Oscars postmortem 2019

The 2019 Oscars telecast was a night of joy, inclusion and surprises. A lot of people who weren't expected to win or came from demographics that have traditionally been marginalized walked away with the prize. They spread the awards around, with no film winning more than four for "Bohemian Rhapsody."

You can see the full list of winners here.

My official Oscar predictions score: I got 11 out of 24 categories right. That's pretty low for me; I average around 15.

For at least half those I got wrong with the prediction, the film I wanted to win, did. I call that a victory.

In my defense, it was a notoriously difficult year to predict, with plenty of surprises. "Black Panther" dominated the "crew" categories. Rami Malek was the underdog for Best Actor but pulled it out due in part to a furious charm offensive.

Olivia Colman's win was the real shocker. I thought she was great, but it clearly was a supporting performance, just as Mahershala Ali's was a lead. Category-hopping is the new norm.

 Colman's victory, despite her charmingly flummoxed acceptance speech, almost certainly means Glenn Close never wins an Oscar. Think on that.

This year was historic for possibly the most diverse field of winners ever. Three out of the four acting winners were persons of color. We had first-ever wins for African-Americans in costumes and production design. Nine out of the last 10 best directors have been a woman, POC or foreign-born.

The expanded/younger/browner pool of Academy voters is showing dividends.

I see the "Green Book" haters are out in force this morning. That's fine. Some detractors have honest disagreements and good points to make. Some are willfully misreading the film's themes; others are projecting their own hangups and biases upon it. That's fine, too -- the loss is theirs.

It's true to say that the Academy has a long tradition of favoring uplifting, warm-hearted pictures over challenging ones. It is quite another thing to insist that represents irredeemable moral cowardice.

The Kevin Hart debacle has mostly served to remind us how superfluous the host role really is. Aside from the opening monologue, there really isn't much for him or her to do. I liked having lots of different celebrities onstage to introduce and present, though I don't know what business Serena Williams has as a presenter, GOAT tennis player (any gender) or not.

The "In Memoriam" feature always gets me, and this year was no exception. They seemed to be presenting the order chronologically, rather than by saving the biggies toward the end. Was happy to see William Goldman get a prominent slot (and a call-out by one of the presenters). Goodbye, Bill.

I don't understand the rationale in having Best Songs sung by people other than those who sang them in the movie. The contrast between most of the performances and the Lady Gaga/Bradley Cooper duet was just gigantic. It was the moment everyone will remember.

This is the difference between actors and stars.

I was happy to see "Roma," an indulgent bore, not take Best Picture -- though it did win for cinematography (mostly deservedly) and director. I fear this had less to do with love for "Green Book" as fear that bestowing the top prize on a streaming service movie would forever upend the theatrical exhibitor model. That day is coming, but it's thankfully not here yet.

The art of cinema is constantly changing, and new disruptors come to the fore to challenge the old ones. There was saying quoted during the night that I liked, "There are no waves; there is only the ocean." Despite its occasional storms, there's no more thrilling artistic landscape to navigate.

Video review: "A Star Is Born"

The luster of “A Star Is Born” has faded somewhat since it opened in theaters, going from box office hit and surefire Oscar favorite to something of the ignored cousin in the awards season.

Everybody likes it, but not enough to actually win the gold.

Lady Gaga in particular has been blanked in most of the high-profile awards for her role as Ally, a plucky nobody who goes from dive bar crooner to pop star sensation in record time. I thought she was very good in the role, a real-life contender for “most famous person in the world” believably portraying someone who’s gobsmacked by her sudden fame.

But for me, Bradley Cooper quietly steals the show as Jackson Maine, the boozy country/rock singer who gives Ally a rocket ride to fame, only to see their relationship suffer when her rising star eclipses his fading one. There’s an unspoken ache to his performance that I found just riveting.

This is the fourth time this story has been told, with iterations in the 1930s, ‘50s and ‘70s prior to this one. (I’ve only seen the first.)

That lends the movie an ageless quality, yet it also felt very fresh and urgent to these eyes. What I took away from the experience is a more nuanced look at fame than we usually see in the movies. Regular folks hear about the substance abuse and mental health problems of celebrities and wished they could be so cursed with wealth and stature.

