Home / Entertainment / BAFTA Awards: ‘Revenant’ Wins Don’t Seal a Deal for Oscar (Analysis)

BAFTA Awards: ‘Revenant’ Wins Don’t Seal a Deal for Oscar (Analysis)

Nearing a finish of an awards deteriorate in that a 3 highest-profile guilds awarded their tip prizes to conflicting films — a Producers Guild of America went for The Big Short, a Screen Actors Guild went for Spotlight and a Directors Guild of America went for The Revenant — many Oscar-watchers incited on Sunday to a British Academy of Film and Television Arts, or BAFTA, expecting for some arrange of a pointer about that film competence be out front.

Why? Because a BAFTA Awards, a U.K.’s homogeneous of a Oscars, were being handed out; some 500 Academy members also opinion for a BAFTAs (the whole group’s membership is roughly a same distance as a Academy’s); all 3 of a aforementioned contenders was nominated for best film; and a final turn of Oscar voting, that began on Friday, extends all a approach by 5 p.m. on Feb. 23, so even if BAFTA’s picks do not relate with a approach many Academy members now devise to vote, they could feasible lean some Academy members to opinion differently.

So what happened? The Revenant won best film, best executive (Alejandro G. Inarritu), best actor (Leonardo DiCaprio), best cinematography and best sound — while The Big Short and Spotlight won customarily best blending screenplay (Adam McKay, Charles Randolph) and best strange screenplay (Tom McCarthy and Josh Singer), respectively.

The fact that a film that tells a quintessentially American story won a tip esteem of both this British classification and a Hollywood Foreign Press Association — and that it’s dual arch Oscar rivals achieved so feeble — would seem to suggest, during this point, that it can’t remove during a Oscars. But before we gamble a plantation on it, keep one thing in mind: another film that tells a quintessentially American story, Boyhood, won those same awards customarily final year en lane to a best pattern detriment during a Oscars.

Let’s take a impulse to demeanour during how BAFTA voting works and a grade to that it has correlated with Oscar voting in a past.

For many years, a BAFTAs was mostly abandoned by Oscar watchers. That’s given from 1994-2000, it took place after a Academy had already dished out a possess prizes. The dual groups frequency concluded on their winners anyway, maybe given BAFTA invited all of a members to establish a nominees in any category, though customarily members of a specific branches to collect a winners from those branches’ analogous categories (except a 4 behaving categories) — a accurate conflicting of how a Oscars are determined.

But, in a 21st century, BAFTA implemented changes that have done a rite a vital stop on a awards circuit and some-more of an Oscars influencer. It changed a BAFTAs before a Oscars in 2001 and adopted a same voting custom as a Academy in 2012 (meaning nominees are selected by branches though winners are selected by everyone). The biggest differences these days is that BAFTA always has 5 nominees for a tip prize, best film, given a Academy fluctuates — depending on opinion totals — between 5 and 10 for a tip prize, best picture; and a best film BAFTA leader is dynamic by a renouned vote, not a favoured ballot, as is used by a Academy and a PGA.

So what should one make of a formula from a 69th BAFTA Awards?

Winning is apparently improved than losing for The Revenant, though it doesn’t pledge anything. In a 15 years since a BAFTAs changed in front of a Oscars on a calendar, customarily 7 best film BAFTA winners went on to win a best pattern Oscar. The 8 discrepancies: BAFTA went for The Lord of a Rings: The Fellowship of a Ring, The Pianist, The Aviator, Brokeback Mountain, The Queen, Atonement and Boyhood, while a Academy opted for A Beautiful Mind, Chicago, Million Dollar Baby, Crash, The Departed, No Country for Old Men and Birdman.

The best executive difficulty has a same common lane record (although BAFTA was a customarily organisation to expect Roman Polanski‘s best executive win for The Pianist). As for a behaving categories, BAFTA doesn’t always get it “right,” in terms of honoring people that will go on to win an Oscar — heck, dual years ago they didn’t even nominate a contingent best actor and best ancillary actor Oscar winners, Dallas Buyers Club‘s Matthew McConaughey and Jared Letobut it does generally review a tea leaves good when it comes to tighten races. For example, they were a customarily organisation to expect Alan Arkin‘s best ancillary actor Oscar win for Little Miss Sunshine (2006) and Tilda Swinton‘s best ancillary singer Oscar win for Michael Clayton (2007).

Unfortunately, a formula of this year’s BAFTA behaving categories, detached from best actor (which DiCaprio has in a bag), don’t unequivocally tell us many given any was blank someone who is competing in a analogous Oscar category. Room‘s Brie Larson surfaced Brooklyn‘s Saoirse Ronan to win best actress, though they didn’t have to contest opposite 45 YearsCharlotte Rampling, who was snubbed by BAFTA. Bridge of SpiesMark Rylance won best ancillary actor, though he didn’t have to face Creed‘s Sylvester Stallone, who was snubbed by BAFTA. And Steve JobsKate Winslet won best ancillary actress, though she didn’t have to face Alicia Vikander, during slightest for a opening in that Vikander is nominated during a Oscars — BAFTA nominated Vikander for Ex Machina, while a Academy corroborated her for The Danish Girl.

The Winslet win is a many engaging to me. Few are a contenders who have won both large “international” prizes — a Globe and a BAFTA, as Winslet now has — though not an Oscar, during slightest in a years given a BAFTAs were changed before a Oscars. That combo has likely several new Oscar “upset” or “even-money” winners: best ancillary actor Jim Broadbent for Iris (2001), best singer Nicole Kidman for The Hours (2002), best singer Marion Cotillard for La Vie En Rose (2007), best actor Jean Dujardin for The Artist (2011), best singer Meryl Streep for The Iron Lady (2011) and best ancillary actor Christoph Waltz for Django Unchained (2012). Indeed, a only times it has missed were when Globe and BAFTA prizes went to Bill Murray for Lost in Translation (2003), Clive Owen for Closer (2004) and Mickey Rourke for The Wrestler (2008), though a Academy sided with Sean Penn for Mystic River, Morgan Freeman for Million Dollar Baby and Penn again for Milk, respectively. Could Vikander, who is famous on a awards circuit though maybe not to rank-and-file Academy members, indeed lose? This creates me wonder.

One contingency note, however, that when BAFTA has “missed,” in terms of expecting an Oscar winner, it has customarily been a outcome of a organisation siding, in a tighten race, with a British contender opposite a non-British contender — i.e. awarding Thandie Newton best ancillary singer for Crash (2005), Geoffrey Rush and Helena Bonham Carter best ancillary actor and best ancillary actress, respectively, for The King’s Speech (2010) and Chiwetel Ejiofor best actor for 12 Years a Slave (2013). So that might comment for some of Winslet’s support.

Mad Max: Fury Road did really good in below-the-line categories, picking adult 4 wins: best dress design, best film editing, best makeup and hairstyling and best prolongation design. Additionally, Inside Out won best charcterised film, Amy won best documentary, Star Wars won best visible effects and The Hateful Eight‘s Ennio Morricone won best strange score. All of those seem like formula that could be steady during a Oscars.

One bauble of this year’s BAFTAs: Jordan’s Theeb, a hopeful for a best unfamiliar denunciation film Oscar, mislaid a best non-English film BAFTA to a film that was Oscar-eligible final year — though a director, Naji Abu Nowar, won superb entrance by a British writer, executive or producer. Go figure.

Article source: http://www.hollywoodreporter.com/race/bafta-awards-revenant-wins-dont-865269