Has anyone else noticed that most of the people on television in the morning giving us tips on how to pinch pennies because we’re broke or unemployed — or both — are well-paid news anchors?
That’s too ironic even for Alanis Morrissette.
Has anyone else noticed that most of the people on television in the morning giving us tips on how to pinch pennies because we’re broke or unemployed — or both — are well-paid news anchors?
That’s too ironic even for Alanis Morrissette.
I have been devoted to watching the annual OscarsĀ® telecast ever since I was a kid in grade school. Not just because I love films. If you grew up in Los Angeles, you knew that Hollywood was basically a factory town and films were the factory product — like beer at a brewery in Milwaukee. The Oscars was the annual company party.
The Oscars telecast has become like the lovable but crazy aunt that comes to visit once a year. You try to make her seem a little less goofy to folks outside the family. I was interested but a bit concerned as to how the producers were going to re-invent this year’s show. It is what it is. I thought Hugh Jackman was pretty cool and did a fine job with the material given. The heaviest piece of furniture he had to move was that clunky musical number assembled by fellow Australian Baz Luhrmann. Just like he did with MOULIN ROUGE, Luhrmann proved that he is not Vincente Minnelli. His musical numbers always come off like rummage sales with a downbeat. He just throws everything from different eras in and puts it out there for the public to buy. I may be one of the only “showtune-friendly” men in America who didn’t care for MOULIN ROUGE. That was not the highlight of cheese in the show. I think the cheesiest element was ABC constantly cutting to shots of Angelina Jolie and Brad Pitt while Pitt’s ex-wife, Jennifer Aniston, was onstage presenting with Jack Black. OK. We got it ABC. Brad and Jen broke up because of Angelina. Allegedly.
If the Oscars telecast is the Gay Superbowl, the Red Carpet coverage has now become the pre-game show. There’s an old saying. “Those who can…do. Those who can’t…teach.” I think those who can neither do nor teach become entertainment correspondents on E! The make-up on Ryan Seacrest was terrific. You could not see the lobotomy scars. To Marisa Tomei, he mentioned that it had been ages since Tomei was at the Oscars. She’s an Oscar winner who was present last night because she’d been nominated for the THIRD time. She was at the Oscars in 2002 when she was nominated for IN THE BEDROOM. To Viola Davis, he remarked that her film posed many questions but those questions weren’t exactly answered at the end. Duh. That’s why the movie was called DOUBT, Miss Seacrest.
From the Red Carpet to the final ten minutes, the night was bookended with a FAST TIMES AT RIDGEMONT HIGH “Where Are They Now?” Oscar winner Kevin Kline was on the carpet with his wife, Phoebe Cates. We haven’t seen her in years! There was “Linda Barrett” looking very lovely hours before ” Jeff Spicoli” won his second Oscar for Best Actor. Oddly, Kline now looks like a new “Mr. Hand.”
My favorite thing about the Oscars this year was the staging and new way of presenting the acting awards. Five previous winners in the acting categories took the stage to directly congratulate each nominee for a job well done. It made the presentation more personal, more fraternal. It was like an embrace from one’s peers that truly seemed to touch each nominee. Think about it — if you were nominated and screen greats such as Sophia Loren, Shirley MacLaine, Eva Marie Saint, Robert DeNiro and Ben Kingsley stood an a Hollywood stage and globally praised your work right to your face…well, that’s got to make your heart sweetly beat the faster. I’ve long dreamed of getting an Emmy nomination for some of my TV work — a local or national Emmy. If I ever got a nomination and someone like Oprah Winfrey or Ted Koppel complimented me on my broadcast skills, I’d feel very validated.
There was one moment during one such presentation that worried me. In the Best Supporting Actress presentation, one of the five previous winners was Goldie Hawn. At first, I didn’t know it was Goldie Hawn. I thought it was Mickey Rourke in a dress. Frankly, I’m concerned.