But Cooper, who directed and co-wrote the script with Eric Roth and Will Fetters, gives us an insider’s look at how normal life becomes warped by fame into an upside-down, inside-out travail that would crush most people.

With terrific songs (most written or co-written by Gaga), a pair of standout lead performances and a stellar supporting turn by Sam Elliott as Jackson’s older brother, “A Star Is Born” is a prime example that even though Hollywood constantly repeats itself, it can still provide indelible experiences along the way.

Video extras are decent, and decidedly music-heavy. This includes music videos of four songs -- “Shallow,” “Always Remember Us This Way,” “Look What I Found” and “I’ll Never Love Again” -- as well as jam sessions of three more: “Baby What You Want Me To Do,” “Midnight Special” and “Is That Alright.”

There’s also a making-of documentary, “The Road to Stardom.”

Movie:



Extras:

Review: "A Star Is Born"

What’s it like to become famous? “A Star Is Born” provides as close an approximation as us peasants are ever apt to experience.

It’s a story of being a nobody and feeling all alone and ignored, and then suddenly there are people all around you constantly telling you what you should do and strangers acting as if they know you.

Lady Gaga, arguably the most famous singer in the world -- if it’s not her, then it’s Beyonce, who was originally in talks for this role -- plays a regular girl, Ally, who goes from crooning in a dive drag bar to the biggest stage in the world.

As with the three previous film versions of this story, the young star is helped along through their romance with an older big star, who eventually sees theirs become eclipsed and grows resentful. I’ve only ever seen the 1937 original and not the musical versions starring Judy Garland and Barbara Streisand from the 1950s and ‘70s, respectively.

Here Gaga’s co-star is Bradley Cooper, who also jumps into the director’s chair for the first time, as well as co-writing the script with Eric Roth and Will Fetters. I’m sure it will be Gaga who gets most of the attention, in a big showy performance that meshes well with her massive star persona. She wrote or co-wrote many of the songs in the movie, and at least a handful are showstoppers.

But it’s Cooper who grabbed my heart in a stricken performance as Jackson Maine, a boozy rocker/cowboy who everybody sees as the golden boy but really feels like a star-crossed loser in his heart. It’s as fine and sensitive performance as he’s ever given, and should be remembered during the awards season.

Cooper also proves to be a more than passable singer, belting out hard-edged rock tunes with a country tinge, as well playing the guitar (or miming doing so) quite believably.

He drops his voice into the basement, chewing his dialogue in a rich, deep burr that immediately made me think of Sam Elliott, which makes sense since he plays Jackson’s much older half-brother.

They used to sing together, but Bobby has now become the tour manager-slash-troubleshooter. Resentments abound -- about the music, the sweaty state fairs where they play, the hearing loss that secretly plagues Jackson. (I identified with him, trying to play it cool while having to ask people to repeat themselves.)

When Jackson stops off in a bar for a drink after one of his shows, he’s ensorcelled by Ally, belting out a saucy version of “La Vie En Rose” while handing out flowers. They spend a magical night drinking, talking, flirting and singing. Next thing she knows Ally has been flown in by jet for his next concert, invited on stage and made to sing one of her songs -- which no one’s heard before -- to a crowd of thousands.

The story is pretty languid and magical the first half, as her star blooms. The second half of the movie flies by very quickly as Ally goes from featured singer in Jackson’s band to a pop sensation all on her own, assisted by Rez (Rafi Gabron), a brilliant but mercenary manager.

This is the rare movie that, even at 135 minutes, could have stood to be a little longer.

The electricity between Gaga and Cooper is undeniable. It’s also fascinating to watch their relationship morph. In the beginning he’s clearly in charge, enjoying granting her a moment in the sun. Later, as his boozing outstrips his talent, Ally becomes the caretaker.

In one memorable scene, they cuddle on a balcony overlooking a massive billboard of her face just before her first album hits. He whispers in her ear to stay true to herself as an artist, not to lose herself in the hype the way he did.

It’s easy to look at all the drinking, drugs and partying and wonder why so many famous people throw their talents away. “A Star Is Born” invites inside the rarest of bubbles and helps us grasp the intense pressure that comes with having to perform. The biggest names often hide the most vulnerable souls.