80届奥斯卡的盛大晚宴

奥斯卡今晚80周岁，他的生日,也是颁奖典礼, 有着适合八十岁老人性情的基调和步伐。一些小小惊喜—玫瑰人生（La Vie en Rose）中的玛丽昂-歌迪亚（Marion Cotillard）获得最佳女主角,《迈克尔-克莱顿》中的蒂尔达-斯温顿（Tilda Swinton）获得最佳女配角 — 但并没有大的冷门触动金身老兄的神经。《老无所依》（No Country for Old Men）如愿获得四项奥斯卡奖项: 最佳电影, 最佳导演 (科恩兄弟（Joel and Ethan Coen）), 最佳改编剧本 (科恩兄弟) 和阴深的威吓Sepulchral Menace (贾维尔-巴尔顿（Javier Bardem）)。《血色黑金》中的丹尼尔-路易斯（Daniel Day-Lewis）是一个was a cinch for for Best Throbbing Forehead Blood Vessel. 同样不出意料的是达波罗·科迪（Diablo Cody）的《朱诺》（Juno ）获得最佳剧本处女作, 还有《料理鼠王》获得最佳动画长片。作为这次告老还乡party的主持乔恩·斯图尔特(Jon Stewart)特带来了他的妙语, 甚至带来了着熟悉的甜甜的香草蛋糕的味道和大卫盾（Mogen David）康科德葡萄（Concord Grape）。
Party的风味分配得很平均: ?5个最佳电影奖的提名影片都获得了至少一个奖项。紧挨着《老无所依》, 《迈克尔-克莱顿》和《朱诺》（Juno ）,历史剧《赎罪》夺走了一项音乐奖，《血色黑金》获得最佳摄影奖。大奖正如所料归于《老无所依》— 比起温和的影片，奥斯卡更倾向于冷峻风格 — 虽然大多数典礼都有后来居上在最后拿走最多大奖的悬念，本届的前期主角: 《谍影重重3》早早地拿走了三个小金人，最佳音响效果, 最佳剪辑和最佳音效剪辑。 ("三个大奖!"对于以后的电影DVD的编辑那看起来太棒了。)
晚宴的早期 — 或白天, 就像他们在西海岸的叫法, where the glamorati大牌们不得不在午餐后就穿上晚礼服和阿玛尼燕尾服—奥斯卡可能跟随超级杯, 格莱美和民主党总统初选，为不大可能的赢家提供提名。歌迪亚激动得自己5英尺6英寸的身材弯曲成4英尺8英寸的她在电影里扮演的女歌手艾迪特·皮雅芙（Edith Piaf）的颤抖的形象, 她是第二个来自外语片的最佳女主角得主。 (意大利的索菲娅·罗兰1962年凭借《两个女人》获得此奖项)。英国人斯温顿因她选大胆地选择独立制作角色而备受称赞, was an even longer shot as the scheming executive in 《迈克尔-克莱顿》。但是对乔治-克鲁尼或是它的《时代》读者粉丝来说并不意外。本周杂志上，克鲁尼正确地预计了主要奖项的得主，说， "如果《迈克尔-克莱顿》（Michael Clayton）获奖, 那应该是蒂尔达-斯温顿（Tilda Swinton）的最佳女配角奖。" 这个家伙没错吧。

80届奥斯卡晚宴
 马上翻译!
尽管外语天才们在美国的电影工作室和电影院获得临终忏悔, 他们也经常有缘奥斯卡。意大利人获得了最佳配乐奖(达里奥·马利安那利（Dario Marianelli）, 赎罪) 和艺术导演奖(丹提费瑞提（Dante Ferretti）和弗兰西斯卡·洛·夏沃（Francesca Lo Schiavo）, 理发师陶德（Sweeney Todd）); 两个法国人获得了最佳化妆奖(迪德尔·拉维格（Didier Lavergne）, 玫瑰人生（La Vie en Rose）) 和最佳真人短片(菲利普·普雷特-维拉德（Philippe Pollet-Villard）,《扒手莫扎特》的导演, 作者和演员)。但是学院经常颁奖给外国人的一个原因似乎是他们真的需要小金人。 "感谢生活, 感谢爱," 歌迪亚欢呼道, 激动不亚于当年的萨莉·菲尔德（Sally Field）和哈利·贝瑞（Halle Berry）, 但是她又加了一句"真的, 这座城市有着天使的身影。" 以保持优雅。

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Oscar turned 80 tonight, and his birthday party, aka the Academy Awards, had the tone and pace suitable to an octogenarian's temper. A few little surprises — Marion Cotillard in La Vie en Rose for Best Actress, Tilda Swinton in Michael Clayton for Supporting Actress — but no big ones that might have sent a murmur through the golden olden dude's nervous system. No Country for Old Men took its four expected awards: Picture, Director (for Joel and Ethan Coen), Adapted Screenplay (the brothers Coen again) and Sepulchral Menace (Javier Bardem). Daniel Day-Lewis, of There Will Be Blood, was a cinch for for Best Throbbing Forehead Blood Vessel. Nor was it a shock that Diablo Cody's Juno got the Original Screenplay prize, or that Ratatouille took Best Animated Feature. And with your host Jon Stewart delivering reliable quips as the host of this retirement-home party, the event had the sweet, familiar flavors of vanilla cake and Mogen David Concord Grape.
The party favors were equitably distributed: each of the five films nominated for Best Picture received at least one Oscar. Flanking No Country, Michael Clayton and Juno, the period drama Atonement nabbed a prize for music and There Will Be Blood took the Cinematography award. The big prize went, as expected, to No Country — Oscar choosing a steely chase film over warmer, more comforting fare — though for most of the ceremony there was some suspense as to whether it would come from behind at the end to win the most Oscars over the early leader: The Bourne Ultimatum, which had taken three early statuettes for Sound, Editing and Sound Editing. ("Three Academy Awards!" That'll look good on the next edition of the movie's DVD.)

In the early part of the evening — or daytime, as they call it on the West Coast, where the glamorati have to put on their Gaultier gowns and Armani tuxes right after lunch — it seemed as if Oscar might be following the Super Bowl, the Grammys and the Democratic presidential primaries in providing a slate of improbable winners. Cotillard, who poured her 5ft. 6in. frame into the shivering, shimmering 4ft. 8in. personality of chanteuse Edith Piaf, was only the second Best Actress winner from a foreign-language film. (Sophia Loren won in 1962 for Two Women.) Swinton, a Brit much admired for her fearless choice of indie roles, was an even longer shot as the scheming executive in Michael Clayton. But that wasn't a surprise to George Clooney or his TIME-reading fans. In this week's magazine, the star correctly predicted the winners in the major categories and said, "If [Michael Clayton] has a shot at anything, it's best supporting actress with Tilda Swinton." Does this guy get anything wrong?

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Though foreign-language talent gets short shrift from American studios and movie theaters, they are often honored with Oscars. Italians won for Original Score (Dario Marianelli, Atonement) and Art Direction (Dante Ferretti and Francesca Lo Schiavo, Sweeney Todd); two Frenchmen won for Makeup (Didier Lavergne, La Vie en Rose) and Live Action Short (Philippe Pollet-Villard, the director, writer and star of The Mozart of Pickpockets.) But one reason the Academy often gives Oscars to foreigners is that they seem really to want one. "Thank you, life, thank you, love," Cotillard exclaimed, as effusive as Sally Field or Halle Berry, but with a saving touch of emotional elegance when she added, "And it is true, there's some angels in this city."