{"id":569,"date":"2004-03-01T09:20:32","date_gmt":"2004-03-01T17:20:32","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/03\/the_oscar_snore\/"},"modified":"2004-03-01T09:20:32","modified_gmt":"2004-03-01T17:20:32","slug":"the_oscar_snore","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/03\/the_oscar_snore.html","title":{"rendered":"THE OSCAR SNORE"},"content":{"rendered":"<p><P>What everybody is saying about Sunday night&#8217;s Oscar show is true. Have you ever seen a<br \/>\nduller one? We knew we were in for a long evening when the opening number was a never-ending<br \/>\nshowcase for Billy Crystal&#8217;s mediocre song-and-dance talent instead of a stand-up spritz of<br \/>\nfabulous zingers.<\/P><br \/>\n<P>When the most interesting guy on stage turned out to be <A\nhref=\"http:\/\/www.oscar.com\/oscarnight\/winners\/win_33159.html\"><B><EM><FONT\ncolor=#003399>Blake Edwards<\/FONT><\/EM><\/B><\/A>, the 81-year-old recipient of an<br \/>\nhonorary award for career achievement, you knew it wasn&#8217;t just the sedate glamour of the gowns<br \/>\nthat turned back the clock. And when the same guy provided the show&#8217;s funniest moment by<br \/>\nskidding across the stage in a wheelchair and crashing through a wall, you were grateful for the<br \/>\njoke.<\/P><br \/>\n<P>The most candid remark of the evening came from <A\nhref=\"http:\/\/www.oscar.com\/oscarnight\/winners\/win_33163.html\"><B><EM><FONT\ncolor=#003399>Errol Morris<\/FONT><\/EM><\/B><\/A>, who shared the Oscar for best<br \/>\ndocumentary feature with Michael Williams for &#8220;The Fog of War,&#8221; a portrait of Robert S.<br \/>\nMcNamara, the U.S. Secretary of Defense during the Vietnam War.&nbsp;Morris said he thought<br \/>\nthe Academy of Motion Picture Arts &#038; Sciences would never recognize his films.&nbsp;He also<br \/>\noffered the evening&#8217;s best acceptance speech.<\/P><br \/>\n<P>&#8220;Forty years ago,&#8221;&nbsp;he said, &#8220;this country went down a rabbit hole in Vietnam and<br \/>\nmillions died. I fear we&#8217;re going down a rabbit hole once again. And if people can stop and think<br \/>\nand reflect on some of the ideas and issues in this movie, perhaps I&#8217;ve done some damn good<br \/>\nhere.&#8221; <\/P><br \/>\n<P>Had&nbsp;you stayed awake long enough to see Sean Penn accept the Oscar for best actor,<br \/>\nyou would have heard a passing reference to his trips to Iraq: &#8220;If there&#8217;s one thing that actors<br \/>\nknow, other than that there weren&#8217;t any WMDs &#8212; it&#8217;s that there is no such thing as best in acting.&#8221;<br \/>\nExcept for Morris and Penn &#8212; and <A\nhref=\"http:\/\/www.oscar.com\/oscarnight\/winners\/win_33171.html\"><B><EM><FONT\ncolor=#003399>Tim Robbins<\/FONT><\/EM><\/B><\/A>, who made a&nbsp;pro<br \/>\nbono&nbsp;reference to victims of abuse and violence &#8212; the show&#8217;s escape into fantasy was pretty<br \/>\nmuch complete, not even counting the Oscars for <A\nhref=\"http:\/\/www.oscar.com\/oscarnight\/winners\/win_33155.html\"><B><EM><FONT\ncolor=#003399>&#8220;The Lord of the Rings.&#8221;<\/FONT><\/EM><\/B><\/A><\/P><\/p>\n","protected":false},"excerpt":{"rendered":"<p>What everybody is saying about Sunday night&#8217;s Oscar show is true. Have you ever seen a duller one? We knew we were in for a long evening when the opening number was a never-ending showcase for Billy Crystal&#8217;s mediocre song-and-dance talent instead of a stand-up spritz of fabulous zingers. When the most interesting guy on [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-569","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-9b","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/569","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=569"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/569\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=569"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=569"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=569"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}