I spent Oscar night watching good movies on video. I didn’t even know the Oscars were on television until I happened to check the news online and notice that some winners had already been announced.
Out of the 24 Oscar winners, I’ve seen only four of the movies. Of those, I didn’t particularly like Golden Compass, and Bourne won only for technical achievements. I quite liked Ratatouille (even though I’ve never understood why “animated feature” gets its own category, given that there are so few decent animated movies in a given year), and Elizabeth: The Golden Age was okay. The only other winner that I have a particular interest in seeing is Juno. I do want to see No Country for Old Men, and I might watch Once, though I’ve already marked There Will Be Blood off of my “maybe” list. I don’t care how good the acting is if the movie is fundamentally grotesque.
So what did I do while happily ignoring the Oscars? My wife and I watched Feast of Love, which we enjoyed despite some serious problems with the writing (such as the use of a psychic as a plot device), and then we discovered a very fine film: American Pastime.
I’d never heard of this latter film till we saw a preview on another rental. Both my wife and I loved this movie. Okay, part of the plot is somewhat contrived; the interracial romance, the father who just doesn’t understand his daughter, the competition among brothers, and the miracle sports comeback all felt a bit obvious. But I’d rather watch an old-fashioned, heartfelt story than a play of some miserable moral monster. Oscar can stuff it, as far as I’m concerned (though I’ve rarely been much of a fan, as my notes from 2006 and 2004 suggest.) At least Michael Moore didn’t win, which surprised me.
American Pastime is about a baseball team formed in a Japanese-American internment camp. But it’s about much more than that. It’s mostly about a young man’s struggle to deal with racism and injustice. The main character loves jazz and baseball, but his pending college education (on a baseball scholarship) is interrupted by the war and his forced relocation to the camp. Understandably, he feels bitter about this. He and his brother clash — until his brother joins the Army to fight in Germany. And the young man finds a romantic interest in a girl who just happens to be the piano-playing daughter of the camp’s main guard, who just happens to be the star player on the local baseball team. As I mentioned, this sounds like a story-telling setup, but the characters are well developed and believable. The main actors are quite good.
Looking back at 2007, two movies stand out for me. Neither received a single Oscar nomination.
Waitress is a spectacular movie. The Oscar group committed something approaching a moral sin by failing to recognize Adrienne Shelly for screenplay, Keri Russell for best actress, and Andy Griffith for best supporting actor. Waitress is among the great films of the decade, not just of 2007.
Russell plays a waitress (big surprise) who is also a spectacular baker of pies, which reflect her moods. She works at a pie shop owned by Griffith’s character, and Griffith is absolutely superb as the grumpy but perceptive proprietor. He nimbly tightropes between a cynical demeanor and a compassionate heart. The problem is that the waitress is married to a complete jerk — and she is pregnant. This is a love story, but not between the characters of Russell and romantic interest Nathan Fillion, but between the woman and her child. It is a beautiful, gorgeously written story.
Stardust is my other favorite film of the year. I’ve already briefly summarized it:
A young man, trying to win the heart of the local beauty, sees a falling star and pledges to fetch it in exchange for the girl’s hand. But to retrieve the star, our hero must cross the wall that separates England from the magical world beyond. In that world, a fallen star is not a hunk of metal and ash — it is a lovely young lady, in this case portrayed by Claire Danes. Our hero must learn to become a man, save the star, and figure out whom he loves.
This coming-of-age story is a fantasy for grownups. Forget about how silly it sounds to make a star into a girl: it works. And Robert De Niro as the tough-talking (but eccentric dressing) pirate is both hilarious and touching.
Both Waitress and Stardust are such fabulous movies that, of course, neither won even a single nomination from Oscar. (In neither film is a despicable son of a bitch the main character.) But who cares what Oscar thinks: both films earn an Ari.