Film Festival

PGA voters ignore box office, reward 'The Artist' and 'Tintin'

'Beats, Rhymes and Life' upsets in documentary race

PGA voters ignore box office, reward 'The Artist' and 'Tintin'

A scene from "The Adventures of Tintin,", which beat "Rango" to the PGA's animation award.

Credit: Paramount Pictures

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Let's just say that if you were expecting any film besides "The Artist" to triumph at the Producers' Guild of America Awards, you clearly haven't been paying attention. After dominating the critics' awards and taking three Golden Globes, the French phenomenon had its first taste of Guild glory last night -- solidly confirming its status as the film to beat (if indeed it can be beaten) for the Oscar.

As with "The Hurt Locker" two years ago, the PGA rewarded by far the lowest-grossing of the 10 films nominated: many pundits speak of them as a commercially-minded voting group, but their choices don't really bear this idea out. Consensus has simply landed on Harvey Weinstein's black-and-white pony as the most loveable in the race, and if it has the money men in its corner, it's good to go.  

We'll know next weekend just how comfortable the film is in the race as the Directors' and Screen Actors' Guilds announce their winners -- a DGA win for Michel Hazanavicius (which is probable) would just about lock things in place, but if it manages to beat "The Help" to the SAG ensemble award (which is more of a question mark), Oscar pundits may as well take up another hobby until February 27.

The more eyebrow-raising result is over in the animation category, where "The Adventures of Tintin" pulled off its second big win over precursor leader "Rango" in the space of a week. We put the Spielberg film's Golden Globe victory down to name appeal with voters, and it's tempting to wonder if something similar was behind the PGA victory. When a film is steered by three super-producers as powerful as Spielberg, Kathleen Kennedy and Peter Jackson, it's hardly surprising that their peers are going to pay respect -- even if the film is, like "The Artist," the lowest-grossing in its field.

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What this means for the Oscar race, where I suspect the quirkier charms of "Rango" will still carry the day, is less clear. Indeed, Kris is still predicting "Tintin" won't be nominated at all by the Academy's mocap-wary animation branch. If it clears that hurdle, however, might residual admiration and/or sympathy for Spielberg's failed Best Picture bid "War Horse" boost his chances in the lesser category? Or will voters feel he's been amply rewarded as it is? We'll see, but in a perennially suspense-free category that hasn't had an actual race to the finish since 2006, it'd be nice to have two strong contenders.

Over in the documentary category, meanwhile, the Guild did little to affect the overall race, surprisingly selecting Michael Rapaport's Oscar-ineligible hip-hop doc "Beats, Rhymes and Life: The Travels of a Tribe Called Quest" over Academy-shortlisted titles "Project Nim" and "Bill Cunningham New York," as well as British favorite "Senna." I haven't seen the film myself, but I'm glad Rapaport, the bloke-ish New York character actor here making his directorial debut, finally has something to show for 20 years in the game.  

To recap, the list of film winners:

Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures

"The Artist" - Producer: Thomas Langmann The Producers Guild of America

Producer of the Year Award in Animated Theatrical Motion Pictures 

"The Adventures of Tintin" - Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg

Producer of the Year Award in Documentary Theatrical Motion Pictures 

"Beats, Rhymes & Life: The Travels Of A Tribe Called Quest" - Producers: Michael Rapaport, Edward Parks  

Remember to keep track of the ups and downs of the 2011-2012 film awards season via The Circuit.

For more views on movies, awards season and other pursuits, follow @GuyLodge on Twitter.

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  • Default-avatar

    atr

    It's kinda strange that the Academy forces great American directors (Fincher, Scorsese, Spielberg) to languish for years, yet they rush to hand awards to directors from across the pond on their first decent outing.

    January 22, 2012 at 10:13AM EST Reply to Comment
    • Guypic_talkback_profile

      Guy Lodge It's about the film for them, not the director. And what does it matter whether they're foreign or not?

      January 22, 2012 at 10:31AM EST
  • Default-avatar

    red_wine

    Sometimes things can sweep really bad, like Slumdog's eye brow raising win for Best Ensemble at SAG in 2008 in-spite of all the bad acting in the movie.

    A win for The Artist at SAG would not surprise me, it would actually thrill me. Better be The Artist than The Help.

