Really, the headline here tells the tale about last night’s awards from the English equivalent of our Academy of Motion Picture Arts and Sciences. “The Hurt Locker” won six awards from the Orange British Academy Film Awards (which makes me wonder what other colours British film awards are available in). As described by Indiewire’s Peter Knegt — who also kindly provides a complete list of the awards — they include Best Picture, a directing award for Kathryn Bigelow, as well as for Mark Boal’s screenplay, editing, photography, and sound — the better part of the whole behind-the-camera British enchilada. And, no, I don’t think that sounds very appetizing, either. Not quite all of it, though. For example, “The Young Victoria” got the awards that usually go to period dramas, costumes and make-up.
Perhaps almost as predictably, the main acting awards, however, did go to more local talent. Specifically Colin Firth won for his performance as a man in mourning in “A Single Man” and Carey Mulligan for her teen learning some hard, yet kind of fun, life lessons in “An Education.” Still, the BAFTAs bowed to standard practice by giving the supporting actor awards to Mo’Nique of “Precious” and Christoph Waltz of “Inglourious Basterds,” yet again. (Also truish-to-form, Mo’Nique wasn’t there.)
Best British film went to the highly praised “Fish Tank,” which happens to feature “Basterd” secret weapon Michael Fassbender opposite Kierston Wareing and newcomer Katie Jarvis. As for the lastest from the onetime Mr. Kathryn Bigelow, “Avatar,” it met the once traditional fate of well-regarded science fiction movies at the Oscars, and only got a Best Visual Effects and Production Design awards but, of course, is only making a double gazillion dollars. Aaah. Geeks may be take some solace, however, in learning that “Outstanding Debut By A British Writer, Director Or Producer” went to Duncan Jones for his intriguing feature debut, “Moon,” a small-scale space tale like they used to make.
The British equivalent of the Oscars has announced its choices. Since the BAFTAs include American films, it’s often somewhat similar to the Oscars though with a bit of an edge, not surprisingly, for UK fare. You can see the complete list at the BAFTA site.
This year’s Best Film list looks very much like the lists we’ve been seeing all along, with one major difference. The spot usually reserved for “Inglourious Basterds” has been taken up by the highly regarded coming-of-age/relationship dramedy, “An Education,” which makes it the token British nominee in a field that includes usual suspects “The Hurt Locker,” “Precious,” “Up in the Air,” and “Avatar.” As if to make sure no Hollywood feelings were hurt too hard, Quentin Tarantino was nominated for Best Director while Lee Daniels — whose direction has, in fact, taken its share of criticism from some critics and film bloggers — went un-nominated for his work on “Precious.”
“An Education” is also nominated in the “Outstanding British Film” category against “In the Loop,” “Moon,” the currently in limited U.S. release “Fish Tank,” and the upcoming John Lennon biopic, “Nowhere Boy.”
In other tidbits of interest, the terrific Andy Serkis of LOTR fame was nominated for Best Actor for his work in the musical biopic, “Sex and Drugs and Rock and Roll” which hasn’t been released here yet. There’s hope for a possible upset win for Serkis to defeat the seemingly unstoppable Jeff Bridges here, if the BAFTAs go by the usual acting award tendencies.Not only does Serkis transform himself into a fairly well-known entertainment figure as oddball rocker Ian Dury (that nailed Oscars for Martin Landau in “Ed Wood” and Jamie Foxx in “Ray“) but Dury was partially disabled by polio, so there’s that whole actors-playing disabled-characters-win-awards thing to deal with.
Some of you will also note that Sandra Bullock was not nominated for Best Actress. “The Blind Side” has not been released in the U.K. yet and therefore won’t be eligible until next year’s awards. Release patterns may also explain why the artful vampire tale, “Let the Right One In,” one of 2008’s biggest arthouse films in the U.S., was nominated for in the foreign language category this year.
If you’ve been following the various awards and awards nominations that have been coming out of the past several weeks, there’s a good chance you can guess exactly what the Directors’ Guild nominations are without me even telling you. But just for the sake of latecomers, the casual and those who can’t be bothered, they are: Kathryn Bigelow for “The Hurt Locker,” James Cameron for “Avatar,” Lee Daniels for “Precious,” Jason Reitman for “Up in the Air” and Quentin Tarantino for “Inglourious Basterds.” It would be a fairly big surprise if the Oscar’s nominees were a whole lot different.
Gregg Kilday at THR points out that Lee Daniels is the first African-American to be nominated (!!!!) and Kathryn Bigelow is joining the very small club of women to be nominated for the award. However, you can be sure that if she wasn’t nominated, her absence would have been the story, considering how her film has been received up to now. The same might have gone for Daniels, though perhaps to a lesser degree as he has more detractors.
My hunch is that Bigelow also enjoys a somewhat better better chance to actually win than did such past female nominees as Lina Wertmuller, Jane Campion, Sofia Copolla, and, yes, Barbara Streisand, though the competition is mighty stiff. Of course, there’s always some controversy, so now the question is, why leave out first-timer Tom Ford of “A Single Man”? And so, the Playlist asks a related question: “Too Gay or Too Little Money?”
Fun fact time: This is also the first time, I’m pretty sure, a once-married coupled (Bigelow and James Cameron) have been nominated to oppose each other for the directors’ awards. Of course, once we succeed with overturning Proposition 8, that could get more common even if the DGA remains predominantly a boys’ club.
On a related note: The BAFTAS long list.