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“Once Upon a Time” also won the Oscar for production design, as many felt it would. It has been a more predictable awards season than usual, and one in which tales of men struggling in various theaters of war – domestic, gangland, actual – have dominated. Coincidentally or not, the nine best picture nominees include a fair amount of box-office hits – “Joker,” “Ford v Ferrari,” “1917,” “Once Upon a Time . . . in Hollywood,” even “Parasite,” which is the biggest foreign-language hit in some time.
The two writing awards were also handed out in the first hour of the ceremonies and went to two of the more unique personalities of this Oscar season. The statue for adapted screenplay went to Taika Waititi, the antic New Zealand writer-director of “Jojo Rabbit” and the film’s imaginary Adolf Hitler. The part-Maori filmmaker dedicated his award to “all the indigenous kids out there who want to make art.”
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The Oscar for best original screenplay was won by South Korea’s Bong Joon-ho and his co-writer Jin Won Han for the dark social satire “Parasite.” “We never write for our country,” Bong said through an interpreter before crowing in English, “but this is a first for South Korea!”
If there has been a dark, dark horse skulking around the ceremonies, it has been “Parasite,” the first Korean-language film to be nominated in the newly rechristened international film category, and a nominee as well for best picture, director, original screenplay, editing, and production design. It’s possibly the best-reviewed film of 2019 and clearly was a favorite of the audience in the Dolby Theatre, but would it be able to go all the way?
Not if “1917” had anything to do with it. A late entry in the awards season release cycle, “1917,” came into Oscar night a heavy favorite to win many of its 10 nominations, including best picture and best director. The emotionally transfixing World War I epic, filmed in what appears to be one continuous camera shot, had a chance to take awards in the technical categories, the craft branches, and the big awards – everything but acting, where it went unnominated. By the ceremony’s first hour, however, it had yet to win an award.
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The award for best animated feature went to “Toy Story 4,” the second sequel to win this prize – the first being “Toy Story 3” in 2010. It is the 10th feature animation Oscar to be won by Pixar.
This year’s nominees have represented a broad (if largely white, male) range of films. “Joker,” a dark origin story entry in the superhero genre, debuted in October and immediately drew praise for Joaquin Phoenix’s performance as downtrodden Arthur Fleck, the man who would become The Joker, and controversy over what some critics saw as a celebration of villainy.
“Little Women” marked an advance in actor-turned-director Greta Gerwig’s filmmaking career, a highly-praised production of the classic Louisa May Alcott novel that was shot in the writer’s Massachusetts backyard but shot through with a womanly spine that only seemed modern. Saoirse Ronan, Gerwig’s muse in her 2017 debut, “Lady Bird,” was Oscar nominated for best actress as Jo March in “Women,” and the film received nods for supporting actress (Florence Pugh), adapted screenplay, costumes (the film’s Jacqueline Durran won that Oscar), and score, but Gerwig’s omission in the directing category was the most startling oversight in a year top-heavy with movies well-directed by women.
Her romantic partner, writer-director Noah Baumbach, went unnominated in that category as well, although “Marriage Story” saw nods for picture, Scarlett Johansson and Adam Driver’s lead performances, Laura Dern’s supporting role, original screenplay, and for Randy Newman’s score. Newman was vying in the music category against his cousin, film composer Thomas Newman (“1917”), and was in fact nominated twice – for the “Marriage Story” score and in the original song category for his “Toy Story 4” tune.
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It’s that kind of Oscars: Johansson could conceivably take home best actress for “Marriage Story” and supporting actress for her role of the mother in “Jojo Rabbit.” Two “Irishman” stalwarts, Joe Pesci and Al Pacino, did cancel each other out in the supporting actor category. That last film represented the heaviest tread of streaming giant Netflix in the 2020 awards season, with the majority of audiences watching Martin Scorsese’s three-and-a-half-hour gangland story on their home TVs – half of it, anyway. Netflix also was behind “Marriage Story,” “The Two Popes” with its acting nominations for Jonathan Pryce and Anthony Hopkins,” “I Lost My Body” in the feature animation category, and “American Factory” in feature documentaries, which as expected took the Oscar.
Ty Burr can be reached at ty.burr@globe.com. Follow him on Twitter @tyburr.
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Favorites Brad Pitt and ‘American Factory’ take early Oscars - The Boston Globe
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