter said. "You go to Vegas and you put your money on number 17.
"There is NO lesson to be learned from all this. It doesn't mean a thing."
Walter the Professor is brain dead.
Several million viewers Net Flixed the gay event.
According to Walter if they used the same format next year there would be no change in the viewer numbers. I say Net flix usage will triple that night as millions more watch a mailed movie or a rerun of 24.
It's all about freedom of choice Walter.
Well, they weren't pokin' cows...were they?
no... sheep.
I don't care why it didn't win. I'm not surprised, for all their claim of being "open minded" or "progressive" or "out of step" they're no better than the rest of us. Even the actors themselves seemed uncomfortable with the publicity the film got. It was a cultural moment (which kind of worked against it) the actors didn't really seem to want to embrace and Hollywood was just like them. The Academy voters can feel "good" about themselves because they gave the director an Oscar for his own risk taking.
Just like they can feel good about being paid to be pimping for charities, for example. They'll rationalize it all and blame conservatives or homophobes or older, out-of-touch Academy voters.
"In fact, we were so shocked."
They all did look truly shocked.
If I wanted to watch Queerback Mountin I would have moved to San Fagsisco.
Lol. That's just too darn funny.
Huh? Shouldn't that be a lot less viewers tuned in to see those upsets. Otherwise why would it be "disturbing"?
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