Barefoot in Winter
Gifted people always know they’re gifted. Some allude to this knowledge but they usually indicate otherwise, feigning modesty and humble uncertainty, because it plays better. Last night it seemed to me that Viola Davis, Best Actress Oscar nominee for The Help, conveyed a little bit of that “I’m good and I know it.” Good on her. The last time I heard this in a public forum was from Errol Morris, and before that from Frank Lloyd Wright in a Mike Wallace televised interview.
I arrived late for the Santa Barbara Film Festival’s Viola Davis tribute at the cavernous Arlington theatre last night. She was introduced by Octavia Spencer, interviewed by Indiewire‘s Anne Thompson, career-clipped and given the Outstanding Performer of the Year Award. There was an after-party in Montecito at the home of festival president Douglas R. Stone for a small gathering of festival elites. That group included Davis, Spencer, Samuel L, Jackson, myself, Thompson, In Contention‘s Kris Tapley, Hollywood Reporter columnist Scott Feinberg and Deadline‘s Pete Hammond.
John Travolta
While it’s certainly true that a few sharp blades will pretend to be humble (especially in a field like film when they are greeted with all manner of insincere and/or calculated accolades and approbation from sycophantic media dweebs who traded their love for cinema in a long time ago), a good artist understands that humility, curiosity, and a capitulation to the subconscious is essential to artistic expression and evolution. And if you’ve covered the film beat this long, Jeff, without understanding the rampant insecurity and the constant second-guessing that gifted people cleave to, then either you lack empathy for the hard-working people who often have to take a debasing gig (and defend it in junkets) to stay alive in a predatory business or your eyes and ears and heart aren’t open at all. I know so many smart and gifted people who don’t know how smart and gifted they are at all. They are a pleasure. They grow. They make the world a better place. But then I spend a lot of time away from the film beat.
When did Ms. Davis become the overwhelming front runner for the gold dude? Feinberg is lathering up as the foregone conclusion come Oscar night. Granted, he’s making these statements after a little party in Montecito…
@Barnes78: You need to check your facts before making those kinds of insinuations. I have been forecasting Davis as the likely winner for months.
…Except for the night you interviewed Ms. Streep and Phyllida Lloyd, naturally.
No, actually, I was forecasting Davis even then. Forgive me for not volunteering that information to Ms. Streep. I’m not sure what you’re suggesting, though. That I’m in the bag for Davis because of some small cocktail party? Let me clarify that for you: I think that Streep’s performance was on a different plane than Davis’ or anyone else’s this year, even if her film was not, and I voted for her on my Critics’ Choice ballot.
“When did Ms. Davis become the overwhelming front runner for the gold dude? ”
To answer your question Barnes, she became the front-runner the instant she put on that maid’s outfit and started washing white people’s clothes. I predicted this several months ago, and I think all but the most dense of people are finally ready to admit it now. Hollywood has been fighting a hyper-aggressive effort to turn back the clock for over ten years now. Blackface is back (Tropic Thunder, A Mighty Heart), white-savior crap is back(The Blind Side0, black denigration fare is back (Preicous) and the mammy is back with a vengeance (Monster’s Ball, The Help).
When you see white people, who NEVER have anything good to say about black filmmakers (and who NEVER anticipate any film that a black director makes) but who all of a sudden go into pre-orgasmic fits over black women in maid’s outfits that tells you you’re dealing with a mental disorder.
Hollywood is trying to push some sort of sick racial agenda, and they have plenty of help from the critics. THAT’S why your precious Ms Streep might as well stay home on Oscar night. No matter how good Streeps’ performance may be it will simply never trump the tingle the Academy gets from seeing black people playing degrading/demeaning roles.
As many times as this exact same scenario has played itself out I would have thought everyone got this by now. The power of denial I guess…
There are certainly a whole lot of particulars like that to take into consideration. That is a nice level to convey up. I
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Hollywood has been fighting a hyper-aggressive effort to turn back the clock for over ten years now. Blackface is back (Tropic Thunder, A Mighty Heart), white-savior crap is back(The Blind Side0, black denigration fare is back (Preicous) and the mammy is back with a vengeance (Monster’s Ball, The Help).
When you see white people, who NEVER have anything good to say about black filmmakers (and who NEVER anticipate any film that a black director makes) but who all of a sudden go into pre-orgasmic fits over black women in maid’s outfits that tells you you’re dealing with a mental disorder. invoice templates
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