She is just never one to hold her tongue. Manohla Dargis had some choice soundbites in her Q&A that ran yesterday for The New York Times. One was especially appropriate regarding Reese Witherspoon, and the other is a no-holds-barred slam of Los Angeles, Academy voters, and Crash.
Read the whole thing, but this chunk was my favorite:
Q. My friends and I seem to be asking each other the following two questions:
1. How did Reese Witherspoon become such a shoo-in when, as a lead actress, she doesn't have that much screen time, and worse, she seems to be playing Reese Witherspoon the whole time?
2. How did Crash a somewhat obvious, over-the-top, contrived drama, score so many nominations and now come to be considered as a possible dark horse for best picture?
—Danny, Austin, TXA. Reese Witherspoon was nominated for Walk the Line because she’s beautiful, talented, has paid her dues (and I don’t mean by marrying Ryan Phillippe) and did a credible job in a big studio movie that made money and won kudos, if not across the board. (My pal A. O. Scott wasn’t wild about the movie, but he called her performance "lively" and "smart.") Her performance seems more supporting than not, true, but given the paucity of good female lead performances (see above) the Academy’s choice of Ms. Witherspoon this year was a no-brainer.
There are a few obvious reasons why Crash connected with the Academy. First, Los Angeles, where most of Academy members live, is a profoundly segregated city, so any movie that makes it seem like its white, black, Asian and Latino inhabitants are constantly tripping over one another has appeal. If nothing else it makes Los Angeles seem as cosmopolitan as, well, New York or at least the Upper West Side. Second, no matter how many times the camera picks out Oprah Winfrey on Oscar night, the Academy is super white. Third, the Academy is, at least in general terms, socially liberal. You see where I’m going, right? What could better soothe the troubled brow of the Academy’s collective white conscious than a movie that says sometimes black men really are muggers (so don’t worry if you engage in racial profiling); your Latina maid really, really loves you (so don’t worry about paying her less than minimum wage); even white racists (even white racist cops) can love their black brothers or at least their hot black sisters; and all answers are basically simple, so don’t even think about politics, policy, the lingering effects of Proposition 13 and Governor Arnold. This is a consummate Hollywood fantasy, no matter how nominally independent the financing and release. I also think it helped the film’s cause that its distributor sent out more than 130,000 DVD's to the industry, insuring easy viewing.
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