Presenting Oscars this year involved a higher difficulty than usual, which came less than two months after Southern California’s devastating fire fires and in the midst of political chaos triggered by the Trump administration, combined with the extra burden of difficult controversies around a large nominated, “Emilia Pérez.”
In view of that disclaimer, the 97th Academy Awards largely mastered the sensitive mechanics of the juggling document and recognized heavier issues – such as getting Los Angeles firefighters for an extended ovation – while trying to give a sense of playfulness, even with regard to Los Angeles.
Politics was not oppressive, not yet issues outside the Dolby Theater, from Daryl Hannah, which says “Slava Ukraine” to present a award to Zoe Saldaña and note that she is “a proud child of immigrants” at a time when immigration politics remains a point with significant conflict. In addition, the best documentary went to “No other country,” The collaboration between Palestinian and Israeli filmmakers about conditions on the West Bank and the difficulties of the Palestinians.
O’Brien saved what may have been the most pointed line of the night until the last part of the show, with reference to “Anora’s” wins before we make sense dead, “I suppose Americans are happy to see someone finally standing up against a powerful Russian” -a-so-so-lomed Jab on President Donald.
Before the show, O’Brien and producers acknowledged that they met a tricky balance measure in tone. The show really achieved that during its opening, after a cinematic tribute to LA with a arousing performance of “Wicked” duo Cynthia Erivo and Ariana Grande for “Defying Gravity”, “Home” and “somewhere over the rainbow”, which could easily have been a show -stopping finale.
In fact, the biggest problem was that the telecoast topped prematurely as O’Brien rifled through the best nominated image with a joke for each – including one about Karla Sofía Gascón And her offensive tweets – before she went to a heartfelt defense of the show, despite the tragedy that had defeated the Los Angeles area.
“In the moment like this, all price exhibitions can seem self -indulgent and superfluous,” said O’Brien, while he noted the film’s unifying power “even in the face of terrible fire fires and sharing politics.” The earlier values in the late evening followed it up with some of his branded, let some of the air out of the moment and earn the message that the goal was in the end having fun, after significantly giving the room permission to do so.
Gil Cates, the late producer of many Oscar -TeleCast, often talked about what he called the “Award Show Gods” that smiles at the producers by delivering memorable moments that they had not planned, and fortunately there were several of them. The best included Saldaña that shouted “Mom!” When she took the stage to accept her award, Paul Tazewell (“Wicked”) became the first black man to win for costume design and Kieran Culkin reminded his wife that she had promised him a fourth child if he won an Oscar and picked up where he ended up with his Emmy victory for “succession.”
Even Mick Jagger turned out to be an unexpectedly entertaining presenter, with the 81-year-old rock legend happily scared that he got the gig because he is younger than 83-year-old Bob Dylan.
Not everything worked – what’s more new? -For example, an opening piece with a relaxed dressed Adam Sandler, and long introductions with several results to the nominated costume designers and cinemators who pulled on a little. A splashy musical tribute to the James Bond franchis, while well timed considering the producers’ Creative handover to AmazonAlso felt too much like a Las Vegas Revue.
O’Brien promised to operate a dense ship and even threatened John Lithgow staring down those who talked for too long, but Oscars has a way to flumble the best of intentions on that front. Despite the questionable decision to abolish best songs, the show clocked in for three hours and 45 minutes and spilled more than 10 minutes past the generous window awarded ABC.
The unknowns that surround the death of Genhackman Assuming another obstacle, one that the academy handled by having Morgan Freeman to give a brief tribute to him at the beginning of the Memoriam segment, one that has already stuck with lots of big names. A fun celebration of the late Quincy Jones also arrived too late in the festivities, with only the four best prices coming.
Prices helped themselves in some respects and spread the wealth (at least before “Anora” took over) and acknowledged many first winners, although most of the actors-in addition perhaps best actress winner Mikey Madison -Had plenty of acceptance practice throughout the price. It included Adrien Brody, who somewhat boorically filled past his playoff music before finally taking advantage of his time with his appeal for anti -Semitism and not to “let hatred go uncontrolled.”
“Anora” director Sean Baker used his third victory to issue a “Battle Cry” to support theatrical distribution and independent film, which seemed particularly remarkable not only in the current streaming environment but a year where Box Office hits had a relatively subdued presence during the show.
It has certainly been better Oscar -TeleCast, but also many worse. And given the handicaps on the 97th edition, it’s no small performance.
