The Oscar

This obscure, sublimely over-heated film is a second cousin to "Valley of the Dolls" in terms of pure, unadulterated Hollywood camp. The film is like a massive wad of cotton candy for those who enjoy a two hour trip to movie hell. Opening at the ceremony for the title statuettes, we see that Boyd is the front-runner for Best Actor. But first, the audience must step back in time to discover how he got there. It falls to Bennett to narrate the with the most dry delivery of horrendous socko '60's scripting. Looking like a Dean Martin wax figure that's been left in the sun for two hours, he is a stumpy, squatty disaster in this film. Billed as "Introducing Tony Bennett", he has zero charisma, receives corpse-lighting, doesn't sing even once and forever after (thankfully) played only himself in films. At any rate, as the film flashes back, lean, mean Boyd (in a performance that ensured he'd never see another "Ben-Hur") is instantaneously irredeemable and agonizing as a big mouthed roamer who's joined by his stripper girlfriend (St. John) and a passive buddy (Bennett.) In these early scenes, St. John actually manages to come off as sexy despite a crazed tigress costume and the tacky surroundings. Soon, though, she's chewing one end of the scenery while Boyd chews the other. They meet in the middle where hapless Bennett is sitting like a bump on a log. Soon Boyd is trying to make it as an actor with the assistance of love-starved talent scout Parker (in a typically dedicated performance) and agent Berle (solid, also, in a non-comedic role...at least it is meant to be non-comedic!) Boyd's eternal bad attitude and horrible personality continue to inflict pain on all those around him and the viewing audience. In the film, he has a magnetic presence that draws everyone to him and causes them to embarrass themselves repeatedly. This charm is invisible to the film's viewers. One of his victims is the lovely Sommer, who looks stunning in an array of Head gowns and intricate hairstyles. His rise to the top of his profession is spoiled by his own ego and eventually he gets tripped up. He even gets one of those hilarious dreams with smoke swirling and actors dully repeating their lines. The movie is jam-packed with bits by stars who should have known better, some of them even Oscar-winners themselves (Crawford, Brennan, Borgnine.) Other cameos of people playing themselves lend a faux verisimilitude to the proceedings (Hopper, shortly before her death, Head, Hope, Oberon, even James Bacon appears at a press conference looking pouty because Archerd got all the lines.) There's a great little part for Hale as a snotty, demanding starlet and it's one time when Boyd comes off well. Lawford has a bit as a fallen star who works in a restaurant. Sadly, his own career would soon hit the skids as well. Adams adds a bit of verve as Borgnine's showy wife. She has one unfortunate scene, though, in which her behind is spread right in front of the camera. The film is a feast of kicky '60's production design, fun clothing and enormous hairdo's. There are a few clever touches in the film. At least twice, scenes involving different people are duplicated to show the parallels. The film has one of the all-time hilarious "surprise" resolutions...one last cackle before the credits roll. A MUST for any connoisseur of bad films!

I'm less interested in the alleged camp value of this film that I am in the opportunity to again see so many of the names with which I grew up working. It was business as usual in those days fifty years past, and anytime they surface again, in any form, it is to treasure. This film IS Hollywood of the mid '60s.

The Oscar isn't any worse than 75% of the films of the era. --Or today, when you get down to it. In that day, an all-star cast was employed to conceal all inadequacies; these days, CGI fulfills the very same function. I get it. A lot of people don't, simply because CGI is so big and bombastic by its very nature as to overwhelm judgment. Another fifty years from now, I think there are going to be lots of films like The Oscar, films that people laugh at because they have nothing going for them but an obvious patch meant to cover their weakness. You can bet on it.

The film is built around three male roles, with everyone else more or less stepping out of their way for the big acting moments given to them. Boyd, always the stony-jawed, steely-eyed manly male actor, is exactly as you remember him. Tony Bennett does a really nice job, which is a pity, given this films negative rep. Milton Berle was a surprisingly good dramatic actor, and proved it in many films and TV shows, just like this one. Eleanor Parker rises above the secondary status to which the actresses in this film are consigned. She makes the development from haughty to pathetic entirely credible.

Bottom line: Enjoy it as a chance to see names, names, names, even if you don't buy the drama or the story. It comes straight from the heart of the last demi golden age, just past the decline and disappearance of The Golden Age of Hollywood. It commemorates this unique time and place as well as any film.

This expose of a Hollywood heel plays like a bush-league attempt at the baroque language of SWEET SMELL OF SUCCESS, but man, does it work. Stephen Boyd is the absurdly mannered amoral punk who'd screw over his mother and steal her shoes to make it to the top. Among those with his shoeprints on their neck are Milton Berle (horny, melancholy, used-up agent), Jill St. John (tragic "roundheels broad"), Tony Bennett (as Hymie Kelly, the tragic Jewish-Irish second banana) and Elke Sommer (Swedish zaftig-bomb with a conscience). As directed by Russell Rouse, THE OSCAR has the feel of Sam Fuller doing overbright TV. The movie is way beyond "campy" or "good-bad;" nearly every scene is a diamond-plated jaw-dropper.

....you come up smelling like fleas". One of the lines actually spoken (by Tony Bennett)in "The Oscar". Words can not describe this film. It is so so bad...it is GREAT! Stephen Boyd's performance is way way way over the top like nothing you have ever seen before. He is like a rabid dog hopped up on speed. The other performers are terrible too! Especially Tony Bennett who looks like he is reading his lines off cue cards. But it is the script that will have you on the floor laughing. There are so many memorably bad lines in this that I recommend you have a whole pad of paper and a pen ready to jot them all down. Rush don't walk to your nearest video store and rent this! One of the best (if not THE best) of the camp crazed melodramas of the 1960's. 10/10 as ultra grade A+ high camp. Regular still high 6/10 for its sheer audacity and 60's chic look at the bowels of Hollywood. Norma Desmond Mr. Boyd is ready for his close up.

The Academy Award. The Oscar. Hollywood's token of prestige and honor. Many try for it. Many fail. Some succeed. A lot of films have been made about the Oscars. Some good. Some bad. This one is completely off the map!

This movie is the story of an actor up for an Oscar. Sounds simple right? That's what the name says on the movie poster. We then spend the entire movie watching his slow struggle to the top, going through the ranks, overcoming adversity, and finally achieving the nomination. Sounds pretty good, yes?

But when your hero is Stephen Boyd, an actor who majored in overacting and vein-popping, when the script uses every movie cliche in the book, when the directing is at best horrible, you're in for a rough voyage.

Throw in Milton Berle as Boyd's agent and it gets ugly. Uncle Miltie plays it straight, trying to garner a real Oscar nomination for Best Supporting Actor. An hour into this movie, you're praying Berle will dress in drag just to lighten things up. His whole performance screams "Nominate Me!"

However, this movie was doomed when Tony Bennett was given the role of Boyd's best friend/narrator of the film. This was Tony's only starring role and after 10 seconds, you'll know why. Acting just wasn't his forte. Bennett remains emotionless and motionless when others speak in the film. But when his cue comes up, you can see the twinkle in his eye, his arms flail, and he delivers the line. He wisely stuck to his day job after this movie.

Look for Hedda Hopper in this film, just months before she died.