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Monday, March 31, 1997

FILM:

Big studio movies overlooked for superior work of small companiesBy Emily Forster and Cheryl Klein

Daily Bruin Senior Staff

Oscar rolled out the red carpet for a flock of fresh faces March 24, determined to mesh Hollywood glitz with the likes of self-proclaimed hillbilly Billy Bob Thornton, English stage actress Brenda Blethyn and other unlikely newcomers. The media buzzed that the 69th Annual Academy Awards would be an "Independents' Day."

Yet while the academy was willing to offer "The English Patient" a total of nine statuettes, film audiences are not necessarily as eager to renounce big studios and big names.

No one illustrated this better than the boisterous crowd that filled the bleachers outside the Academy Awards at the Shrine Auditorium. As director Milos Forman ("The People vs. Larry Flynt") made his way past larger-than-life renditions of Oscars, audience members suddenly revealed "Pure Love Alliance" T-shirts and banners proclaiming "No Oscars for Porn." Loudly expressing their disapproval of the controversial film, the protesters drowned out Best Actor Geoffrey Rush's introduction.

Seemingly unconcerned with Rush's portrayal of a mentally troubled piano prodigy in "Shine," this was the same crowd which demanded that Jenny McCarthy take the mike only minutes earlier to give the latest details on her upcoming MTV show. The condoning of McCarthy, condemnation of Forman's film ­ an atypical production for a big studio ­ and general apathy toward soon-to-be Oscar winner Rush provide a close look at how audiences perceive the films the academy chose to honor this year.

The night began with its only studio film honor for a major category, awarded to Cuba Gooding Jr. and his flamboyant portrayal of a professional football player in "Jerry Maguire."

Although he gave a speech as energetic and enthusiastic as his "Jerry Maguire" character after winning the Best Supporting Actor Oscar, he was rather subdued when he talked to reporters minutes later.

"It didn't matter to me what happened tonight, truly," Gooding said. "I know that sounds like bullshit, but I thought it was like a compliment and I thought if it didn't happen it would be interesting to see all the people who would say, 'Oh, I thought for sure you were going to win.'"

Many people were confident that Gooding would get the Oscar, but if he was a likely candidate, acting legend Lauren Bacall's performance in Columbia/Tristar's "The Mirror Has Two Faces" was a shoo-in. Yet when it came time to reveal the Best Supporting Actress Oscar, the award went to French actress Juliette Binoche and her nurse character in the heavily honored "The English Patient." Several audience members were shocked that Bacall was passed over for the Oscar, including Binoche.

"I can't believe it," said Binoche. "Thank God I was not prepared for that. Could you imagine all the nightmares I would have had? But I still want to say something about Lauren Bacall, because I admire her. All of us, we were sure she was going to get it, and I hope she has an honored Oscar next year, because she really deserves it."

One actress that everyone seemed to agree received what she deserved was "Fargo" star Frances McDormand. After getting the Best Actress Oscar for her tough yet feminine role in the dark "Fargo," she was given a standing ovation.

The audience gave a mixed reaction to the news that "Shine"'s Rush snagged the Best Actor award. But Rush knew that he would find approval ­ if not with Oscar audience members, at least with David Helfgot, the pianist he portrayed in "Shine."

"When I tell him, he'll probably say something like 'brilliantisimo,' because he likes to make up words," Rush said.

Despite the importance of audience approval, it is the overall quality of the film that matters in the end. With this year's Oscars, smaller and generally better films were given honors that previously slipped by the independent film scene.

But there is still more work to do. Big studio films surely have the capacity to produce the same quality as these smaller studios have, but as McDormand says, writers, directors and producers have to keep on working.

"I congratulate producers ... for allowing directors to make autonomous casting decisions based on qualifications and not just market value," McDormand said. "And, I encourage writers and directors to keep these really interesting female roles coming, and while you are at it you can throw in a few for the men as well."