Today, the morning after Hollywood Prom Night, we have network weathermen covering the Oscars. Sam Champion did some male drag “schtick” on GOOD MORNING, AMERICA. He appeared dressed as Mickey Rourke’s THE WRESTLER, Spandex and all. He covered the parties for ABC. Al Roker, with his usual over-the-top style, covered the parties for NBC and also talked about Oscar fashions. He talked with a some big stars. I didn’t see all of his segments. I was curious to see if the Republican Roker spoke to the very non-Republican winner from last night, Sean Penn.
OK. In full disclosure, I am jealous of those two network weathermen. With well over ten years of national entertainment interviewer/correspondent work to my credit, I was never sent to Hollywood to cover the Academy Awards. That would have been another dream come true, like getting an Emmy nomination. Maybe it’s for the best. If I had gotten the opportunity to be close to, let alone, spoke to la bellissima Sophia Loren, my legs would’ve become spaghetti al dente while I uncontrollably wept with joy. It would not have been a pretty moment in live entertainment news coverage. Memorable, but not pretty.
Best Actor Academy Award nominee Mickey Rourke in “The Wrestler” and Bert Lahr as the Cowardly Lion in “The Wizard of Oz.”

Like you didn’t already think of this one yourself.
Not too many contemporary young actresses have displayed physical comedy skills like the iconic actresses of Hollywood’s golden age. Think of the loopy elegance of the Carole Lombard in MY MAN GODFREY, a Depression era screwball comedy classic about responsibility and compassion for your down-and-out fellow man that has unfortunately become ever so timely again. Lombard was crowned one of Hollywood’s queens of screwball comedy as a ditzy Park Avenue heiress who falls in love with the homeless man hired as her wealthy family’s butler after she found him in a benefit scavenger hunt. Jean Arthur and Rosalind Russell had the gift. Doris Day certainly did in late 1950s and 60s. Films never quite utilized Lucille Ball’s deftness for physical comedy, opting to concentrate more on her glamour girls looks and zesty way with a wisecrack, but 1950s television brought her full range of funny skills into bloom in her legendary sitcom.
Isla Fisher exuberantly revives the classic Hollywood art of the screwball comedy actress in Confessions of a Shopaholic. I saw it on a bitterly cold here in Manhattan last week. I expected only a few chuckles. Wrong. It was worth venturing out into the big chill to see Isla Fisher’s sunny, smart turn as the lovable boob in the woods that are New York City’s competitive magazine business. She’s delicious. I expected ginger ale and she gave me champagne in this screwball comedy for the New Depression. Don’t let the title throw you. She’s like thousands of us Americans — a working class citizen who maxed out her credit cards and needs work to be responsible with her bills. I didn’t read the books, THE DEVIL WEARS PRADA and CONFESSIONS OF A SHOPAHOLIC (written by the same author), but this film adaptation is just as satisfying mainstream fare as the Anne Hathaway/Meryl Streep fashion industry comedy was. When I saw it in a packed theater, you sensed that lots of women in the audience had just discovered a new BFF (Best Friend Forever) in Isla Fisher. I chatted with a 40something woman after the screening who remarked that she hadn’t seen an actress do that kind of physical comedy since Lucille Ball and Carol Burnett. Just like in comedies of this kind from the 1930s and 40s, it glows brighter thanks to a solid supporting cast. Joan Cusack and John Goodman play the shopaholic’s parents. Wendie Malick (of TV’s “Just Shoot Me”) is the tough leader of the shopaholic’s 12-step group. Kristin Scott Thomas, usually the star of serious dramas like THE ENGLISH PATIENT, is a big comedy surprise as a snooty French fashionista.
Remember going to the movies over the weekend solely for the sake of entertainment? They didn’t have to be “important” films. They didn’t have to be a masterpiece reflecting the human condition. You just wanted to see something colorful and breezy with likable characters that could take your mind off your troubles of the workweek (or lack-of-work-week) for a couple of hours. This is one of those movies. It’s perfect for a Valentine’s Day weekend date. Isla (the “s” is silent) Fisher makes CONFESSIONS OF A SHOPAHOLIC worth the price of the ticket.