Peter Bart: In Hollywood awards season, voters have learned to distrust the hype

The annual Oscar night battle constantly reminds us of this commandment: never believe the buzz. Every great film has an aura – and it’s mostly false or misleading.

The buzz continues The godfather was so disastrous that even Francis Coppola felt it was doomed. This year, No news from the western front was considered too violent and depressing to be a contender, but he collected BAFTA Awards (seven) and Oscar nominations (nine).

In the 80s, it seemed like every popular movie carried a buzzing curse. The production of flash dance was so messy that even the stunt doubles had doubles. footless was both mismanaged and underfunded, according to the director.

Both films from the early ’80s were clearly hits, if not cultural milestones. But directors of the time were more interested in war than in movies. In response, studio managers have become as helpful as chatbots.

Even Tom Cruise, that media manipulation master who is up for an Oscar this year Top Gun: Maverickwent through a difficult time with his fans: he told them he would be believable as a Nazi officer (Valkyrie) or as a Republican senator (lions for lambs). It wasn’t him.

Given the new hierarchy of awards columnists in recent years, it’s become harder for films to get in the middle of quiet obscurities, like e.g. crashing down in 2000. Or even Shakespeare in love in 1998. That year began the high-decibel war in Steven Spielberg’s camp (eg Private James Ryan) vs. Harvey Weinstein focused our attention on the fighters rather than the movies.

A year ago, many of us were surprised by a seemingly sudden love for KODA. Or years earlier than parasite suddenly became a “must see” (and “must vote”).

In the 1970s, battles between studios and filmmakers often dominated public interest – witness the battle over editing that led to delays The godfather from the estimated Christmas date until March. The media hinted that the film might not be released.

In the 1980s, every casting seemed to cause controversy as studio executives publicly chimed in with second-guessing.

flash dance was about a welder in Pittsburgh (Jennifer Beals) who dreamed of becoming a dancer. Real?

The more patrician director Herb Ross mistook his working-class characters for aliens, according to the media. Beals wasn’t a dancer herself: three or four professionals doubled for her, and the media happily guessed who was doing what.

footless It follows the conflict between a preacher (John Lithgow) who has banned dancing in his small town and a teenage rebel (Kevin Bacon). He not only danced skillfully, but also mastered biblical quotes to contradict the preacher. British director Adrian Lyne seemed stunned by provincial America in the 1980s.

Both films were breakthrough hits. The critics were amazed; The audience enjoyed the music and dancing. Georg Moroder (flash dance) and Kenny Loggins (footless) became national heroes.

Wash footless The studio, which was released today, reportedly brought in Finland’s Prime Minister Sanna Marin to stand for her message: Conservatives in Finland are trying to beat her because prime ministers are not allowed to dance.

There’s nothing like a photogenic prime minister to get the buzz going.