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Get Your Tally Sheets Ready, It's Time To Walk The Red Carpet

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Get Your Tally Sheets Ready, It’s Time To Walk The Red Carpet

The ballots have been sent, the golden statues have been polished, the actors are being primped, and the good folks at Pricewaterhouse-Coopers are praying they won’t have to stomach any bad jokes about chads or recounts. Yep, it’s Oscar time. Since we already spoke a few columns ago on some of the worthy efforts that got overlooked, let’s get right into discussing who among this year’s nominated class deserves to walk away on Sunday with an Academy Award for their mantle.

Best Supporting Actress: Judi Dench (Chocolat), Marcia Gay Harden (Pollock), Kate Hudson (Almost Famous), Frances McDormand (Almost Famous) and Julie Walters (Billy Elliot). Over the years I’ve done this Oscar column, you typically get some early diatribe about how these are my subjective picks for who should win, and not a prediction of who the Academy will choose on Oscar night.  However, this year, many of my personal picks are also folks I think will go home happy on March 25. That trend kicks off here in this category as Hudson gets my vote, slightly edging out her fine co-star and co-nominee, the ever-reliable yet always surprising McDormand.

Best Supporting Actor: Jeff Bridges (The Contender), Willem Dafoe (Shadow of the Vampire), Benicio Del Toro (Traffic), Albert Finney (Erin Brockovich) and Joaquin Phoenix (Gladiator). Although Del Toro will probably win, this is one of the few categories for which I wouldn’t be upset if any of the five took home the trophy. However, I must admit that after early leanings towards Phoenix’s performance, I’m beginning to warm to Dafoe’s work as actor Max Shrek reimagined as an actual vampire.

Best Actress: Joan Allen (The Contender), Juliette Binoche (Chocolat), Ellen Burstyn (Requiem for a Dream), Laura Linney (You Can Count on Me) and Julia Roberts (Erin Brockovich). Though I’m greatly enamored with the superb work of both Linney and Burstyn in their undeniably fine performances, the closest thing to a sure bet among this year’s nominees is Roberts, who will, and should, win her first Oscar for her high-wattage portrayal of a crusading everywoman. Perhaps the highest compliment to be given is a role that on paper seemed like it should have been played by someone else, now could be done better by no one else.

Best Actor: Javier Bardem (Before Night Falls), Russell Crowe (Gladiator), Tom Hanks (Cast Away), Ed Harris (Pollock) and Geoffrey Rush (Quills). There are no slouches here in a very competitive category. One has to believe that Rush and Bardem, both of whom gave quite daringperformances, are at a disadvantage because so few saw their films. Thus, I belive the race will be a three-way battle between Harris, Crowe and Hanks. I’m not sure who will emerge victorious on Oscar night, but my personal favorite here is Crowe, who turned what could have been a stock action figure into a layered, thoughtful and involving protogonist.

Best Director: Stephen Daldry (Billy Elliot), Ang Lee (Crouching Tiger, Hidden Dragon), Ridley Scott (Gladiator), Steven Soderbergh (Erin Brockovich) and Steven Soderbergh (Traffic). To be nominated twice in one category may be nice (the last person to do it was Michael Curtiz in 1939), but Soderbergh  may also find that to be his sole consolation when he is defeated by Lee, who masterfully helmed the artful yet accessible Crouching Tiger.

Best Picture: Chocolat, Crouching Tiger, Hidden Dragon, Erin Brockovich, Gladiator and Traffic.  Finally, we conclude with the top honor of the evening, the Best Picture award. Although Traffic has an outside shot, I believe this to be a face-off between Gladiator and Crouching Tiger, Hidden Dragon. I began thinking I would award the trophy to Gladiator, a film I truly enjoyed and found to be surprisingly operatic, grandiose and over-achieving for a summer blockbuster. Yet, I find that as we approach the final hours leading up to awards night, my affections have turned towards Crouching Tiger, a film whose epic sweep and energy is also marked by moments of tenderness, stillness, rich emotion and glorious fantasy.  It’s a movie that succeeds in telling a culturally specific, genre tale in a universal way without ever betraying its uniqueness or pandering to the mass audience, yet gaining them all the while.

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