Oscars 2016: It’s time for Hollywood to stop defining great drama as white men battling adversity
The winner of the 2016 Oscar in practically every category is … white men facing adversity.
Just two years after the much-touted breakthrough of “12 Years a Slave,” the best picture nominees announced Thursday, with a few notable exceptions, follow a dishearteningly repetitive story line of white men triumphing over enormous odds: The Hollywood blacklist (“Trumbo”), the vagaries of Wall Street (“The Big Short”), Cold War politics (“Bridge of Spies”), life alone on Mars (“The Martian”), a grizzly bear attack, murderous companions and the hostilities of a cruel winter landscape (“The Revenant”).
Even “Spotlight,” with its supporting actress nomination for Rachel McAdams, showcases a group of mostly male journalists struggling to expose the brutal crimes committed by the Catholic Church. And though there is feminine power aplenty in “Mad Max: Fury Road,” the film’s titular character is, of course, Max, and its lead actress didn’t even get a nomination.
Weeks before there are any winners, we already know that only white actors will take home an Oscar in 2016.
To be clear, these are all good stories, powerful, well told and beautifully acted. But in world filled with billions of people who are not white men, they are certainly not the only good stories, not by a long shot.
Though our demographics and attitudes continue to change, Hollywood’s definition of great drama has remained stubbornly attached to standards and expectations set back when men were men (if they were white) and everyone else needed to just shut up and listen.
Obviously, plenty of films have challenged this sensibility, telling a wide variety of stories from many points of view. But when it comes to Oscar bait, the default remains too often set at literal reading of the four essential categories of conflict: Man versus man, man versus nature, man versus society and man versus himself. As many have already pointed out, the characters in the lead actor category were a writer, scientist/astronaut, tracker, inventor and artist. The characters in lead actress? Homemaker, mother/rape survivor, inventor, wife, clerk.
Certainly “Straight Outta Compton,” “Creed,” “Concussion” and “Beasts of No Nation” fit the “classic” definition of literary conflict. They just didn’t fit, apparently, academy voters’ ideas of a classic best picture.
A few of the nominees for the top awards -- picture, director, actor and actress -- and other selected categories at this year’s Academy Awards.()
Winner: Picture | Original screenplay. Nominations: Supporting Actor - Mark Ruffalo | Supporting Actress - Rachel McAdams | Director - Tom McCarthy(Kerry Hayes)
Winner: Actor - Leonardo DiCaprio | Cinematography | Director - Alejandro González Iñárritu. Nominations: Picture(Kimberley French / Twentieth Century Fox)
Winner: Actress - Brie Larson. Nominations: Director - Lenny Abrahamson | Adapted screenplay(Ruth Hurl / Element Pictures)
Winner: Original score. Nomination: Supporting actress - Jennifer Jason Leigh(Weinstein Company / TNS)
Winner: Supporting actor - Mark Rylance. Nominations: Picture | Original Screenplay(Jaap Buitendijk / DreamWorks)
Winner: Animated feature. Nominations: Original screenplay.(Handout )
Winner: Visual effects. Nominations: Original screenplay.(AP)
Winner: Sound mixing | Sound editing | Film editing | Costume design | Production design | Make-up and hairstyling. Nominations: Picture | Director - George Miller(Jasin Boland / Warner Bros.)
Winner: Supporting actress - Alicia Vikander. Nomination: Actor - Eddie Redmayne(Agatha A. Nitecka / Focus Features)
Winner: Adapted screenplay. Nominations: Picture | Supporting actor - Christian Bale | Director - Adam McKay(Jaap Buitendijk / Paramount Pictures)
Nominations: Picture | Actor - Matt Damon(Giles Keyte / Twentieth Century Fox)
Nominations: Supporting actor - Sylvester Stallone(Barry Wetcher / Warner Bros.)
Nominations: Picture | Actress - Saoirse Ronan(Kerry Brown / Twentieth Century Fox Film Corpo)
Nominations: Actor - Bryan Cranston(Hilary Bronwyn Gayle / Bleecker Street)
Nominations: Original screenplay(Jaimie Trueblood / Universal Pictures)
Nominations: Actor - Michael Fassbender | Supporting actress - Kate Winslet(Francois Duhamel / Universal Pictures)
Nominations: Actress - Jennifer Lawrence(Twentieth Century Fox)
Nominations: Actress - Cate Blanchett | Supporting actress - Rooney Mara(Wilson Webb / Weinstein Co.)
Nomination: Animated film(Paramount Pictures)
Nomination: Actress - Charlotte Rampling(Agatha A. Nitecka / Sundance Selects)
Film is not the only narrative art struggling with a limited notion of excellence. The publishing industry is in the midst of a long-standing battle over why certain writers (mostly white men) are considered “significant” while others (often women, white and otherwise) are dubbed “popular.”
With its increasing number of platforms, television has done a better job in recent years of expanding its repertoire of characters and stories, but the “prestige dramas” of premium and basic cable remain almost as fascinated with the perils and problems of white men as film. Of recent Emmy winners in drama, only “Game of Thrones” gives equal emphasis to its female characters.
Ironically, television has benefited, and will continue to benefit, from film’s increasingly narrow focus. There are many reasons for TV’s recent renaissance, but it certainly began when female film stars, unable to find good roles, left the big screen for the small. Film writers, unable to sell stories outside the prescribed margins, soon followed.
Although there are still too few women and people of color writing and directing television, there are far more than in film. The nominees for virtually every category that was not lead or supporting actress included only a scattering of women. And director Todd Haynes, who in “Carol” told a lovely and lyrical story about two women, was shut out of his category and the best picture group.
Before chalking all this up to a discussion of political correctness, Hollywood should take note that there is money at stake.
So instead of panicking about the logistical challenges of the digital era, Hollywood should remember its own time-honored mantra: What matters is the story. The size and shape of the screens are, to a certain extent, outside the entertainment industry’s control. What is playing on them, and how much it moves the audience, is not.
“Diversity,” the lack of it and need for it, has been discussed and debated ad nauseam. But diversity isn’t a civic duty, it’s an artistic necessity. For any art form to remain relevant, it must grow with the society it explores, questions, criticizes and represents.
Yet here we are, with white men braving storms both real and symbolic, in the hostile landscapes of several states, two countries and a distant planet to win the Oscar gold.
From the Emmys to the Oscars.
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