Limelight: Oscar picks baby By Lubna Abdel-Aziz It all boils down to this, an extravaganza of mammoth proportions crowns the best of the best in the motion picture industry. They call it Oscar night. Armies of lovelies bedazzling and bewitching in their splendiferous attires, marched on the red carpet on their way to the gilded gates of the temple of temples. The Academy of Motion Pictures Arts and Sciences (AMPAS) now at their new home, the Kodak Theatre, welcomed the idolaters to the altar of Oscar -- a 13,5 inch bronze god dipped in gold -- who makes his divine appearance one night a year, and worshippers kneel, bow and kow-tow. Smiles may adorn their perfect faces, but their hearts are filled with anxiety, envy, trepidation and fear. So much rides on Oscar. Fortunes, futures, careers, and destinies may rise and fall at his very whim and whimsy. This little man means big business. AMPAS, an august body of 5,808 members of Hollywood's finest was created 77 years ago in 1927. A sort of "super union" of 36 members of the elite of their industry. Membership is by invitation only by the Board of Governors, limited to those who have achieved distinction in film, thereby fit to sit in judgement of their peers. The trophy, more recognisable than many of its stars, seems to have acquired a life and identity of its own. Designed in 1929, it was originally known as the Academy Award of Merit. Origins of the name "Oscar" is unclear. One version has it that Academy librarian Margaret Herrick, on seeing the "little fella", a golden knight standing on a reel of film, hands gripping a sword, exclaimed: "why, he looks just like my uncle Oscar!" The nickname stuck, and was adopted officially by the Academy ten years later, in 1939. The tradition of secrecy also started in 1939, when the Los Angeles Times published photos of the winners before the Academy's official announcement. Since then the process has undergone extreme and rigorous reforms. The ballots are tabulated by Price Waterhouse in a windowless room, under total secrecy. Only two accountants who accompany the secret ballots at all times know the results before the envelopes are opened. Hollywood is unique in producing a crop of worthy films each year, many of which become great classics in cinema history. Yet the gaffes committed by the Academy have also been embarrassing classics. Directors like Orson Welles, Alfred Hitchcock, Stanley Kubrick, Sidney Lumet never received an Oscar for any of their great masterpieces. Neither did Martin Scorsese. A genius with or without an Oscar, Scorsese was nominated seven times but may have to wait for a Life Achievement Award as did Sidney Lumet who finally received one this year. Oscar gave his nod instead to favourite son macho icon Clint Eastwood. What is there left to say about Mr Eastwood that has not already been said. No doubt age becomes him. He is at the top of his form at 74, always coming back with a punch and a jab and always scoring a knock-out. Clint has starred in 58 films, produced 22, and directed 15 so far. Most surprising of all, he has composed the music for 10 of his films including Million Dollar Baby. He started his ride to superstardom with A Fistful of Dollars (1964) and A Few Dollars More (1965), and has now reached his zenith with his Million Dollar Baby. Winning two out of three nominations, best director and best picture, Eastwood is a living legend who stands in a special place where no one can reach. For decades Hollywood has chosen to ignore its minorities, Blacks, Hispanics and Asians, while only too happy to hand their Oscars to foreigners. With perseverance and excellence, Blacks have recovered and found sweet revenge with Sidney Poitier, Denzel Washington, Halle Berry (all best actor Oscar winners) and many other prominent stars. This is the year they come out swinging. The Academy has nominated a host of Black actors led by Jamie Foxx in Ray and Don Cheadle in Hotel Rwanda. Foxx was also nominated as Supporting Actor in Collateral, making him the first man to have two acting nominations in the same year since Al Pacino in 1993. Foxx won best actor for a vibrant and stunning performance in Ray. Not only does he portray the late, great, Ray Charles, he becomes the late, great, Ray Charles, capturing the very heart and soul of the classic king of rhythm and blues. Black actors have been "a long time a-comin'", but "they're a-comin'" and it's about time! Best Supporting Actor was no surprise. Morgan Freeman has never given a bad performance in any of his 80 films. In fact "he has managed to make bad movies watchable." He deserved an Oscar nomination for every time he graced the screen with his outstanding presence. Nominated three times before, this is his first win as boxing trainer, "Scrap" in Million Dollar Baby. Born in Memphis, Tennessee in 1937, he won a state-wide acting competition at age 12 and made his debut on Broadway in Hello Dolly in 1966. He became Broadway's popular song-and-dance man, amassing dozens of awards throughout a splendid stage career. His film career has been equally brilliant. Although he lives in his old hometown of Memphis, he keeps returning to Hollywood to perform his wondrous screen magic. With their appalling taste and style at times, the Academy is capable of rising from the throes of middle- brow culture and honouring the worthy. Actresses have fared rather well with the Academy, although most times youth and beauty take preference over age and excellence. This year Academy members found themselves facing the same dilemma they did five years ago with the same two splendid performers -- Annette Bening in Somerset Maughan's Being Julia, and Hilary Swank in Million Dollar Baby. Swank won as a male-dressing female in Boys Don't Cry (2000) over the experienced Bening in American Beauty. This ritual was repeated once again as Swank retained her title of champion over her opponent. Who could have denied that young thespian her second trophy for her unglamorous, enigmatic tour de force as Maggie the fearless, feisty, female, boxer in Million Dollar Baby. Cate Blanchett, perhaps the most brilliant actress working in film today, personified Kate Hepburn, the most brilliant actress working in Hollywood in the 1930s, 40s, 50s, etc in The Aviator. Blanchett, best interpreter of human emotion on screen, wisely chose to convey the essence of the Hollywood diva rather than mimic her mannerisms or copy her physical appearance. In a graceless and inelegant age, she provided one of the few flashes of elegance and grace. The Academy's choice of host Chris Rock to follow in the footsteps of giants like Billy Crystal, Steve Martin, or legends like Bob Hope and Johnny Carson, was risky at best and had the Hollywood nobility all jerky and jittery. They feared that Rock, "a foul-mouthed" comedian, would rock the prestigious Academy boat. But Rock did no such thing. His edgy humour may have been slightly off-colour, but he brought a "younger demographic", that boosted the flailing ratings of Oscar's extravaganza. Happy with the results the Academy called it a night. Their work begins on next year's Oscar show after a four weeks' rest. In every joyous celebration there is an eternal note of sadness as the broken-hearted wipe their tears and ponder what might have been, or very often, what should have been. Was all that razzle-dazzle worthwhile? The hard work, the dreams, the competition, the hype, the expense, the shattered nerves, the bitter tears, the triumphs, the agonies, the victories, the defeats. Those who left empty-handed with no Oscar to love and adore, should remember they are in the very best company. Richard Burton, Peter O'Toole, Thelma Ritter, Cary Grant, nominated many times, never won. It is the work itself that is the great achievement, not the award. Glories like glow-worms, afar off shine bright, But look to near, have neither heat nor light John Webster (c 1580 -- c 1625) All in all it was a grand night -- so was it all worth it? You betcha!!
