The Oscars this year will have a remarkably different vibe than last year, starting with a lack of protests over the skin color of the nominees. Last year, as you’ll probably remember, the ceremony was heavily infused with the social media-driven #OscarsSoWhite protests, which Al Sharpton then latched onto to lead a protest outside the Kodak theater.
As Maria Puente in USA Today wrote after the announcement of this year’s nominees:
So is this the start of a permanent shift in nomination diversity or just a temporary break from the same-old, same-old? Is it the result of the Academy of Motion Picture Arts and Sciences’ recent efforts to diversify and expand its voting membership?
Or is it the consequence of a powerful social-media campaign to shame Hollywood about the persistent lack of diversity in the industry and in those it chooses to nominate and honor with gold statuettes every year?
The amount of African-American representation at this year’s award show obviously left the insatiable social justice left demanding more Hispanic and minority representation as well—apparently no matter if the film, artist or engineer deserves it for the work. Armchair hashtag activists can attempt to take credit for their tweets and outrage pushing the academy to nominate more African- Americans in film this year. But they would be misguided in doing so.
The simple fact is this was a very good year for films centered around African- American culture and performers. It may be the best year in modern history for it. Denzel Washington’s Fences, Moonlight, Hidden Figures all deserve the attention they are getting as works of art. Acting categories could see three out of the big four final awards go to actors of color—and all of them would be deserved.
Washington, who has won prior awards for his work on the play Fences, also directs himself in the film version. He knows the character Troy Maxon and thunders his way through it. His winning of the Screen Actor’s Guild award could be an early notice to Casey Affleck that it’s not going to be his year.
Mahershala Ali steals the spotlight in Moonlight, giving the film a flawed and layered moral center. It’s the closest thing to a lock in any category this year. Three African- Americans out of the five Supporting Actress nominees dominate that category as well: Viola Davis in Fences (the favorite), Naomie Harris in Moonlight and Octavia Spencer in Hidden Figures. (Spencer is a previous winner for her role in The Help in 2012).
It’s possible that Michelle Williams, an Oscar darling, takes home the award for basically one powerhouse scene in Manchester by the Sea, but I don’t see how that happens over Davis or Spencer.
Each of these films represented different parts of black culture in America and throughout history, and each deserves its place at the awards. Though La La Land still appears to be the favorite for Best Picture, there’s been a sudden burst of SJW angst around the film, everything from claims that it whitewashes jazz, to people complaining that it’s just “too pretty” or too white.
If there are two sleepers to upset La La Land, they would have to be Moonlight and Hidden Figures—the latter took home Best Ensemble honors at the SAG Awards, the closest thing the union awards show has to a Best Picture. Moonlight, while short and a bit hollow in the script department, has one of the most authentic settings of the year (and best soundtracks).
Some have criticized Hidden Figures for featuring a “White Savior” (Kevin Costner), which is something of a pattern in films about black history. But it was a genuine crowd pleaser and a story not many knew about. It also surprised at the Box Office, and that’s one of the only things Hollywood loves more than stories about itself.
If Moonlight or Hidden Figures unseats La La Land it would be hard to call it an upset. Neither Moonlight, Hidden Figures nor Fences is nominated for the purpose of bringing more forced diversity to an award show that may or may not be trying to shy away from more social media controversy. It would one thing to suggest otherwise if the level of craftsmanship weren’t apparent in those films. If anything, it’s surprising more films and performances from black-led works weren’t nominated. Specifically, Loving and Birth of a Nation.
What is clear is that even if the winners represent a cross section of diversity, social justice critics will not relent in the future. Remember two years before the ridiculous OscarsSoWhite campaign, 12 Years a Slave swept four awards, including Best Picture and Best Supporting Actress. The awards were absolutely deserved.
It’s easy for opponents of political correctness to level the charge that this year’s rich diversity of nominees are only up there to placate a mob obsessed with their Netflix and Twitter. But critics in a rush to grab their phone for an outraged tweet should step back and appreciate the year that this was for African-American film.
