HOLLYWOOD — “No Country for Old Men,” Joel and Ethan Coen’s chilling confrontation of a desperate man with a relentless killer, won the Academy Award for best picture on Sunday night, providing a more-than-satisfying ending for the makers of a film that many believed lacked one.
The Coens, who live in
No film ran away with the night, however, as the 80th annual Academy Awards gave a bruised movie industry a chance to refocus its ever-inward gaze on laurels instead of labor strife.
Daniel Day-Lewis won best actor for his portrayal of a ruthless oil tycoon’s rise from the sweat and sludge of wildcatting to wealth, power and madness in “There Will Be Blood.”
And Marion Cotillard won the Oscar for best actress for her incarnation of the tormented chanteuse Edith Piaf in “La Vie en Rose.”
“Thank you life, thank you love,” an elated Ms. Cotillard said. “It is true there are some angels in this city.”
None of the best picture nominees went home empty-handed: all picked off a significant win in one category or another.
Javier Bardem won the fourth Oscar for “No Country,” capturing the best supporting actor for his role as the cattlegun-wielding, pageboy-wearing serial killer. He thanked the Coens, saying they “put one of the most horrible haircuts in history over my head.”
The Oscar for “No Country” was a long-sought triumph for Scott Rudin, a prolific producer who has specialized in movies on the smarter end of the spectrum, but only once before received a best-picture nomination, for “The Hours” in 2003.
Tilda Swinton took best supporting actress for playing a nervous wreck of a corporate lawyer who throws morality under the bus of her ambition in “Michael Clayton.”
The indie delight “Juno,” about a pregnant teenager with a mouth on her, won for best original screenplay, by Diablo Cody, who once worked as a stripper. She tearfully thanked her family for “loving me for who I am.”
“No Country” was denied in several technical categories, as well as in cinematography: Robert Elswit won that Oscar for “There Will Be Blood,” whose extended tracking shots in harsh open spaces and dimly lighted images of claustrophobic spots made for stunning scenes despite long stretches with little dialog.
With all four top acting prizes going to Europeans and the New York-based Coen brothers’ film in contention for several others, it was a night when Hollywood’s glittery establishment came out to honor what was essentially a gaggle of outsiders.
Another example: “Falling Slowly,” the ballad from “Once” about the music created in the space between two people, won best original song. It was written by the film’s stars, the Irish Glen Hansard and the Czech Marketa Irglova, who have since become a real-life couple.
“Atonement,” nominated for seven awards, won for best original score. The awards were otherwise all over the map, with the first nine going to different films, leaving the show’s host, Jon Stewart, to set the tone with a riff on the three-month writers’ strike that had threatened to turn the Oscars itself into a marathon of montages.
“You’re here — I can’t believe it, you’re actually here!” he joked as the show opened. “The fight is over, so tonight,” he added, “welcome to the makeup sex.”
Mindful of the election season, he took note of the Democratic primary race between Barack Obama and Hillary Clinton. “Normally when you see a black man or a woman president, an asteroid is about to hit the Statue of Liberty,” he said.
“Ratatouille,” a rodent’s-eye view of the accessibility of art, won for best animated feature. Brad Bird, that film’s director, thanked his junior high school guidance counselor: “He asked me what I wanted to do with my life,” Mr. Bird recalled. “I said, ‘Make movies.’ He asked me what else I wanted to do with my life. And I said, ‘Make movies.’ ” Mr. Bird said the doubt he faced was “perfect training” for a life in
“Taxi to the Dark Side,” an examination of American torture practices, won best documentary feature.
Also in the early going, “La Vie en Rose” won for best makeup and “Elizabeth: The Golden Age” won for costume design. “The Golden Compass,” in which every human character is born with a shape-shifting animal companion known as a “daemon,” scored a big early upset in the visual-effects category, beating two far more successful films: “Transformers” and “Pirates of the Caribbean: At World’s End.”
Among the lesser-watched categories, “The Bourne Ultimatum” won Oscars for all three in which it was nominated: film editing, sound mixing and sound editing.
“The Counterfeiters,” a Nazi-era drama, became the first Austrian film to win an Oscar, for best foreign-language film.
Owen Wilson presented the award for best live-action short to “Le Mozart des Pickpockets,” and played it straight, avoiding any reference to his personal collapse and hospitalization just as his “Darjeeling Limited” was being released last fall. Best animated short went to “Peter and the Wolf,” and was presented by an animated Jerry Seinfeld, in his “Bee Movie” character.
The animation award, and Mr. Stewart’s opening monologue, provided a lighthearted liftoff for an Oscars telecast sure to be weighted down by the field of mostly small and dark films in the running for the top honors. Embraced by critics, those movies have been less warmly received by the mass audiences whose attentions have sustained the Academy Awards as one of the nation’s few remaining shared rituals.
The lack of a clear consensus among critics and audiences left the potential for an Oscar night in which the top awards were scattered in every direction. Among other things, the evening promised to be a tug of war over sensibilities: Academy voters were being asked to choose between the nihilism of “No Country for Old Men,” in which the serial killer prevails; the hopeful spunk of “Juno,” in which a pregnant teenager forges her own solutions; or, perhaps, a saga of childhood betrayal and lives destroyed, in “Atonement,” set against the backdrop of British retreat in the early days of World War II.
As Mr. Stewart put it: “Does this town need a hug?” He added, “All I can say is, thank God for teen pregnancy.”
The 80th annual Academy Awards, held at the Kodak Theater here, delivered a welcome return to pomp and ritual for a town still recovering from the strike by film and television writers that stripped the glitz from the enterprise. “I think the town is ready to celebrate,” said George Clooney, walking up the red carpet accompanied by his girlfriend, Sarah Larson. “I know I am, but then that’s never been a problem for me.”
On Sunday, however, jitters still surrounded a broadcast that was assembled quickly around a roster of independent-style films, none of which has shown the audience appeal of a “Titanic” or “The Lord of the Rings: The Return of the King,” previous best-picture winners that pulled large audiences to the awards show in the past.
Source : http://www.nytimes.com/
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