Well,
Hugh Jackman didn’t take off his clothes. But as host of the 81st Annual Academy Awards, he did manage to entertain and mix up what we’ve come to expect from the drawn out kudofest.
The man’s opening production number was fantastic, applying Broadway-style song and dance to gently and comically remind us of the year’s top nominees.
He also delivered on its promise for a more intimate, interactive ceremony, with the lower stage configuration providing easier access to the A-listers in the front row.
Case in point:
Jackman physically swept
Anne Hathaway off her feet and brought her onstage to cap off his opening number. (And who knew she had such a great voice?!)
TAKE IT FROM ME, KID . . .But how did we feel about how the top acting awards were presented? Instead of showing film clips, five past winners took the stage, each one delivering a verbal tribute to a nominee, before announcing the winner.
I think this worked best for the Supporting Actress category, during which the likes of
Whoopi Goldberg,
Anjelica Huston and
Goldie Hawn were able to toast relative newcomers like
Viola Davis,
Teraji P. Henson and
Amy Adams.
The Best Actress presentations, on the other hand, just seemed kind of awkward. It seemed a little condescending when last year’s winner/still relative unknown
Marion Cotillard was telling
Kate Winslet how she’s one of our greatest actresses. Bitch, she knows! She’s been nominated six times already!
(p.s. was anyone else as frightened as I was at the sight of
Sophia Loren? Woman is not aging so gracefully).
It occurred to me that since this innovative new presenting style took up a good five minutes of airtime, there was no way the orchestra could in good conscience play off the eventual winner before he or she was finished their acceptance speech.
AND NOW A TRIBUTE TO . . . THE AIR WE BREATHE AS WE’RE MAKING MOVIES:
Still, somehow producers didn’t think to trim other unnecessary time fillers.
It continues to baffle me that producers of a show like the Oscars, which runs long year after year, continue to package completely unnecessary video montages. A tribute to romance? Really? A tribute to action scenes? Are we not better than this?
QUIT WHILE YOU’RE AHEAD . . . OR BEFORE BEYONCE SHOWS UP:
Jackman should have left his dancing shoes backstage after his successful show opener. Instead, he rounded up
Beyonce,
Zac Efron,
V.Hudge,
Amanda Seyfried and
Dominic Cooper to perform a medley of show tunes under the inspiration that “the musical is back!”
“Did the musical ever really go away?” my roommate asked.
“Not that I know of. But it may want to right about now,” I responded.
While the show’s first musical number was inspired and infused the show with energy, this little interlude was not only self-indulgent, but fell completely flat. Not to mention it really highlighted Beyonce’s poor lip syncing skills.
Peter Gabriel refused to perform his Oscar-nominated song from
Bolt because producers wanted to cut the length of the song for time. Knowing that
Beyonce and company was one reason for the time crunch, I totally get his decision.
BRINGING THE FUNNY:
James Franco and
Seth Rogen picked up any slack
Hugh Jackman lacked in the funny department by reprising their
Pineapple Express roles in a
Judd Apatow-produced short.
Kudos also go out to
Ben Stiller, who channeled
Joaquin Phoenix to present the cinematography award with Natalie Portman.
RAPID FIRE:
Jennifer Aniston:
Lauren Conrad called, she wants her braid back.
Alan Arkin: it’s
Philip Seymour Hoffman, not
Seymour Philip Hofman. Get it right.
Philip Seymour Hoffman: this is the Oscars, not a street hockey game. Wash your hair, leave your toque it home.
Dustin Lance Black: Marry me. Seriously.
Tina Fey: now that’s how you do glamour, funny lady. Looking hot in that
Versace number!
Not to rag on Jennifer Aniston, but: don’t you feel silly knowing the only reason you’re at the Oscars is so producers can cut to
Brangelina’s reaction in the front row? Or did no one inform you that
Marley and Me wasn’t up for any awards?
