Tag Archives: Lupita Nyong’o

From Lupita’s Dress to ‘Adele Dazeem,’ Musings on Hollywood’s Big Night

For some of us — I’ll admit, a very small segment of the population — the Oscars are like the Super Bowl. We spend months speculating about the nominations, making sure we’ve seen the films, taking our best shot at who will go home with the gold on the big night. And now that Sunday’s ceremony is over, the trophies handed out, the designer gowns worn, the after-party champagne sipped, there is still a lot to talk about. Here are some thoughts.

1. After establishing herself as a fashion icon throughout the awards season with her simple but bold choices, best supporting actress nominee Lupita Nyong’o unveiled her pièce de résistance at the Academy Awards, creating a sensation in her floaty, pale blue Prada gown. This stunning dress is destined to go down in red carpet history and stood in tasteful and fanciful contrast to some of the night’s more bizarre sartorial moments — Anne Hathaway wearing a chandelier, Liza Minnelli in silk pajamas and Whoopi Goldberg as flapper/geisha/Seinfeld’s puffy shirt/Wicked Witch of the  West.

Nyong’o’s gown couldn’t have been more appropriate for her fairy tale moment when she took the podium to claim the prize for her harrowing work in “12 Years a Slave.” Her acceptance speech was one of the highlights of the evening, heartfelt, brimming with joy and elation.

“It doesn’t escape me for one moment that so much joy in my life is thanks to so much pain in someone else’s,” she said. “And so I want to salute the spirit of Patsey for her guidance. And for Solomon, thank you for telling her story and your own. … When I look down at this golden statue, may it remind me and every little child that no matter where you’re from, your dreams are valid.”

Moments like these are the reason we watch the Oscars.

2. Was it just me or were there an inordinate amount of awkward Teleprompter related gaffes during this year’s ceremony?

When  it came to reading their lines, so many presenters stumbled — metaphorically, except in the case of Jennifer Lawrence, who continued her tradition of taking a fall while wearing sky-high heels.

Silver screen legends Kim Novak and Sidney Poitier really needed their glasses. Zac Efron botched his scripted patter. Even host Ellen DeGeneres flubbed, calling actor Christoph Waltz “Christopher.” There were so many awkward moments, but none of them quite as hilarious as when John Travolta introduced “Frozen” star Idina Menzel as “Adele Dazeem.”

His error has turned into something of a social media sensation. Slate even concocted this hilarious name generator based on the goof.

http://www.slate.com/articles/arts/low_concept/2014/03/john_travolta_called_idina_menzel_adele_dazeem_what_s_your_travolta_name.html

All of this makes me wonder. Did anyone actually rehearse before the ceremony?

3. Matthew McConaughey’s win for a role that demanded a transformation of career and body in “Dallas Buyers Club” wasn’t exactly a surprise, but his resulting comments are now the talk of Tinseltown. Many people were delighted by his mention of God, gratitude and family. Others, like me, were baffled by his improvisational style.

In regard to a higher power, McConaughey said, “When you’ve got God, you got a friend. And that friend is you.”

In reference to his dearly departed dad: “To my father who, I know he’s up there right now with a big pot of gumbo. He’s got a lemon meringue pie over there. He’s probably in his underwear. And he’s got a cold can of Miller Lite and he’s dancing right now.”

And then he pretty much shattered his previous humility by declaring himself his own hero. Well, sort of.

“I’m never gonna be my hero. I’m not gonna attain that. I know I’m not, and that’s just fine with me because that keeps me with somebody to keep on chasing.”

It was all only slightly less surreal than his Screen Actors Guild Awards speech, in which he made wacky reference to the planet Neptune, or his remarks at the Golden Globes, which revealed that apparently his wife calls him her “king.”

Whatever your reaction, you have to admit there’s never a dull moment when this guy takes the stage.

4. A spirited Cate Blanchett accepted her trophy for “Blue Jasmine” with the immortal words, “Julia, hashtag suck it!,” referring somewhat cryptically to Julia Roberts.

More memorably, she called out a male dominated Hollywood on the woeful lack of satisfying roles for women, slamming those “who are still foolishly clinging to the idea that female films with women at the center are niche experiences. They are not. Audiences want to see them, and in fact, they earn money. The world is round, people!”

It needed to be said.

5. After last year’s poorly received performance by host Seth MacFarlane, whose caustic and sometimes offensive schtick rubbed Hollywood the wrong way, the Oscar producers’ pendulum predictably swung to another extreme in the form of the ever likable, always pleasant DeGeneres.

Don’t get me wrong. Hosting for a second time, Ellen was great, cultivating a playful atmosphere with gentle jabs at celebs during her opening monologue. She treated the bejeweled audience to pizza, stole Nyong’o’s lip balm and coaxed Angelina Jolie, Brad Pitt, Bradley Cooper, Meryl Streep and other luminaries into posing for that now famous selfie.

Despite her best efforts, however, this year’s ceremony often felt tedious and tame. There were few surprises when it came to the winners — “Gravity” dominated with seven trophies; “12 Years a Slave” took the best picture prize — and only a handful of moments that resonated with the genuine emotion that keep Oscar viewers coming back for more.

