Leave it to the 80th anniversary of Oscar to throw us all for a loop - at least metaphysically. In one of those years where it seemed like every award was predetermined, Sunday night's Academy telecast offered a few solid surprises - and a fair amount of sure things as well. It was a strange night overall: Jon Stewart taking his usual post-modern satiric swipe at everyone and everything associated with Hollywood; Daniel Day-Lewis was almost personable; and someone stole John Travolta's eyes! There were highlights (Once winning Best Song, and Stewart leading co-winner Marketa Irglova - with Glen Hasard - back onstage to give her music cue shortened thank you's) and lowlights (The Golden Compass beating two better films for Visual Effects), but mostly, the eighth decade of this Tinsel Town trophy fest packed a welcome bit of unpredictability.
It started with the Best Supporting Actress award. No one thought Tilda Swinton had a chance, though her turn as Michael Clayton's corporate antagonist was cinematically solid. No, everyone had pegged Ruby Dee to take home this prize, and on the off chance she failed to get the career capper, critic's list favorite Amy Ryan was waiting in the wings. So imagine everyone's surprise when Swinton's name was called. It signaled yet another instance where this category confounded the traditional thinking. Something similar happened when Best Actress came along. From the underdog pinings for Juno's Ellen Page to the old world welcome back for the expected Julie Christie, Marion Cottillard's work in the Edith Piaf biopic La Vie en Rose was viewed as quite the long shot. So when her name was announced, the stunned performer literally fell apart. She was so visibly moved during her acceptance speech that you just knew she too thought her chances were slim.
On the men's side of the evening, everything went as scripted. Javier Bardem took home the Supporting Actor trophy, touting No Country and his homeland of Spain in the process, while Best Actor Daniel Day-Lewis continued to carry There Will Be Blood on his sinewy British shoulders. Paul Thomas Anderson's epic provided another of the night's unexpected thrills when Robert Elswit walked away with the Oscar for Best Cinematography. In a career spanning more the 25 years, and dozens of good (Boogie Nights) and god-awful (Moving Violations) movies, this was only his second nomination - and he ended up beating Roger Deakins who was up for two awards himself (No Country for Old Men and The Assassination of Jesse James by the Coward Robert Ford). The man behind the Coen's bleak Southwestern vision went home empty handed for the seventh straight time.
Elsewhere, there was conformity and confusion. Somehow, Compass did beat both Transformers and Pirates of the Caribbean: At World's End for Visual Effects while La Vie en Rose picked up a second trophy for Make-Up work (beating Norbit, Hallelujah!). The Bourne Ultimatum garnered three trophies, all in the technical fields (Achievement in Editing, Sound, and Sound Editing). On the other hand, Sweeney Todd: The Demon Barber of Fleet Street had to settle for a single award for Best Art Design (Dante Ferretti and partner Francesca Lo Schiavo had previously won for The Aviator). Other singular winners included Atonement (Best Score), Elizabeth: The Golden Age (Best Costumes), and Juno (Best Original Screenplay). Diablo Cody, author of the feel-good pop culture comedy was another recipient visibly shaken when she accepted her statue. Even her typical 'too cool for school' demeanor faded in light of the moment's majesty.
Another shocker was Taxi to the Dark Side. The story of a cabdriver who died while in US custody (he was arrested and tortured by American forces), beat two other Iraq- based narratives (No End in Sight and Operation: Homecoming) and category mainstay Michael Moore (SiCKO) for Best Documentary. On the other hand, Pixar proved its continuing Oscar dominance by taking home yet another Best Animated Feature trophy for Ratatouille. It's Brad Bird's second, a staggering achievement when you think about it. Yet in the end, it was Joel and Ethan Coen's night. They took home acknowledgements for Best Adapted Screenplay, Best Director, and ultimately, Best Picture. None of these wins was a stunner - the boys had won the DGA and Producer's Guild Awards - but it was still very odd to see the Academy embrace these particular filmmakers so. The duo have never been known to walk to the industry beat, not in their movies or in their public personas.
So No Country for Old Men will go down as the evening's big winner (four in total) and the second crime drama in a row to take home the top prize (after The Departed in 2007). Trivia buffs will likely be the only ones who remember the names of the Best Live Action (The Mozart of Pickpockets) or Animated (Peter and the Wolf - again!?!?) Short, or the winner of Best Foreign film (Austria, for the true story of Nazi Counterfeiters). Office pools worldwide will smart over the upsets and eyes will now turn to the 'should haves' and 'could haves'. The 12 months of 2007 produced a literal landslide of excellent cinematic fare, much of which never even got a chance at Oscar gold. A year from now, we'll be having the same argument over 2008's hopefully abundant crop of celluloid. Here's hoping next year's ceremony is even more surprising.