    January 22, 2012 at 11:26AM EST Reply to Comment
    • Images_talkback_profile

      Laura Stewart Frieda Pinto managed to fool me as an "actor" in that film. I thought the acting was pretty damn good. Of course since Slumdog, we have come to realize Pinto is in fact a cyborg.

      January 22, 2012 at 5:24PM EST
    • Default-avatar

      CaptainCanada I thought "Slumdog" was exactly the sort of movie that deserved to win the SAG ensemble prize. Lots of actors in parts that tended to be very small, and I thought they generally did very good jobs.

      January 22, 2012 at 5:29PM EST
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    Authorized

    It seems the days when box office mattered for the major awards are gone. The Hurt Locker was evidence of this and The Artist is continuing the trend.

    I'm not sure this is a avenue the industry wants to be going down. With a film that isn't resonating with the public as the heavy favorite I can see a low TV rating for the Academy Awards this year. The mainstream multiplex crowd just isn't that interested in a black and white silent movie and I'm not convinced expanding to a wide release will generate big business.

    The likes of Slumdog Millionaire and The King's Speech proved that Best Picture winners can still be hugely successful commercially but the vibe I'm getting is that isn't the case with The Artist.

    January 22, 2012 at 1:20PM EST Reply to Comment
    • Default-avatar

      John G. People seem to think the TV rating is the most important aspect of this, but I'm not sure I agree. It doesn't seem fair to the public to crown a film that most people don't have access to, with The Artist only playing on a handful of screens. It's also important to reward films which are successful and bring commerce to Hollywood, particularly amidst the current economic climate and the recent box office slump. Forget the telecast; ABC has it on lock anyway and it's always a big event. There's better reasons to reward more successful product than The Artist.

      January 22, 2012 at 1:50PM EST
    • Hal_9000_talkback_profile

      DylanS I'm going to go out on a limb and say that even if "The Artist", a silent film in black and white, was playing in a wider release, your average audience would still have a difficult time getting enthusiastic about seeing it, and it would presumably do very poorly. Audiences are just like that, they aren't really interested in something that's a radical departure from what they are used to and familiar with. In the case of "The Artist", i'm fine with that, because after seeing the film (which I didn't like) I think a mainstream audience would find it boring and ask what all the fuss is about.

      "The Hurt Locker" was a different situation and something of an exception. It had a small mid-summer release and then seemingly disappeared until the critics all unanimously brought it back and shined a light on it during awards season. Once this happened, people started seeing the film, and they responded to it and it developed a fan-base. "The Artist" is out right now, and I still feel like a great number of average movie goers, who fell in love with the likes of "Slumdog" and "King's Speech", don't even know about the film. This isn't to say the academy won't reward it, but it's lack of mainstream notoriety, coupled with the old-fashioned selection of Crystal as host and an overall bland slate of major contenders, this years telecast ratings are going to be abysmal.

      January 22, 2012 at 2:28PM EST
    • Pic_talkback_profile

      forg The Artist is just the type of movie that would only appeal to cinephiles

      January 22, 2012 at 4:52PM EST
  • Default-avatar

    Matthew Starr

    If Tom Hooper beat David Fincher and TKS beat Social Network, Fighter, Kids and Black Swan then surely The Artist will take DGA and SAG. Show's over folks! Back to Sundance and Berlin.

    January 22, 2012 at 2:17PM EST Reply to Comment
    • Default-avatar

      JLPatt That comparison makes no sense. Hazanvicius, unlike Hooper, is actually hugely deserving and the best possible choice (besides Malick) of the potential serious contenders.

      January 22, 2012 at 2:39PM EST
    • Default-avatar

      Matthew Starr My comparison actually makes perfect sense because I am using factually based historical decisions by the guilds to predict who will win this time around. You're the one offering up opinions.

      January 22, 2012 at 2:49PM EST
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    JLPatt

    I'm SO glad people are going with "Tintin" over "Rango" recently. It's the better film in every way, and I can only hope the Academy agrees and duly rewards it.

    January 22, 2012 at 2:37PM EST Reply to Comment
    • Default-avatar

      John G. I'm with you. My favorite film of the year!