This year’s theme was dedicated to movie heroes, but the ensuing montages were so generic they barely registered. Bette Midler sang “Wind Beneath My Wings” after the traditional In Memoriam segment and received one of several overeager standing ovations, but considering the song is more than 30 years old, it was a strangely stale choice.

Ultimately, the 86th Academy Awards were done in by a stultifyingly conservative aura. Nobody ever got the gold by playing it safe.

Advertisements

Stop Grousing and Go See ‘Gravity’

This year’s Academy Awards race is one of the closest in recent memory with three of the nine films nominated for best picture in a tight heat. Oscar analysts agree that at the conclusion of Sunday’s ceremony, Hollywood’s most coveted prize will be presented to the producers of either “Gravity,” “12 Years a Slave” or “American Hustle.”

Entertainment Weekly, in its Oscar predictions issue, forecasts that 19% of the Academy vote will go to “Gravity,” with 18% for “12 Years a Slave” and “American Hustle” with 16% of the ballots. Last month, in a rare occurrence, “Gravity” and “12 Years” tied for the top prize at the Producers Guild Awards. The ceremony is usually a good predictor of Oscar outcomes.

For months, the three front-runners have generated considerable buzz. “Gravity” racked up an impressive $700 million at the global box office. “American Hustle” crossed the $200 million mark and even the harrowing “12 Years” drummed up $100 million in ticket sales. The fact remains, however, that many people have not bothered to head to the theater to see what all the fuss is about.

Of course, this isn’t unusual when it comes to the Oscars, a ceremony that is treated with reverence in Tinseltown but tends to elicit yawns from an indifferent general public. Unless it’s one of the few years in which a major blockbuster is nominated — “Avatar,” for instance, viewed by practically everyone on the planet — it’s common for best picture candidates to languish unseen.

But this time around, the front-runners are worthy of your time and attention. In a year of exceptional films, they are the best Hollywood had to offer — a visually innovative cosmic thriller; a brutally honest historical drama; and a shamelessly entertaining glitter-pile of 1970s glam.

Oddly enough, it is “Gravity” that seems to have encountered the most resistance from a certain segment of filmgoers. I’ve talked to a number of people who stubbornly turn up their noses at Alfonso Cuaron’s space odyssey. Perhaps their reticence stems from the film’s minimalist but epic premise. At first I couldn’t imagine what could possibly be so compelling about watching Sandra Bullock and George Clooney float around in outer space.

Still, the skepticism is baffling, considering what a taut nail-biter of a thriller the film is, not to mention its stunning visual achievements and emotional heft. If you’re lucky enough to find a place where you can still catch an IMAX screening of the movie, it will be one of the most suspenseful, immersive, uplifting and intense cinematic experiences of your life. The film was released Tuesday on Blu-ray, so you can watch it from the comfort of your couch, but you’ll be missing out. If ever a film demanded to be seen on the biggest screen possible — preferably in 3-D with a kick-ass sound system — this is it.

The story of a medical engineer adrift after her space shuttle is torn to shreds, “Gravity” features one of Bullock’s most fragile and moving performances. The film ingeniously registers on two levels – it’s one heck of a popcorn movie ride but it’s also packed with existential symbolism and musings on hope, rebirth and the significance of humanity in a terrifyingly infinite universe. It’s as deep or as shallow as you want it to be.

“American Hustle” is an easier sell. Directed by “Silver Linings Playbook” helmer David O. Russell and reuniting several members of that crowd-pleasing comedy-drama’s cast, “Hustle” is a trashy, over-the-top romp through 1970s sleaze and the most fun many of us had at the movies in 2013.

Nothing about the film is hard to love, from the gloriously kitschy period costumes and art direction, to the go-for-broke acting, to the twisty plot about a pair of con artists embroiled in a government sting operation. Bradley Cooper’s perm and Christian Bale’s comb-over may appear to steal the show, but it is the film’s leading ladies – both nominated for Oscars – who are the real stars. Amy Adams, as a chameleonic temptress looking for love, and Jennifer Lawrence, as an unstable, accident-prone housewife, deliver the most mesmerizing performances of their already accomplished careers.

“12 Years a Slave” is difficult to love, despite the fact that it is quite possibly the most authentic movie of its kind. While other films about America’s dirty, devastating past soft-pedal the indignities of slavery, director Steve McQueen lays them bare in merciless fashion, making for a film that is necessary, yet excruciating. After seeing it, my husband and I were silent the whole way home. There was literally nothing to say in the aftermath of so much shame and sadness.

McQueen specializes in depicting human depravity and desperation — he made a movie titled “Shame,” after all — and “12 Years” is his masterwork. It is brilliantly acted with performances so naked, it’s hard to look them in the eye — Chiwetel Ejiofor as the kidnapped Solomon Northup, Michael Fassbender as a lascivious slave owner and, most searing of all, Lupita Nyong’o as the tormented target of that slave owner’s twisted obsession.

Yes, “12 Years” is painful to watch, but that doesn’t mean you shouldn’t watch it, even if you only watch it once. The film has profound and indispensable things to say about the insidious nature of racism.

There are great treasures to mine, great revelations to discover in Oscar’s favorite trio and time and opportunity to rectify what you’ve missed, long after the Oscars are over.

Why deprive yourself of greatness?