La statue en or massif

Perhaps the most notable thing about "The Oscar," aside from the fact that the Academy of Motion Picture Arts and Sciences probably wishes it didn't allow the filmmakers to use its award as a part of their turkey, is that the opening credits of the film give away two key elements that really shouldn't be revealed, one of which laughably gives away the ending!

This really goes to the point that nobody in this film seemed to know or care about the process of making it and were more enamored with the concept of setting their film on Oscar Night than in having the story make any sense, and were more about getting names to list, hoping to increase the Box Office receipts. Bad move.

I was hoping for an over the top, completely ridiculous, scenery chewing melodrama, and I was rather disappointed. Granted, Stephen Boyd definitely does have some ludicrous dialog and plays bigger than he should for what he's doing, but it really isn't "fun" to watch. Even more to the point, there's no one in the film who can challenge him.

Milton Berle comes the closest as his agent. But Berle doesn't get to crack wise, as we would expect him to do with a knucklehead client like this one. He plays it straight up. What was the point of that? And Elke Sommer is such a conflicted character, it's difficult to understand what she brought to the film, aside from the obvious eye candy intended.

The other oddity is in seeing Tony Bennett play his one and only acting role. Clearly, he wasn't ready for this sort of challenge and I can't blame him for begging off film for the safety of his music career after this disaster.

Wasted were Oscar Winner Ernest Borgnine who plays some two bit private eye and Edie Adams who actually seems the most realistic character in the entire film. Also, Edith Head, the multiple Oscar winning Costume Designer, who was seen on screen in three different scenes, and uttered half a word.

But I'm seriously still reeling over the credit spoilers. If you do watch this film (and I don't recommend you do because it definitely isn't good and it unfortunately isn't bad enough to be amusing) don't read the opening credits!

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.

... and a film that would never win an Oscar nor do I think its makers imagined that it would.

In the same vein as "Valley of the Dolls", it's a camp classic about Hollywood. It paints Hollywood as full of vicious amoral people, but the worst of them is Frankie Fane (Stephen Boyd). The film starts at the Academy Awards where Frankie Fane is expecting to win the Best Actor Oscar, which he needs to get back on top. The film then traces his rise in Hollywood, a rise that is full of him stepping on other people. There are tons of Hollywood stereotypes and situations in the process.

But along the way he meets an actor who has aged out of leading parts and has suddenly been labeled box office poison and has to take a job as head waiter where his old Hollywood pals eat because he has also ran through all of his money. Frankie is terrified of becoming that guy, and yet he oddly does everything he can to become just that guy. He uses people and discards them, and he also spends like there is no tomorrow. And then tomorrow comes. Complications ensue.

It's too bad Boyd isn't better remembered today for roles other than that of Messala in Ben Hur, because he really was a very good actor. He takes a part that could have been quite two dimensional and breathes some life into it so that his character is a very believable and hissable villain.

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.

It starts with some really bad chunks of dialogue - and it gets worse! However, it is weirdly watchable and by the end I was quite enjoying it. A larger collection of ott performances you probably won't find. Some review I read called it 'The Bad and the Beautiful crossed with Harold Robbins'. Approach it as a kind of weird comedy and you'll have fun. It doesn't really deserve to be out-of-print - it's an interesting cast (set of misfires), and has a kind of odd historical value ...