None of this year’s nine Best Picture nominees (The Artist, The Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, The Tree of Life, and War Horse) counted as dark, nihilistic, or shocking—like some of last year’s leading contenders, including Black Swan, 127 Hours, and Winter’s Bone. None of this year’s major nominees featured the overt left-wing political messages of other recent Oscar favorites like Avatar or Milk, and all of this year’s Best Picture possibilities took affectionate, admiring views of marriage, romance, family, and community, with Moneyball also honoring baseball and business, while War Horse glorified some of the same battlefield virtues depicted in Act of Valor.
[A]ny memoir that is ghost written will very likely turn out to be, with a very few notable exceptions, dead as a doornail, and hardly worth reading. If a movie star isn’t going to sit down to write his or her own book, the hell with it.
Former publisher Michael Korda laments the fact that the memoirs of Hollywood’s greats are usually quite dull, especially if their ghost-written.
Photo: Laurence Olivier, whose memoir Confessions of an Actor was “carefully managed to avoid baring any of his soul.”
In case you were wondering, the last time a gay man was nominated for an Oscar was in 2002—and Ian McKellen wasn’t even fully human in Lord of the Rings. Forty-seven years after Sidney Poitier shattered the glass ceiling for black actors by winning the Best Actor Oscar for Lilies of the Field, no gay actor has yet achieved leading man status—and probably won’t for some time.
Ramin Setoodeh chatted with Joy Behar to discuss his recent article, “How Hollywood Shuts Out Gay Actors.” Setoodeh’s Newsweek article last year claimed that Sean Hayes couldn’t convincingly play a gay man in Promises, Promises, setting off a firestorm of criticism.