News Feature by Julia Smith
Another BAFTA night, and another year which doesn’t see the Brits playing second fiddle to the greatly anticipated Oscars. Gone is the time when the BAFTAs simply provided awards to those who didn’t get Oscars. Now it stands out as an important event in the ‘awards season’. With an ever growing film industry, the British are quickly gaining the respect of their American counterparts. Although we still give the Americans more BAFTAs than the Oscars award the British, we like to think of it, not that there are more Hollywood films in circulation, but that we are simply better at picking the best films (and if the Americans sneak in there somewhere, then so be it).
This year’s awards kicked off like any other, in the rain. In an ironic turn on the usual response to the common Oscar phrase ‘what are you wearing?’, Christina Ricci responding with “well, the dress is Prada, and my shoes, are ruined”. It was as though the rain was brought in, in order to boost the sheer Britishness of it all. And what BAFTA night wouldn’t complete without the ever witty and charming Stephen Fry? Quirky in his usually suggestive manner, Fry urged the audience to join in “the joy of BAFTA” and to “comb out of the dandruff of despair” while he asked the television to join in although, as he says; “I can’t see you, I can’t hear you, and I can’t regrettable touch you”.
Beginning with the ‘Orange Rising Star Award’ it was hard to not to feel anger at BAFTA. An award nominated by the public, but which I’m not sure anyone had heard of until now. Prior information told me that it was among five of my favourite actors that the award would be bestowed. How often does that happen, that one award has so many worthy recipients? But it must be said, James McAvoy deserved it, if only for his performance of Mr. Tumnus in The Chronicles of Narnia. My anguish that he had not received a BAFTA nomination for ‘Best Supporting Actor’ was easily quelled. Articulate and sweet, McAvoy praised the award for it’s attribution to the memory of casting director Mary Selway and for the fact that its vote lays with the public.
Predicted as possibly the greatest special effects film made, to date, it was inconceivable that any film other than King Kong would take home the BAFTA for ‘Best Special Effects’. Unsurprisingly the award was given to people who we don’t recognize, thanking people that we don’t know. The unfortunate point in many of the speeches made by the people winning technical awards is that we are never much interested in anything they have to say. But one man was particularly articulate in praising Andy Serkis because; “he showed us the soul of Kong”. What was incredibly interesting in the presentation of the award was the montage that displayed this years nominees. Combining footage from various stages in the effects process, each film was presented with various scenes displayed in different forms. Proving a point irrelevant to the award, that the actors really have to ‘act’ in such effects scenes.
Pride & Prejudice took it’s only win of the night in the form of hyperactive first time director Joe Wright, who took the ‘Carl Foreman Award’ for his role in the film (accompanied by a £10, 000 prize from the Foreman Williams Jones Film Fund & Foundation). In his speech he emphasized Working Title’s importance to British film, and how he will continue to make British films, with British casts, in Britain. This was followed closely by the presentation of The Constant Gardener’s only win of the night in the form of editor Claire Simpson.
An odd presence at tonight’s events was Matthew Modine. Presenting the ‘Michael Balkan Award for Outstanding British Contribution to Cinema’ to Chuck Finch and Billy Merrell, Modine suitably messed up the presentation speech, but someone always has to have that job. Lest we remember Meryl Streep reading a speech by Charlie Kaufman that asked her to “spank everyone there”. Then came the ever important, but unfortunately depressing montage, featuring footage of those industry professionals who have passed away this year. So poignant were the images of Geraldine Peroni and Humbert Balsan, who were both up for posthumous BAFTAs. But mostly, memories lingered on the ever impressing image of Anne Bancroft, suitably commemorated in her eternal image as Mrs. Robinson, with the effectual line; “do you want me to seduce you, is that what you’re trying to tell me?” in The Graduate.
One of the most popular awards of the night came with the presentation of ‘Best Supporting Actor’. Although George Clooney was nominated for two awards in this category (Good Night, and Good Luck And Syriana), and Matt Dillon and Don Cheadle were suitably perfect in Crash, there was a lingering moment when I do believe I wanted Jake Gyllenhaal to win. Not only for Brokeback Mountain, but for Donnie Darko and everything in between. To win an award to show that he was not merely another Hollywood heartthrob. And so he did… for the first time, in what has seemed like decades, an actor has looked genuinely shocked to have won. Gasping in terror as everyone burst into rapturous applause, Gyllenhaal made it to the stage but seemed too shell-shocked to make a speech. But like the respectable young man we know him to be, he delivered a genuinely thankful speech, full of praise for the BAFTA’S. Isn’t it wonderful when an American seems just a little bit British?
