Perfect Pitch

1981 was the year that a French film with the title Diva became a surprise box office hit in America. It grossed $6 million dollars, making it the third most profitable French since 1975 to attract both mainstream and art house audiences plus most of the important critics loved it. Roger Ebert of The Chicago Sun-Times called it, “A visual extravaganza. One of the most persistently entertaining, absorbing and scary thrillers I’ve seen in a long time.” Pauline Kael of The New Yorker raved, “Every shot seems to have a shaft of wit. It’s Welles romanticized, gift-wrapped. It’s a mixture of style and chic hanky-panky, but it’s also genuinely sparkling.” And J. Hoberman of The Village Voice stated, “Diva is not only the most purely pleasurable movie to open here this year, but surely one of the finest films to arrive from France in a decade.” Yet the film was a complete flop in France when it opened there with most critics attacking the film for a visual aesthetic they claimed was inspired by commercial advertising. Strangely enough, after Diva became a hit in America and around the world, French critics and audiences changed their minds and it finally became a commercial success in its own country, winning four Cesar Awards (the French equivalent of the Academy Awards) – Best First Work (director Jean-Jacques Beineix’s debut feature), Best Music Score (Vladimir Cosma), Best Cinematography (Philippe Rousselot) and Best Sound (Jean-Pierre Ruh). So how does it hold up today?

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Oscar Oddities, Part 1

CON AIR (1997), Oscar nominee for Best Original Song and Best Sound.

Every year in the annual Oscar race there are always a few surprises, head scratchers or genuinely odd contenders that make you wonder how they were ever selected. Was it politics? Was it a fluke? Did good taste or bad taste actually triumph? Here is a list of my favorite oddities, some of which deserved their nomination though I never expected the Academy to acknowledge them because they were either low-budget indies, big budget genre pictures or under the radar movies that were barely noticed by moviegoers. I’m using the 1990s as my starting point and working backwards from there, cherry picking specific Oscar races, since most of the more interesting anomalies occurred prior to the 21st century.

Yes, there have been a few unexpected contenders since then such as 2000’s strange and mesmerizing Shadow of the Vampire (nominated for Best Supporting Actor – Willem Dafoe) and Hustle & Flow featuring the Oscar winning Best Original Song of 2005 – “It’s Hard Out Here For a Pimp.” In fact, the Best Original Song Oscar category is usually the place to look for oddball entries such as “Blame Canada” from South Park: Bigger, Longer & Uncut (1999) by the demented director-writer team of Trey Parker and Matt Stone or “How Do I Live,” written by Diane Warren and performed by Trisha Yearwood in Con Air (1997), an outrageous over-the-top action thriller from producer Jerry Bruckheimer. But, in general, the Academy Award nominations from 1999 on back to the beginning were quirkier and more fun.

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