Independent Exhibitors Film Bulletin (1956)

A ~fke Public CxpecU—an4 9* CntitteJ 7v—€ntertainntent in fiuatds £kwJ What's Wrong with Oscar? By LEONARD COULTER Oscar, that little goldplated chap, stands on his pedestal, arms folded, expressionless, looking down upon the movie people who find it so difficult to make up their minds what to do with him. There is nothing wrong with Oscar — except the people around him. He is acknowledged to be a powerful instrument of public relations for the movie business, but no one seems quite sure how his talent should be employed. One thing is sure : sooner or later, the motion picture industry — and, particularly, the Academy of Motion Picture Arts and Sciences — will have to take a positive position on how Oscar can best serve the interests of the industry at large. All this is occasioned, of course, by the recent Academy Awards show on television, which, for the second year, brought forth a great deal of controversy. In a very wide area, it is felt than an entirely new approach is needed for what has become regarded as our industry's most fruitful — and, at the same time, the most wasted — opportunity to sell movies and movie-going. The strange fact is that during the entire 1956 Academy Award show hardly a mention was made that this was, indeed, a motion picture spectacle. Except for the oneminute launching speech by the president of the Academy and a half-dozen words by Jerry Lewis who, towards the close of his performance as M.C., grinned like a Cheshire cat and made a casual quip to the effect that movies "must be better than ever", no effort was made to sell movies to the millions who were watching. The Academy's View Publicity for films or film stars is not, we know, the purpose of the Awards. They are made by the Academy, after the most careful consideration, as acknowledgment of individual contributions to the cinematic art. They are a token of craftsmanship. They were never intended as a stunt, or a sales "gimmick". On these ethical grounds the Academy might well resist any movement to force a change in the format of its annual show. But the Academy cannot have it both ways. Of its own volition it has removed its annual Awards Dinner from the sphere of pure professionalism by selling the radio and television rights to a commercial sponsor, and inviting the general public to watch what goes on inside the Pantages Theatre. By so doing it has assumed an obligation : to mount an event worthy of Hollywood showmanship at its best. So far — and we record this with keen regret — it has nc done so. There is little or no general interest in th "smaller" awards like those given for some of the technics or backstage categories, deserved though these may be. What the movie-fan wants to do is pit his, or her, judg ment against that of the professionals in the selection o Best Film, Best Actor, Best Actress, Best Supportin) ditto, Best Song, Best Photography, Best Set Decoratioi and to add a new classification — Best Newcomer. A Colossal Anti-Climax As the Awards are at present staged, and broadcast tc; eager millions, those who are sufficiently interested to turn in the program so that they may enter this fascinating con test in perceptiveness, must first sit through an agonizing ly long list of technical awards to persons they have neve: heard of before, and — let's face it — in whom they hav< little, if any, interest. This is not to be taken as deprecation of the contribu tions these artists and technicians make to motion pictures It is simply that there is no point of contact, no identit> of interest, between these worthy craftsmen and the film going public. Their procession to the rostrum instead 01 heightening the viewer's curiosity, and adding tension tc the program, make the top Awards come as a colossa! anti-climax. It is, indeed, a most laudable and desirable idea to honor the men and women who, unseen behind the scenes, contribute so much to the finished product and add so much to the industry's coffers. We should be the first to protest! any suggestion they be denied their due — or, for that matter, any proposal that the fundamental purpose of the Academy of Motion Picture Arts & Sciences be weakened. Rather, it is the strengthening of the Academy, and the entire industry it represents, we have in mind in stating, quite simply, and quite clearly, that the Awards broadcast should be given a new and exciting format, and a novel1 approach. It is our sincere conviction that if this is not done its TV audience will steadily dwindle, and a golden opportunity for giving films the biggest boxoffice boost they have ever had will vanish. Plenty of Advice When George Seaton, president of the Academy of Mo-' tion Picture Arts & Sciences, buckles down to the task of i discussing next year's Awards show in the next few weeks, he will find no shortage of advice. Everybody and his wife seems, on this occasion, to have (Continued on Page 18) \ Page 8 Film BULLETIN April 16, 1954