Image via Wikimedia Commons
As a filmmaker, Steven Soderbergh has had ups and downs, but let it not be said that he lacks ambition and a willingness to try new things. His coproduction of the 2021 Academy Awards ceremony will probably merit no more than a footnote in his career, yet it ought to be remembered as one of the best Oscars show in recent memory.
The challenges for the producers and director Glenn Weiss involved hosting the main ceremony at Los Angeles’ Union Station, an Art Deco gem from the railroad age, with other guests at the Dolby Theatre plus remote hookups from around the world. The limited number of guests at Union Station were seated at small tables in tiers forming a horseshoe around the stage. As first presenter Regina King strode into Union Station, the credits rolled—just like a movie. The cast were the nominees.
The pace of the event was deliberate, unhampered by the presence of a host and hindered only by a few motor-mouthing winners with thank-you’s long enough to circle the globe twice over. A handful of speakers had something interesting to say. Tyler Perry, who received a humanitarian award, was eloquent in his call to “refuse hate” and avoid “blanket judgements.” Korea’s Yuh-Jung Youn, who won Best Supporting Actress for Minari, questioned the idea of competition between films and actors. These aren’t racehorses who win for being first at the finish line. How, she wondered, could she be deemed “better” than Glenn Close?
The number of nominees of color was striking, evidence that we’re crossing the point where black, brown or Asian faces are anomalies at the Oscars. As for the winners, no single film dominated, albeit several top awards went to Nomadland for Best Picture, Best Director (Chloe Zhao) and Best Actress (Francis McDormand). The Father picked up two awards, Best Actor (Anthony Hopkins) and Adapted Screenplay. Other winners at two trophies each included Judas and the Black Messiah, Ma Rainey’s Black Bottom, Sound of Metal, Soul and Mank.
