113 days 'til Oscar. The Existential Question of the Honorary Oscars.

by Nathaniel R

Audrey Hepburn giving King Vidor his HonoraryThe Honorary Oscars, which will be given out again tonight to a very deserving quartet (Donald Sutherland, Owen Roizman, Agnes Varda, and Charles Burnett), have always been a curious and quite arbitary distinction. Like competitive Oscars the timing has to be just right. You have to be on people's minds. You have to have a cheerleading section in the right places within the Academy. You mostly have to be of a certain age (so if you die before you're 75 or so, forget about it!). Curiously, though, you don't have to be overdue having lost a bunch of previous Oscars. This year's recipients fit into the tradition of "overdue because they've been under-honored" but this is not always the case. The Honorary Oscars, even since the beginning have often gone to people who've won competitive statues. That's a strange thing, if you ask us, since shouldn't the point be to cover your bases? Quite a few great stars who have never been the single best in any particular year so the Honorary is a perfect way to honor them. At the very least it's a better way to honor them than a competitive statue in a year where they don't really deserve one (and that's happened so often!)

At the 1978 Oscars the 111th through 114th Honorary Oscars were handed out and they illustrate this confusion as to the award's purpose...

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Honorary Oscars: Donald Sutherland in "Ordinary People"

Lynn Lee reflects on Honorary Oscar winner Donald Sutherland's work in a former Best Picture...

The first time I saw Ordinary People, I remember thinking it was very good, very sad, and very WASPy, and that the acting was outstanding across the board.  I was most impressed, if also most frustrated, by Mary Tyler Moore for playing so convincingly against type as the chilly, brittle, allergic-to-grief Beth Jarrett; found Timothy Hutton’s guilt-racked Conrad the most relatable; and Judd Hirsch’s warm, no-BS shrink the most appealing.  Yet the character I ended up feeling the most sympathy for was Donald Sutherland’s Calvin, who’s forced to accept the disintegration of the family he fought so hard to preserve.

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Honorary Oscars: Owen Roizman and "Tootsie"

We're revisiting work from this year's Honorary Oscar winners. Here's Eric Blume on cinematography Owen Roizman

Sydney Pollack’s 1982 movie Tootsie is one of my all-time favorite films. It's a perfect treat to revisit when you need to feel like there’s hope in the world.  Despite many viewings, I’ve never truly contemplated the cinematography by one of this year’s Honorary Oscar recipients, Owen Roizman.

Tootsie marked Roizman’s fourth of five Academy Award nomination (the others are The French Connection, The Exorcist, Wyatt Earp and Network).  It’s not the kind of work that typically generates an Oscar nomination. Indeed, the competition that year (Gandhi, Das Boot, E.T., and Sophie’s Choice) were the more magical, lyrical, expansive sort of films that are usually recognized in that category.

But Roizman’s contribution to Tootsie is gigantic, key to the film’s tone and success. It's also an excellent example of how many careful, intelligent decisions go into a more typical, mainstream film and the difference they can make...

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Honorary Oscars: Agnès Varda's Cléo from 5 to 7

We're revisiting work from this year's Honorary Oscar winners. Here's Salim on Agnès Varda...

What's good?

When most people look back on the French New Wave, it’s unconsciously seen as a boys’ club, especially of the Cahiers du Cinéma clan with Godard and Truffaut. That’s unfortunate when a chapter in film history feels marginalizing and the masculinity in the French New Wave movement can end up nondescript.Much thanks for Agnès Varda then, representing both the literary Left Bank wing of the French New Wave and the feminine voice she brought to the fray.

While her directorial debut La Pointe Courte predates and even informs much of the French New Wave proper, Cléo from 5 to 7 is essentially the work that broke that glass ceiling and introduced a new sort of perspective into the one of the most radical movements in film history.

And the brilliant thing is how unassuming Cléo from 5 to 7 is about these things. Not TOO relaxed, mind you...

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The Furniture: Grotesque Extravagance in Fellini's Casanova

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail. Since the Honorary Oscars are handed out next week, here's a Donald Sutherland film for you!

Federico Fellini didn’t much like Giacomo Casanova, the famously amorous subject of his meandering fantasy-biopic. The director may not have liked Donald Sutherland, either. The actor was required to shave his head and sport both a false nose and a false chin to play the long-winded lover. The costumes aren’t especially flattering either. Fellini’s Casanova is an erotic descent into Hell, a grotesque pageant of 18th century moral abandon. It frequently borders on the disgusting.

It was also on the edge of Oscar’s attention, sliding into only two categories. While Fellini’s Casanova did win for its costumes, its production design missed out entirely. Anyone betting that year would likely have lost money; La Dolce Vita, 8 ½ and Juliet of the Spirits were all nominated for both.

Though this sexualized panorama thrilled the costume designers, it may have shocked too many art directors. Like Sutherland’s performance, it’s proved to be a bit too much for the Academy. That’s a shame, because the contribution of legendary designer Danilo Donati is dazzling...

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