      January 22, 2012 at 2:48PM EST
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    Paul Outlaw

    "... if it manages to beat "The Help" to the SAG ensemble award (which is more of a question mark), Oscar pundits may as well take up another hobby until February 27."

    I was surprised to find myself voting for neither one of those films when I submitted my SAG Awards ballot last week. Granted, I've never been the typical voter, but I wouldn't be shocked if many voters this year, after weighing all five nominees, do what I did and pick Bridesmaids.

    January 22, 2012 at 3:44PM EST Reply to Comment
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    wisconsinkel

    The Help won three critics choice (BFCA) awards and only one Golden Globe

    January 22, 2012 at 3:55PM EST Reply to Comment
    • Guypic_talkback_profile

      Guy Lodge Um, yeah? I'm sorry, it's not quite clear what point you're making, or responding to, here.

      January 22, 2012 at 5:44PM EST
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    Patryk

    Great to see Rapaport get his due, and funny to see him described as "bloke-ish." Perfectly stated.

    January 22, 2012 at 4:08PM EST Reply to Comment
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    Brock Landers

    The funny thing about The Artist is that it already feels like it is fading into oblivion, even with all of these wins. Even though I thought it was just OK, I expected it to catch on a bit more than it has. When The Hurt Locker was winning big, it sparked curiosity in people. There seems to be no such reaction to all of the wins for The Artist.

    January 22, 2012 at 4:22PM EST Reply to Comment
    • Default-avatar

      Paul Outlaw Reaction from whom?

      January 22, 2012 at 5:07PM EST
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    daveylo

    I truly believe these producers aren't watching all the movies nominated. What boring choices.

    January 22, 2012 at 7:11PM EST Reply to Comment
  • Dsc00002_talkback_profile

    loyal_mehnert

    The bitching about The Artist is already tiresome and the nominations are still 38 hours away.

    Here's the thing, it's a black & white silent film that's made jackshit at the box office. That's about as far removed from the types of films that normally dominate the award season as humanly possible.

    At the very least, we should all be celebrating how random and strange an occurrence this is.

    January 22, 2012 at 8:00PM EST Reply to Comment
    • Guypic_talkback_profile

      Guy Lodge Co-sign. Would people rather "War Horse" was winning everything in its path? If it was, you'd all be bitching about how much more interesting a choice "The Artist" would be.

      January 22, 2012 at 8:44PM EST
    • Default-avatar

      Brock Landers Something shouldn't be celebrated simply because it is a random and strange occurrance. Being a black and white and silent film doesn't make up for a thin and uninteresting plot.

      And people would have bitched about War Horse, but that's a bad example. Like The Artist, it's not a good movie. If they awarded something that was actually good and that would be remembered for more than a day after it wins, there would probably be far less bitching. Something like Drive, for instance. They haven't had the balls to do something like that since No Country and The Departed though.

      January 22, 2012 at 9:03PM EST
    • Default-avatar

      Prettok Is the Oscar supposed to go to the most memorable movie? I haven't seen either film, but I'm pretty sure people will remember "the artist" more, being the only silent , b&w movie made in 2011.

      And why do you need balls to give an award to "Drive"? It would show you have good taste in movies, an appreciation for fine genre filmmaking. But why exactly would it show balls?

      January 23, 2012 at 1:14AM EST
  • Default-avatar

    asfsf

    Mate, Tintin made more money at the global box office then its main competitior Rango.

    January 23, 2012 at 12:35PM EST Reply to Comment

About This Blog

Spearheaded by editor Kristopher Tapley, In Contention represents a collective of awards obsessives who comment and reflect upon, muse about and attempt to decipher the Oscar season on a daily basis throughout the year, and especially during the Oscar crunch of the fall. Regular contributors include Guy Lodge, Roth Cornet and Gerard Kennedy.

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2011-2012 OSCAR NOMINATIONS

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Best Picture

Best Director

Best Actor

Best Actress

Best Supporting Actor

Best Supporting Actress

Best Adapted Screenplay

Best Original Screenplay

Best Art Direction

Best Cinematography

Best Costume Design

Best Film Editing

Best Makeup

Best Original Score

Best Original Song

Best Sound Editing

Best Sound Mixing

Best Visual Effects

Best Animated Feature Film

Best Documentary Feature

Best Foreign Language Film

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