The Oscars 2014: Cinema that Comes with an Answer Key

The awards didn’t go to the best movies, but to the movies that were supposed to win. Instead of surprise, the gala caused a lot of disappointment.

The Academy showed once again that it abides by its own rules. It is clearly partial toward some things and can’t stand others. It’s a pity, however, that an outstanding movie is no longer enough to win the most prestigious award in the film business. It has to be in accordance with “the answer key.” Cinema that resembles a final examination? I’m not convinced at all.

What is the answer key? First of all, a film has to be breathtaking audio-visually. “Gravity” by Alfonso Cuaron fell into this class perfectly — unrivalled in the technical category. The movie by a Mexican filmmaker is indeed electrifying from this point of view. But to give it the Academy Award for best director, with Martin Scorsese and David O. Russell among the nominees? It’s a complete misunderstanding. Or: It is a way to show the direction in which contemporary cinema is heading — technical revolution, the solid foundation for which was laid in 2009, when James Cameron shot “Avatar.”

If not the audiovisual setting, what else? Another thing that helps to win the favor of the Academy are actors’ physical transformations and how much they sacrifice for a role. As proof: the Oscars for Matthew McConaughey and Jared Leto for their creations in “Dallas Buyers’ Club” — although both of them gave highest level performances. Past years’ examples prove the thesis: Daniel Day-Lewis in “Lincoln” (2012), Meryl Streep in “The Iron Lady” (2011) or Christian Bale in “The Fighter” (2010).

There is also a third reliable secret: a choice of a sensitive and significant historical issue, e.g. racism, slavery or the Holocaust. “12 Years a Slave” by Steve McQueen is an ideal example. It was a clear favorite from the beginning, even getting fewer nominations than “American Hustle” and “Gravity” didn’t change the attitude toward the movie. To make it funnier, McQueen got the Oscar for best picture now, not two years ago for his brilliant “Shame,” which didn’t get a single nomination.

It didn’t get any nominations because it touched upon a sensitive aspect of American society — the pursuit of money, loneliness and broken human relationships. This year, the Academy was clearly displeased with Martin Scorsese. In spite of five nominations, “The Wolf of Wall Street” didn’t win in any of the categories. Maybe Scorsese would have been better off not damaging the reputation of Wall Street?

What else should be avoided? I guess ridiculing the FBI and stigmatizing the corruption among the political class, which is exactly what David O. Russell based “American Hustle” on. His outstanding movie received 10 nominations and was considered “a dark horse” in the Oscar gala. How did it end? Defeated and humiliated — without a single statuette, not for best picture or for best director. Even Jennifer Lawrence, who gave a brilliant performance in a supporting role for which she was smothered with awards, had to acknowledge Lupita Nyong’o’s superiority; although she was great in “12 Years a Slave,” she wasn’t good enough for the Oscar.

What can we unquestionably consider a plus of this year’s gala? Two things, for sure: The Oscar for best actress going to Cate Blanchett (“Blue Jasmine”) and best original screenplay going to Spike Jonze for “Her.” At least that. Or, just that.