Kirk Douglas represented the embodiment of Hollywood stardom, but he probably wouldn’t have been a lover of Sunday’s Oscar show. Indeed, he may have ended up standing offstage with Quentin Tarantino, both wondering why the sculptures seem strangely distanced from the Hollywood and its celebrities.
Tarantino created a totally affectionate film about Hollywood, but needed to see a Korean filmmaker grab the finest Picture statuette. Quentin and Kirk understand the Oscar series had been invented by Mary Pickford, Douglas Fairbanks Jr. and Charlie Chaplin to demonstrate that the gift — i.e., celebrities — nevertheless ran the series, not the businesses.
Ninety decades after, celebrity vehicles do not win Oscars. Further, post-Oscar analysts concentrate less on the winning attribute and its star compared to if Netflix’s extravagant $100 million awards effort repaid in adequate decorations (the streamer won 24 nominations however just two Oscars).
Kirk Douglas Appreciation: ‘Spartacus’ And A Whole Lifetime Of Movie Memories
Douglas coveted the awards derby. He had been nominated three times as Best Actress in his first decade as a superstar and typically starred in three films per year. “I was always attracted to personalities that are a part scoundrel,” was his famous excuse.
To Douglas, stardom intended not merely working a lot but also placing his prestige behind significant films — consequently Lonely are the Brave, Lust for Life and Spartacus. Rallying behind the then-unknown Stanley Kubrick was critical to bringing Paths of Glory into the display. His unrelenting assistance of Dalton Trumbo has been the key to liberating blacklisted screenwriters.
At the first 1960s as soon as the strapped studios removed their overall prices with celebrities, Douglas was the very competitive in producing independent businesses to come up with projects. Others such as William Holden, Humphrey Bogart and Spencer Tracy appeared paralyzed from the realization that nobody was about any more to nourish them substance or match them with proper directors.
After I slipped a publication to John Wayne several years back — it had been True Grit — he appeared surprised that somebody would feed him a new job (I had been a studio executive at the time). Had I contributed it to Douglas, he’d have optioned the book by dinner time and hired a screenwriter. Rather, Wayne requested his buddy, Hal Wallis, to help him figure out how to take it from there.
Kirk Douglas skillfully assembled a development masterpiece, and even increased funding funding. Oscar winners such as Crash or Birdman, nevertheless, wouldn’t happen to be at his purview, nor could he have responded exuberantly into the Big Win for Parasite. He enjoyed”large” images and”large” celebrities that had global audiences. On the Oscar series, he would have liked to see more clips of large scenes, also heard from more celebrities introducing awards — much more Brad Pitt kinds and even a Clooney, Cruise or Gibson. Most of all he’d have enjoyed an Oscar series that comprised Hollywood.
However, my guess is that this season he would have cast his vote Parasite but frozen for Tarantino’s Hollywood epic.