Film Gets Branded for Life for Sleeping With the Enemy--TV

The film “The Last Seduction” was barred from Oscar consideration by the Academy of Motion Pictures Arts and Sciences because it was first shown on television. Makers of the film sued the academy, trying to overturn the eligibility rule that blocked its consideration, but were unable to halt the Oscar balloting (Morning Report, Calendar, Jan. 13). In this Counterpunch, the film’s screenwriter, Steve Barancik, offers his response to the academy (AMPAS).

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H elp! How can I (“The Last Seduction”) get my virginity back?

That’s what one feels like asking, because, frankly, that’s what the academy’s “No TV First Rule” seems to be all about. A movie, according to this qualifier, loses its purity (its “movieness?”) by virtue of even a single small screen showing.

I tried to be good, never meant to go all the way. But then along came HBO and--oh, Uncle AMPAS!--the things he said. He wasn’t like the other networks. But I take full responsibility. It’s not like he forced me.

“The Last Seduction” was conceived, from the beginning, as a feature. Cross my heart and hope to die. I wouldn’t know how to write a TV movie. (Tragically, I’ve never been the victim of tabloid crime or contracted an exotic disease.) The “No TV First rule”--correct me if I’m wrong--predates outlets such as HBO. It was meant, I would imagine, to keep what was considered lesser art from cluttering and confusing the ballot. You haven’t called our movie “schlock,” so I assume that’s not the problem. Why then this reliance on a dated rule?

I know now I should have saved myself for theaters.

Theaters. Where “The Last Seduction” is still playing. For a lot longer than a lot of other Oscar-eligible movies. And, contrary to our experience with you, none of the exhibitors seem to care. They understand that that TV thing is just water under the bridge.

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H e told me “As Seen on TV” was a good thing. I feel so used.

You know, as I do, that getting a movie made isn’t so easy. It takes a lot of money. “The Last Seduction,” “Red Rock West” and “Hearts of Darkness” have demonstrated that movies can play on cable and still make it in theaters. And with pay-for-view television growing as a mode of providing movies to the public, even more movies will soon be making the move from a limited television showing to theaters.

Too, the advent of the information superhighway will provide still more ways for films to be distributed. Why does the academy insist on interfering with that process--that progress? Why must you make it more difficult for filmmakers to finance their movies? I certainly don’t mean to suggest that your reasons are malicious ones. The problem is, though, that you risk exerting a negative pressure on the artistic range of movies that get made. Which seems tragic, given that “Arts” is your middle name.

I know, none of the other movies were doing it. But he told me--HBO did--that I wasn’t like all the other movies.

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I don’t think the academy’s rule is denying me an Oscar nomination, and frankly, with my first screenplay, I didn’t expect one. (I’m thankful just not to be delivering pizzas anymore.)

But Linda Fiorentino, who won the New York Film Critics Circle best actress award, would most likely--and deservedly--have received a nod. And director John Dahl--whose other 1994 release, “Red Rock West,” also appeared on a number of “Year’s Best” lists--certainly had a shot. Liking these people, and respecting their work, I wish they’d had the opportunity to be acknowledged by their peers. Appearing on the Oscar ballot is hardly a guarantee of nomination. Couldn’t we have left the film’s validity--questionable background and all--to the voters?

I’m the same movie I always was.

Exhibitors and moviegoers have already voted with their screens and their wallets. And they continue to vote. “The Last Seduction” competes in the theatrical movie marketplace with other films--unsullied and otherwise.

Uncle AMPAS, I wonder if your way is actually better. Sure, your movies save themselves for the big screen. But then, after the thrill’s worn off, what do they do? Fall into bed with every network that’ll have them. And what kind of example does that set for their little sequels?

Each movie that successfully takes the TV-to-theatrical route will prompt more to follow the same path. Eventually the sheer volume of ineligible movies that would seem to have merited Oscar contention will persuade you to rescind the rule, lest the public begin interpreting “best picture” as “best eligible picture” or “best picture that premiered on a really big screen.” Oscar’s proud history, which you tend, will eventually be at stake.

Common sense would suggest that a theatrical movie is one that appears in theaters. Check us out. No commercials, and the picture comes right out of that projector up in the booth. And the audiences love it.