University Daily Kansan, March 29, 1982
Page 3
East-West feud adds life to Oscars show night
By MIKE GEBERT Contributing Review
At last—an Academy Awards show that might actually be worth watching.
These past years, the Oscars have been regretfully predictable. "Ordinary People," "Kramer vs. Kramer," "The Deer Hunter," Robert DeNiro, Sally Field, Jo Voit-foregone conclusions all. But a feud between East and West—coasts, that is—has shattered that sonolent serenity. The result is an Oscars show that probably will show more life than any since Paddy Chayfkey told Vanessa Regrave to shut up.
The battle is between the New York critics and the Hollywood industry. During the 1960s, most critics could barely be pulled away from their Bergman and Godard long enough to even watch an American film. While the academy cheered "In the Heat of the Night" or "Oliver!" at best the critics might have hoped nod toward Bowie and Clyde "Graduate." (You decide who had the better idea of which were the best films).
the 70s, united by two "God-father" movies and "One Flower Over the Cuckoo's Nest," relations were more peaceful. But there were strains,
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and the break finally came this year when the New York critics, almost to a man or woman, panned "Raiders of the Lost Ark" as being derivative, repetitive and pure cardboard. To Hollywood, none of that mattered when "Raiders" became the first big hit in a distressing long time.
prepared for the rejection of offbeat choices like "Body Heat."
THE CRITICS were used to their favorites—like Woody Allen or Brian "Dress to Kill" DePalma—being ignored by the Oscars. They were
The screenplay categories are a good place to start, as they may offer some clues. If Warren Beatty and Trevor Griffiths do not win for "Reds" in the Original Screenplay category, and especially if Steve Gordon does win for "Arthur," that could tell how the whole evening will go.
Review
Best Director is tougher. The academy doesn't like Warren Beatty much and doesn't want to give it to an actor two years in a row (Robert Redford won it last year). So, it can't really give the award to "Pond"'s Mark Rydell, and "Charlies of Fire"'s Hugh Hudson is an unknown. I have said, and still do, Louis Malle for "Atlantic City," but there's support building for Steven Spielberg and his "Raiders of the Lost Ark."
But the nominations were still a shock. New York favorites that seemed like Oscar material were either slighted-like "Ragtime" or "The French Lieutenant's Woman"—or else ignored completely, like "Prince of the City" or "True Confessions." Not only that, but there was a strong Los Angeles bias in what got nominated, like on "Golden Pond" (good, but no "Ordinary People"), "Raiders" (good, but no "Reds"), "Arthur" (good, but no
"Annie Hall"), and "Only When I Laugh" (a blight on the history of cinema).
The exceptions were "Chariots of Fire" and "Atlantic City", which were liked on both coasts. But more on these two later. Right now, the big question is whether they are really great, but it does Hollywood have the gall to give it to "On Golden Fond", anyway?
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And Best Picture? The battle lines are drawn between "Reds" and "On Golden Pond." But I find it hard to believe that the academy can give its highest honor, whatever it is worth, to the latter.
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Best Supporting Actress is the easiest. Melinda Dillon ("Absence"), Jane Fonda ("Pond") and Joan Hackett ("Only I Laugh"), none of whom deserve it, and Elizabeth McGovern ("Ragtime"), who does, will all bow to Maureen Stapleton, who will call "Reds" its only assured Oscar.
And Best Supporting Actor is also no contest; despite the competition of Jack Nicholson ("Reds"), Ian Holm ("Charlots"), James Coco ("Only When I Laugh"), and Howard Rollins Jr. ("Ragtime"), the first black nominated in several years, the award winner for Best Actress, Gégloud who apped a third-rate Jeeses imitation into the year's funniest character in "Arthur"
THE ONE THAT is still open to the most debate is Best Actress. Susan Sarandon deserves it for being the best part of a movie with parts greater than the whole in "Atlantic City," but she's not the only one. Ms. Marsha Masaher's white-athene in "Only When I Laugh," it's still three-way. Will early favorite Meryl Steak take it for
No such mystery for Best Actor. Burr Lancaster of "Atlantic City" should have been a strong contender, and Warren "Reds" Beatty and Dudley "Arthur" Moore aren't lightweight. This year would have belonged to Paul Newman, finally getting an Oscar for "Absence of Malice"—but he's up against someone who's waited even longer. The beneficiary of the one real-
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"The French Lieutenant's Woman?" Will three-time winner Kate Hepburn get her four or making the best of a laousy role in "On Golden Pond"? Or will Diane Keaton, riding on the laurels of "Shoot the Moon," nab it for "Reds"? You got me. I'll say Streep, but I make no promises.
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Is there a compromise? That seems to be the current idea. "Raiders" is probably out, but "Atlantic City" or "Chariots of Fire"-probably the latter-are still out. The Pond" split. However, I stick with my original guess: the film that really is the best of the year, "Reds," should win tonight.
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