80届奥斯卡的盛大晚宴

众所周知, 有时，英国人获奖是因为他们能发表最精彩的获奖感言。斯温顿在台上发表了大概6句充满智慧的，得体的感言。路易斯在登上领奖台台阶的时候, 在他的颁奖人海伦-米伦（Helen Mirren）面前跪地领奖。海伦-米伦曾凭借在《女王》（The Queen）中伊丽莎白二世角色获去年最佳女主角奖。 "那是我在行骑士道里最近的一个," 他说道, 闪着某种我们以前认为这个一板一眼的演员不太可能做到的: 一个大大的灿烂笑容.
在Best Films You'll Never See的奖项中有一些小小的失望。动画短片奖的5个提名给了最没有说服力的, 一个冗长的(27-分钟) 改编自普罗科菲耶夫（Prokofiev）的《彼得和狼》; 和《扒手莫扎特》, 关于两个蠢货收留一个移民流浪汉的故事,与滑稽的荷兰gem, 《探戈舞之恋》（Tanghi Argentini）, 和丹麦医院悲情剧(《在夜里》（At Night）相形失色。在一个最佳外语片提名缺席的年度，大奖最终归属《伪钞制造者》, 是一个奥地利的关于大屠杀的话剧(真的吗?) 。Points to it, though, 以一个在最恶劣环境下等专心于自己的手工活的铁匠的冷酷讽刺来鞭笞它的贵族情绪。最佳纪录片, 今年的一个重题, the Guantanamo exposé, 《驶向阴霾的出租》, 击败更为出名的 (同样优秀的) 一望无际（No End in Sight ）和麦克摩尔（Michael Moore）的精神病人（Sicko）。

如此折磨，政府渎职，糟糕的医疗，更不用说一个年轻不应该逝去的明星, 希斯·莱杰（Heath Ledger）和可能已经逝去（自杀传闻）的欧文-威尔逊（Owen Wilson） (他以颁奖人的身份出现)。笼罩这这些东西，斯图尔特（ Stewart）尽量全力保持轻松的基调。它暗喻好莱坞镇从编剧罢工的影响中缓解, "欢迎大家来言归于好。" 他向观众吐露柯达剧院的人在商业广告间歇里做什么: " 多数情况下我们谈论恶毒的话，关于在家看起来怎样。" 强开了前排的常客杰克-尼克尔（Jack Nicholson）的玩笑以后，他又说道, "The compulsories are over。" 我还是喜欢斯图尔特（ Stewart）主持的hitting the rage button 每日秀（The Daily Show）节目, 但是我不能忍受dump on他以"Gaydolf Titler"来讽喻总统候选人巴拉克·奥巴马（Barack Obama）。

马上翻译!
在一个即席发言的片刻，斯图尔特（ Stewart）把Czech actress-的作曲者 Marketa Irglova再次请上台完成感言，之前她被音乐打断。Marketa Irglova为weeny 爱尔兰影片曾经（Once）写的歌曲获得最佳歌曲奖。它不是最佳歌曲— 事实上, 最终的五项中没有一个值得被提名在一个有“百老汇摇篮”之称的奖项下。"The Way You Look Tonight," "On the Atchison, Topeka and the Santa Fe," "Over the Rainbow," 神奇的海底（"Under the Sea,"）费城故事（"Streets of Philadelphia"）和夏福特（"Theme from Shaft"） — 但是姿势摆得很酷。
在这样一个星光灿烂的夜晚，还是有一些现场尴尬。其它: 凯特·布兰切特（Cate Blanchett ）的一个真实镜头, wincing at在《伊丽莎白2：黄金时代》（ Elizabeth: The Golden Age）里的裘皮大衣; 柯林·法瑞尔（Colin Farrell）和约翰·特拉沃尔塔（John Travolta）先后差点就在发言台后面光滑的地面滑到。科迪（Cody）, 以前的艳舞女郎在朱诺（Juno）受奖时泪眼朦胧，以 "我最想感谢的是我的家人，无论我做什么，他们始终爱我"这句结束感言。She got verklempt and, 当她走下台的时候,向观众欢快地挥手道别。

此时, 笑中带泪, 奥斯卡可能再次感受到年轻的气息。为什么, 这位令人尊敬的绅士已经过了73岁了。

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Sometimes Brits get Oscars because, as everyone knows, they give the best acceptance speeches. Swinton managed six witty, well-formed remarks in her minute or so on stage. Day-Lewis, upon ascending the stage, knelt before his presenter, Helen Mirren, who'd won last year for playing Elizabeth II in The Queen. "That’s the closest I'll ever come to getting a knighthood," he said, flashing something we never thought this magnificently intense actor was capable of: a broad, blinding smile.
There were mild upsets in the categories of Best Films You'll Never See. The Animated Short went to the lamest of the five nominees, an endless (27-minute) rendition of Prokofiev's Peter and the Wolf; and The Mozart of Pickpockets, about two doofus criminals who adopt an immigrant waif, was outshone by a droll Dutch gem, Tanghi Argentini, and a Danish hospital weepie, At Night. In a year when the best foreign-language films weren't even nominated, the Oscar went to The Counterfeiters, an Austrian drama about (really?) the Holocaust. Points to it, though, for lacing its noble sentiment with the bleak cynicism of a forger who remains devoted to his craft under the worst circumstances. In Feature Documentary, a strong category this year, the Guantanamo exposé, Taxi to the Dark Side, beat out the better-known (and also excellent) No End in Sight and Michael Moore's Sicko.

So torture. Government malfeasance. Crappy health care. Not to mention one young star who shouldn't be dead, Heath Ledger, and one who might've been, Owen Wilson. (He showed up to read an intro.) Surrounded by these dour subjects, Stewart did his best to keep the tone light. He alluded to the town's relief over the end of the writers' strike by saying, "Welcome to the make-up sex." He confided to the viewing audience what the crowd at the Kodak Theatre does during commercial breaks: "Mostly we sit here making catty remarks about how you look at home." After making the mandatory joke about front-row perennial Jack Nicholson, he added, "The compulsories are over." I still prefer Stewart hitting the rage button on The Daily Show, but I can't dump on a monologue that ends a Barack Obama joke with the words "Gaydolf Titler."

Just Trans!
In a nice impromptu moment, Stewart brought Czech actress-composer Marketa Irglova back to give the acceptance speech she didn't get to deliver for best song, from the weeny Irish film Once. It wasn't the best song — indeed, none of the five finalists deserved to be nominated in a category that has honored "Lullaby of Broadway," "The Way You Look Tonight," "On the Atchison, Topeka and the Santa Fe," "Over the Rainbow," "Under the Sea," "Streets of Philadelphia" and "Theme from Shaft" — but the gesture was cool.
That was one of the few verifiably "live" touches in an evening filled with starch and bromides. Others: a candid shot of Cate Blanchett, wincing at the fury of her performance in Elizabeth: The Golden Age; Colin Farrell and then John Travolta nearly slipping on a slick part of the floor just behind the podium; and Cody, the ex-stripper who misted up during her Juno acceptance, finishing with "And most of all I want to thank my family for loving me just that way I am." She got verklempt and, as she walked off, waved a blithe toodle-oo to the audience.
At that moment, mixing a laugh with a tear, Oscar might have felt young again. Why, the venerable gent could have passed for 73.