Somebody gets snubbed by the Academy Awards almost every year, but this year might just go down in Oscar history as The Year of the Snub. At this writing, Ben Affleck has won a BAFTA award, a Golden Globe and a Director’s Guild Award, among others, for directing his splendidly entertaining political thriller
Argo.
The film itself has also been widely honored—indeed, it received seven Oscar nominations. But even if his movie won all seven on February 24, Affleck can’t be honored with an Oscar for Best Director, because he wasn’t nominated.
Argo indulges in a bit of hairbreadth-escape melodrama in its final stretch, and one could argue about whether the movie might have been equally tense and satisfying with a more realistic resolution, instead of this sort of corny Hollywood action. But this is a question of artistic taste, not of execution—corny or not, the picture, these scenes included, is rousingly suspenseful, and must be considered one of the best-directed movies of the year. It would be disappointing but perhaps legitimate if Affleck didn’t win, if the award went to Spielberg or Tarantino or Ang Lee or even to the visionary young Benh Zeitlin of
Beasts of the Southern Wild. But for him simply to be ignored is arguably the most egregious Oscar snub in decades.
It seems to have happened for two reasons. First, Affleck has been a fashionable figure of ridicule for years, for reasons I don’t understand. I’ve never been a particular fan of him as an actor; though I think he’s given some fine performances—notably in
Hollywoodland—he’s also been a bland lightweight at times. He’s impressively low-key and haunted in the lead in
Argo, however, suggesting that he may, on top of everything else, be his own best director.
But no one really disputes the excellence of his work as a director. By any other name, the guy who directed
Gone Baby Gone and
The Town and then
Argo would be hailed as, quite simply, a new Hitchcock. Because it’s Ben Affleck, however, much of the praise has seemed either grudging or insultingly astonished. Enough already—it’s time to declare him paid up for
Gigli (sad to say, I’m part of that small cult of outcasts who thinks that
Gigli, while certainly flawed, is overall a worthwhile movie).
In the long run, the snub will likely work to Affleck’s benefit—the standing ovations he’s been getting while he wins all those
other directing awards suggest that it may have caused the filmmaking community to look at him with new eyes. And his oh-so-gracious-and-humble acceptance speeches, though probably sincere, are also flawlessly played.
The other reason for his omission seems to have been the need to find a place among the nominees for director David O. Russell, for
Silver Linings Playbook. Russell is a superb director, rightly nominated for 2010’s
The Fighter; snubbed himself for his terrific 1999
Three Kings. But while
Silver Linings Playbook is a watchable, generally touching comedy-drama, I don’t think it represents anything near Russell’s best work, and it doesn’t come within a mile of
Argo. I’m not sure why it’s been so rapturously received.
Silver Linings Playbook also seems to have figured into this year’s worst acting snub, that of John Hawkes for his star turn in
The Sessions. I admit that I’ve had a hard time warming up to Bradley Cooper, but I thought his performance in
Silver Linings was quite creditable and poignant. But it isn’t in the same galaxy as the luminous work of Hawkes—in any year in which Daniel Day-Lewis didn’t play Lincoln, Hawkes would deserve to win.
I was delighted, however, that Helen Hunt received a Supporting Actress nomination for her lovely turn in
The Sessions. It’s a pleasant surprise, as Hunt—an authentically great actress—has long been fashionably sneered at in the same perplexing way as Affleck.
One other note: I was also delighted that the Best Animated Short nominees included
The Longest Daycare, a riotous
Simpsons cartoon that played before
Ice Age: Continental Drift. Nice to know that Maggie Simpson wasn’t snubbed.
