2008 Woodie Awards
Red Carpet Rundown
Stewart impresses, ceremony short on memorable moments
By Seth Pardick
Rocket Staff Writer
Issue date: 3/10/06 Section: Entertainment
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As for the winners in the major categories, there were no real surprises. There were no jaw-dropping happenings. Most of the speeches were brief and rather straightforward. The orchestra played throughout most of the speeches in an attempt to keep the show moving, a technique that seemed to work for all involved.
The night did have its better moments. Jon Stewart did an admirable job in his debut as host, although his humor seemed somewhat subdued. The political campaign-like skits were enjoyable. Reese Witherspoon and Philip Seymour Hoffman both gave speeches thanking family members, welcomed sentiments from the stars of an event too often characterized by self-obsession. "Brokeback Mountain" director Ang Lee's tolerance-promoting speech was direct, honest and even courageous in light of criticisms from media pundits like Bill O'Reilly (who admittedly had not even seen the film).
The show definitely lacked any real talk-about-the-next-day moments like James Cameron giving his "King of the World" speech or Sacheen Littlefeather declining Marlon Brando's Oscar at the actor's request.
Three moments, however, stick out in my mind as the night's best.
First, although it seemed incredibly out of place, the Three 6 Mafia's performance of "It's Hard Out Here For a Pimp" (from "Hustle & Flow") provided some much needed energy to a show that was beginning to drag. Immediately after the performance, the song was given the award for Best Original Song, at which time the members of the group enthusiastically accepted their statuettes. This moment reminded us that fun and excitement could still exist in a room overflowing with tuxedos and formal gowns.
Second, Gavin Hood, whose "Tsotsi" took the prize for the Best Foreign Language Film, seemed genuinely shaken by the win. He pointed out for the camera the two young stars of the film, proclaiming "Viva Africa." I think that this is perhaps the most important category because it reminds viewers that filmmakers from countries other than the United States consistently create great films. Although I haven't been able to see "Tsotsi" yet, I'm sure Hood's film has something much more important to say than the crass mind-sludge of "Saw" or "Final Destination" could ever say.
Finally, Larry McMurtry, who, along with Diana Ossana won the award for Best Adapted Screenplay for "Brokeback Mountain," gave a heartfelt speech praising those who promote the "culture of the book." McMurtry, a screenwriter and novelist whose film credits include such legendary films as "Hud" and "The Last Picture Show," came across as, above all else, grateful.
On a different note, Robert Altman, who is probably the greatest living American director (or perhaps second to Scorsese), was honored with a lifetime achievement award. Of course the man was allowed his five minutes at the microphone, but I don't think that the ceremony adequately emphasized his significance. His influence on younger directors like P.T. Anderson ("Magnolia") and Quentin Tarantino ("Pulp Fiction") is incalculable.
Ironically, however, the Academy ended up (unintentionally) paying Altman the ultimate tribute when "Crash" was awarded as Best Picture. OK, maybe the various narrative threads present in "Crash" fit together a little too perfectly by the end of the film. And yes, the film has a focus that Altman's more impressionistic style often lacks. All right, I'll say it: "Crash" isn't nearly as good as the best of Altman's work ("Nashville," "McCabe & Mrs. Miller," "M*A*S*H," "The Player" and "Gosford Park").
"Crash" is, however, a very good film and is perhaps the most Altman-esque of any film to be awarded the prize for Best Picture. So in a way, naming "Crash" the year's best film is a vindication of everything that Altman, the quintessential movie maverick of his time, has been doing all these years.
