Jimmy Kimmel was predictably funny in his return role as host of the Academy Awards. It was Oscar’s 90th birthday, “which means,” Kimmel said, “he’s probably at home watching Fox news.”
Kimmel brought the much needed spice of levity to the ceremony’s buffet of self-congratulation and set the tone: this has been the year when Hollywood began coming to terms with its long history of sexual abuse. He also noted an Oscar night of many firsts, including an array of first-time nominees, some representing younger generations or previously under recognized minorities. And amidst the tinsel and gilded razzmatazz was the evening’s running theme: despite the worst efforts of the GOP and the NRA, attitudes have changed and the tide has shifted. The victory of Call Me By Your Name (Adapted Screenplay), A Fantastic Woman (Foreign Language Film) and Get Out (Original Screenplay) was offered as proof.
Although The Shape of Water received 13 nominations, the largest number by far, Guillermo del Toro’s fantasy would not sweep the night. It lost in many technical or craft categories to Dunkirk, Blade Runner 2049, Darkest Hour and Phantom Thread. The Shape of Water had no one to run for Best Actor; Gary Oldman was the juggernaut for his Darkest Hour role as Sir Winston and took home the prize. Sam Rockwell affirmed the industry buzz by winning Best Supporting Actor for 3 Billboards Outside Ebbing, Missouri, beating The Shape’s Richard Jenkins. Likewise, Allison Janney fulfilled predictions by winning Best Supporting Actress for I, Tonya, beating The Shape’s Octavia Spencer. Francis McDormand’s Best Actress win was no surprise, but let’s face it—acting angry for two hours is relatively easy compared to being mute and expressing emotions through gesture and facial expression. On difficulty alone, The Shape’s Sally Hawkins was the best.
But the magic of Alexandre Desplat’s music from The Shape won for Best Score. And finally, del Toro received best director and his film won Best Picture—a project that would have been impossible to conceive along Hollywood’s line of thinking. It doesn’t fit neatly into any marketing pigeonhole, and except for fans of The Creature From the Black Lagoon, has no recognizable characters.
Director nominee Greta Gerwig’s comments upon presenting the award for Documentary Feature were apposite: “What is real? What is authentic? What is fake?” she asked, vital questions in a world of “reality” TV, a White House occupied by pathological liars and, yes, Fox News.
