Dreams Come True If You're Famous Enough
by Kelly Tong
“I don't know what I did in this life to deserve all this. I'm just a girl from a trailer park who had a dream. I never thought this would ever happen, let alone be nominated. And a working actor, for that matter. And now, this. I thank the Academy. I'm eternally grateful for this great honor…”
As Hilary Swank held the golden statue we have all come to know on a first name basis and delivered her humble speech, millions of Americans listened to her story of hope. Hollywood is known as the place where “rags to riches” is a reality. Tell yourself that. Then tell yourself that you’re going to eat ice cream when you’re actually going for a rubella vaccination. Tell yourself that you’ll win the lottery before you get struck by lightening. This is not to say that Hollywood is without its anomalies. At the 77th annual Academy Awards, Million Dollar Baby brought about a barrage of comebacks. Clint Eastwood played a boxing coach and was the director of the best film of the year. Hilary Swank played a female boxer and was named the best actress in a leading role. Dreams came true that night. Thus, I was convinced this was a movie worth seeing, that is, I had hopes that I would not leave the theatre feeling empty or gypped into another hackneyed storyline.
Ultimately, I felt a sense of déjà-vu; I’d seen this plot before: the woman that didn’t belong in a realm where men ruled, the washed-out coach with a hard exterior but emotionally troubled interior desperately looking for another chance, and a random character for Morgan Freeman to play to offer wise insight. Clichéd. Hilary Swank is to Million Dollar Baby as Will Smith is to Ali or as Jackie Chan is to Rush Hour or as the horse Rich in Dallas is to Seabiscuit.
But why did the Academy appreciate it so much, and more importantly, what is this Academy that makes itself sound like the Freemasons? It is a rather public organization of film experts and craftsmen who have proven themselves skilled at the art of film. Membership is by invitation only. The organization’s mission is “to advance the arts and sciences of motion pictures, foster cooperation among creative leaders for cultural, educational and technological progress, recognize outstanding achievements,” and to essentially spread the good word of film. It’s not a façade that veils its deep corrupt corporate influences from the motion picture studios. The Academy has, for example, constructed an enormous film library, to which the public is welcome to utilize. Unlike the Freemasons, they don’t want to rule the world. Think of it as Greenpeace for films, minus the non-profit part.
Yet, it has fallen victim to commercialization. Millions of dollars are thrown at stars to guarantee that millions of people glue themselves to their television. The annual award presentations have become increasingly glamorous, packed with surprise guests and hosted by Hollywood’s elite. But it’s not some conspiracy in which all celebrities are involved in to make more money. The Academy needs to be commercialized, for the show is one of its main sources of income.
Nevertheless, it seems that awards are widely being given to the films that can afford renowned celebrities and epic battle sequences, ones that can afford nationwide advertising, especially during Super Bowl commercials. The 76th Academy Awards, for instance, essentially consisted of two contenders: Mystic River and The Lord of the Rings. The latter is without any doubt a remarkable spectacle, yet, its advanced animation and lofty budget shadowed films that had smaller budgets. It bewilders me, however, that Mystic River was presented with so many awards, as it was much like an extended episode of Law & Order, featuring highly paid actors and no resolution. It most likely received an accolade for its excessive amounts of drama, something that an audience will always enjoy.
The Academy just isn’t the clique where filmmakers with unique ideas are welcomed or even appreciated. Occasionally, a couple of original tales manage to find their way to the ballot (i.e. Sideways and 21 Grams). However, that seems to be the farthest they can go. In short, it appears that the Academy tends to agree with its audiences. That is, if audiences like a film, the Academy will follow suit. Thus, movies like 21 Grams, which retains an extremely emotionally draining storyline, are appreciated for their artistic rather than entertainment value.
Each year, the Cannes and Sundance Festivals, along with hundreds of other international festivals, recognize the most incredible films in existence. City of God, The Pianist, and Amélie are among those that received international fame, yet each of these movies lost to mediocre movies with grand funds and star power. City of God lost its Oscar to Master and Commander, The Pianist to Chicago, and Amélie to Moulin Rouge. However, The Motorcycle Diaries managed to win in the extraordinarily memorable category of best original song. Antonio Banderas even decided to compliment it by butchering it on national television. I constantly tell myself that I will cease to watch the Academy Awards. I persuade myself that they just don’t offer any insight into the quality of the movies. I tell myself that I will definitely boycott them next year. I promise not to watch, unless Antonio Banderas decides to wow the entertainment industry further with a performance on the ukulele.