Memoirs of a Geisha fared well in a number of technical roles, with Dion Beebe taking the award for Best Cinematography, and Colleen Atwood for Costume Desgin, while John Williams received the Anthony Asquith Award for Achievement in Film Music. The year’s big blockbusters were also the big winners in the technical awards, with The Chronicles of Narnia the winners of the Best Make-Up and Hair category, and Harry Potter and the Goblet of Fire for Production Design. Then came the presentation of ‘Best Original Screenplay’, an award that was truly delivered to the best in the category. Paul Haggis and Bobby Moresco found themselves following up their Screen Writer Guild Award and Oscar Nomination with yet another award. Adding to Crash’s victory came the presentation of ‘Best Supporting Actress’ to Thandie Newton, who looking suitably shocked and surprised, but who quite deserved this award. Michelle Williams did look suitably disappointed, but delivering another performance as in Brokeback Mountain I’m sure will see her back at the BAFTA awards in years to come.
As though Brokeback Mountain couldn’t receive enough awards, the award for ‘Best Adapted Screenplay’ also went to… a rather dazed and confused Heath Ledger who yelped with excitement before realising he was the one who had to deliver the speech on behalf of the screen writers, which he did with all the politeness and respect of a schoolboy as he diligently read Diana Ossana’s speech. Next came one of the most anticipated awards of the evening; ‘The Alexander Korda Award for Outstanding British Film of the Year’. I do believe there was a brief glint in Ralph Fiennes’ eye that hoped this one was for The Constant Gardener, as did everyone else. But anticipating how well it had performed abroad it was inconceivable that a film other than Wallace and Gromit: The curse of the were-rabbit would receive the award. With Nick Park hurriedly rushing through thank yous, so that when Peter Sallis (the voice of Wallace) made it to the stage he was given the floor to make a proper speech in ode to his co-star – Gromit.
Adding fire to Brokeback Mountain’s success was the awarding of the ‘David Lean Award for Achievement in Direction’ to Ang Lee, which was to be expected, as he said to BAFTA; “you’ve always been very nice to me”, and the award of ‘Best Film’ (a presentation which passed by as the producers, who were also the screen writers, were not in attendance), A victory that was slightly disjointed by the presentation of ‘Best Actress’ in between the two. Quite deservedly going to Reese Witherspoon for Walk The Line, it was followed by the awarding of ‘Best Actor’ to Philip Seymour Hoffman for Capote. A man who looked on the edge of boredom all night, it became clear by the time he received the award that it wasn’t boredom in his face but tension, which turned into nervousness when he took to the stage.
To polish off the evening’s events was the presentation, by Lord Attenborough, of the ‘Academy Fellowship’ to Lord David Puttman. Known most notably for his work on The Chariots of Fire, Bugsy Malone and Memphis Belle (another reason for Matthew Modine to be in attendance). Retired from the industry he is now the president of the UK arm of UNICEF and is the creator of the industry training scheme ‘Skillset’. What was most notable about his speech was his telling the audience about how a film can ‘heal you’, about how a film can touch a part of your life you thought only belonged to you. Using a scene from The Sixth Sense as a reference point (the scene, when it finally comes to light, to his mother Lynn, that Cole has been speaking to her dead mother and wants Lyn to know that she is proud of her), Puttnam declares that by awarding him this fellowship, BAFTA has proven to him in some way that his father is proud of him. As the speech wore on, it was clear that many audience members were moved to tears; Ioan Gruffudd, Ralph Fiennes and William H. Macy, to name a few. When people make reference to the phrase ‘there was not a dry eye in house’, on this occasion such a line can not have rung more true.
Considering every aspect of the awards ceremony it has to have been one of the most entertaining to date. Every speech was delivered with articulacy and sweetness, mostly by people who were too dumbfounded by the fact that they had won.
It is a shame that The Constant Gardener only walked away with one award and Good Night, and Good Luck didn’t receive any, but it is also inspiring that a film about a gay relationship has not only pushed at the fringes of stereotypes, with superb filmmaking bolstering an already impressive narrative, but has won awards for it. Maybe gay cinema isn’t wholly acceptable in society, but maybe it’s on its way there. Similarly, Crash, tackling issues of race. BAFTA, as it was keen to point out, whole-heartedly endorses films that entertain but also films that provoke and educate and stimulate. Tonght’s winners are a true reflection of that.
Full List of Winners Here
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