Providing the latest set of potentially confusing data points in what has been an unpredictable awards season, the 76th Golden Globes gave major boosts to the racially inflected period road movie “Green Book” and, more surprisingly, the Freddie Mercury biopic “Bohemian Rhapsody” in their pursuit of Oscar glory.
“Bohemian Rhapsody” — a film that had a troubled production including the firing of credited director Bryan Singer and was largely dismissed as a major awards contender early on — took home the prize for best picture in the drama category, beating out a field that included presumptive favorite “A Star Is Born,” “Black Panther,” “BlacKkKlansman” and “If Beale Street Could Talk.”
Though the Globes has a long history of delivering occasional head-scratchers, “Bohemian Rhapsody” producer Graham King seemed to speak for many in the crowd when, accepting the award, he said simply, “Wow, now that was unexpected.” Rami Malek also earned the prize for best actor in a drama for his turn in the film as the lead singer of Queen. (Neither Malek nor King mentioned Singer in their acceptance speeches.)
On the heels of “Green Book” winning the Golden Globe for musical or comedy motion picture, director Peter Farrelly was asked his favorite scene to shoot. Instead, he offered his most memorable moment from the film.
Early in the movie, bouncer Frank “Tony Lip” Vallelonga throws away two lemonade glasses after a pair of black plumbers drink out of them. Portrayed by Viggo Mortensen, Tony Lip ultimately redeems himself, but the scene was jarring for the actors who participated in the scene.
"The two workers, they hadn't read the script, they'd just read the scene and they were hired," he recalled. "They were like, 'What the hell kind of movie is this?' And they quite literally pulled me aside and were like, 'Isn't he the hero?' I was like, 'Yeah' and they said, 'Why would he do that?' "
After winning Golden Globes for best foreign language film and best director for “Roma,” Alfonso Cuarón fielded a question backstage in the press room about whether Netflix — which released Cuarón’s film theatrically and, shortly after, on its streaming platform — might be contributing to the death of independent cinema.
"How many theaters do you think a Mexican film in black and white, in Spanish, without stars … how big a release do you think it would be in a conventional theatrical release?" the director asked heatedly. "I'm having a way bigger release than that."
The market has a limited taste for foreign-language films, Cuarón said. "What was amazing is that Netflix went through all the filters — the fact that it's Mexican, in Spanish, black and white” — none of that was an issue, he said. The company was focused on “the core of what this film is about,” he said. “And I'm just so grateful the amazing effort they made to bring this film to the world but also in the theatrical world."
Sandra Oh’s parents were still beaming as the Champagne started flowing moments after the Golden Globes host won a trophy of her own for her acclaimed work on “Killing Eve.”
“We are so pleased,” said Oh’s father, Joon-Soo Oh, joining his wife Young-Nam Oh in a celebratory toast, seated at a table inside the awards show with the best view in the house of Oh onstage. “We are so proud of her.”
In September, the Ohs attended the Emmys with their daughter, where they walked the carpet singing her praises.
When you have TV sitcom veteran Chuck Lorre and acting heavyweights Alan Arkin and Michael Douglas together on one stage— reveling in the success of Netflix’s “The Kominsky Method’s” Golden Globe win for best TV comedy — one can’t help but wonder what the memories might be like from their time on set.
The question, unsurprisingly, is met with a joke.
“Part of the joy of doing a show when you get older is you don’t remember anything,” Lorre told reporters backstage.
When Darren Criss won the Golden Globe for his performance in "The Assassination of Gianni Versace: American Crime Story," he made sure to thank his mother.
“This has been a marvelous year for representation in Hollywood, and I am so enormously proud to be a teeny, tiny part of that, as the son of a firecracker Filipino woman,” he said onstage on Sunday night. “Mom, I know you are watching this. You are hugely responsible for most of the good things in my life. I love you dearly. I dedicate this to you."
Backstage, the actor expanded on his sentiment (especially as he's gotten heat in the past for how he’s spoken about his racial background).
The 2019 Golden Globes red carpet — the first of the year’s awards-show circuit that stretches into late February’s Academy Awards — appeared to mirror fashion-wise the feeling that the country is, if not split into two separate camps, definitely headed in that direction.
Almost from the start on the red carpet Sunday at the Beverly Hilton in Beverly Hills, looks ping-ponged between the dark and heavy (colors including burgundy and green and weighty fabrics such as velvet) and the light (the palest of ice blues, lavenders and suffragette white) with pops of bright color in between. Look no further than the eye-catching yellow courtesy of Rachel Brosnahan and Claire Foy and director Spike Lee’s regal purple ensemble — a custom-made Atelier Versace tuxedo with coordinating silk purple shirt.
In a career with a remarkable, multigenerational longevity, Jeff Bridges has gone from playing earnest, flaky young men to wizened, flaky older men in movies ranging from “The Last Picture Show” and “Thunderbolt and Lightfoot” on to “The Big Lebowski,” “Crazy Heart,” “True Grit” and “Hell or High Water.”
Sunday night, Bridges received the Cecil B. DeMille Award at the Golden Globes, the Hollywood Foreign Press Assn.’s lifetime achievement honor.
In accepting the prize, Bridges gave a speech full of infectiously spaced-out energy, exhorting the crowd at one point, “We’re all alive, right here, right now. This is happening! We’re alive!”