by Heath Lynch, Contributing Writer
Welcome back, one and all, to another entry in Oscars: What If, a retrospective look at the Oscars! I know we are all getting amped up for the summer blockbuster season, and awards are the last thing on our minds, but there are a lot of great films to look back on and gild. So let’s get down to business. As a reminder for this series, we look at categories the Academy should be honoring, but for one reason or another, they aren’t. Hopefully someday the Academy will do right by these creative talents, but until then we must do the Academy’s job for them. Let’s look back at the year in which Jamaica fielded a bobsled team at the Calgary Winter Olympics, Walmart opened its first Supercenter, Stephen Hawking published A Brief History of Time, lights were finally installed at Wrigley Field in Chicago, the Iran/Iraq War ended, and the Soviet Union withdrew from Afghanistan. It is time to examine the films of 1988, celebrated at the Oscars in 1989. Let’s see what could have been!
Best Stunts and Choreography
Given to the best achievement in dance, stunts, related performances, and overall choreography.
And the nominees are… The Adventures of Baron Munchausen, Bloodsport, Die Hard, Hairspray, Police Story 2
And the winner is… Die Hard!
At first glance, Die Hard might seem like the obvious choice, but this category was closer than you’d think. Munchausen’s theatrics are great, I love all the dancing in Hairspray, and how can you not love Jean-Claude Van Damme or Jackie Chan performing martial arts? But in the end… yippee-ki-yay. The thing that’s great about Die Hard are the subtle stunts. Sure, Hans falling dozens of floors to his death, and the roof of the skyscraper exploding, are huge accomplishments, but it’s the other elements that really add the grit to this experience. Shimmying on the ground under a conference table, walking on broken glass, climbing through air ducts, or using a fire hose as a harness to jump off a building is what sets this film apart. It’s not just the big bombastic moments, but it’s the little things that made us believe that we could survive without Stallone or Schwarzenegger, and that an everyman could save the day. So now Die Hard has an Oscar. Ho-ho-ho.
Best Performance by Voiceover or Motion Capture
Given to the best off screen voice performance, or on screen motion captured performance.
And the nominees are… Brad Dourif as Chucky in Child’s Play, Charles Fleischer as Roger Rabbit/Various in Who Framed Roger Rabbit, Helen Shaver as Littlefoot’s Mother in The Land Before Time, Kathleen Turner as Jessica Rabbit in Who Framed Roger Rabbit, Mitsuo Iwata as Shotaro Kaneda in Akira
And the winner is… Charles Fleischer as Roger Rabbit/Various in Who Framed Roger Rabbit!
As much as I’d love to give this to Turner’s sultry tones, or even Dourif if nothing else because it’s hilarious to hear his voice cuss someone out when it’s coming from a doll, this was always going to Fleischer, and it was never even close. I mean, let’s just be real here: Fleischer is voicing over five different characters in this film. Most notably, Benny the Cab and this little character named… Roger Rabbit. Kind of a big deal. And if you know Fleischer’s real voice, then you know how transformative this work is. But it’s not even just the distinct voice. No, it’s also the wide-ranging swath of emotions on display. Whether that’s heartbreak at the thought of losing his wife, cartoonish silliness when he’s running around being himself, or pure joy in singing “Two bits” as a response to “Shave and a Haircut,” Fleischer is otherworldly good. This was never a competition. Fleischer takes it home, hands down.
Best Performance by an Ensemble Cast
Given to the best overall ensemble cast performance.
And the nominees are… Beetlejuice, Dangerous Liaisons, A Fish Called Wanda, Mississippi Burning, Who Framed Roger Rabbit
And the winner is… A Fish Called Wanda!
This one was tough. I really wanted to award every single one of these nominees; they’re all awesome. But, someone has to win, and this time it’s A Fish Called Wanda. It’s hard to ignore the fact that Kevin Kline already won the Oscar for Best Supporting Actor for his work here. That’s already a solid foundation. But as in that you’ve also got tremendous performances from the likes of John Cleese, Michael Palin, and Jamie Lee Curtis, and it’s no wonder so many fell in love with this ensemble cast. These are all longtime character actors, and multiple veterans of Monty Python we’re talking about here. It’s hard for them to disappoint. Everyone’s manic energy, distinct characteristics, and chaotic line readings make for a great time and a boatload of laughs. But it’s also everyone’s chemistry as they bounce off one another that makes this movie sing. No scene exemplifies this more than when Palin is trying to do pal through his stutter to Cleese. The hilarity is never ending, and that’s not possible with a lesser cast. It was a hard choice, yes, but A Fish Called Wanda was the right choice for this award.
Best Directorial Debut
Given to the best achievement in direction by a debut directing talent.
And the nominees are… Claire Denis for Chocolat, Wong Kar-Wai for As Tears Go By, Michael Lehmann for Heathers, Mira Nair for Salaam Bombay!, Keenan Ivory Wayans for I’m Gonna Git You Sucka
And the winner is… Michael Lehmann for Heathers!
Honestly, this was tough. There were a lot of great directorial efforts for some very strong films. But I’m going to give this one to Lehmann. It feels a bit odd, especially considering the filmography for the rest of his directorial career, but this first effort is fantastic, because Heathers was, and is, a film that’s constantly put under the microscope. Its focus on teenage suicide, as well as school-age shootings and murder, makes for a delicate subject in the first place, but it’s handled so well. This flick gave us the inverse of all the John Hughes films of the era, while tackling teenage angst, cliques, and peer pressure long before Clueless or Mean Girls ever did. Presenting a twisted, R-rated, dark comedy of this nature only works under the supervision of Lehmann’s very specific vision. That’s why this controversial film still works today, and that’s why he gets the gold.
Best Popular Film
Given to the best audience supported motion picture that earned a spot as one of the top 25 box office films of the year.
And the nominees are… Big, Coming to America, Die Hard, Rain Man, Who Framed Roger Rabbit
And the winner is… Rain Man!
For the first time since ‘76’s Rocky, and only the second time since starting this retrospective Oscars: What If series, we have a Best Picture winner taking home Best Popular Film as well! Rain Man is a certifiable banger. A funny, entertaining, and dramatically moving film. In the late ‘80s, there was very little cultural understanding of autism. This film served not just to educate, but it also worked as a brilliant vehicle for empathy. Because of that, this resonated with critics and audiences alike. Rain Man received eight Oscar nominations and took home the gold on four of them. To boot, all four were above the line categories, including Original Screenplay, Best Actor for Dustin Hoffman, Best Director for Barry Levinson, and the aforementioned Best Picture. If those accolades weren’t enough to impress, this picture also crushed it at the box office. It made $172 million domestically, and between $354-412.8 million worldwide (depending on your source). But regardless of the source, Rain Man was the number one movie both domestically and worldwide, beating out the second place Who Framed Roger Rabbit in both instances. Hell, even if you’re talking about this film in regards to the cultural zeitgeist, it is still quoted and referenced to this day. You’d be hard pressed to not have someone call you Rain Man if you had a good night at the blackjack table in your local casino. No matter which way you slice it, Rain Man is more than deserving of the gold for Best Popular Film.
Thanks for joining me on another trip down memory lane! It’s always fun to see what could’ve been. We got to experience one of the greatest noir flicks ever that utilized animation in revolutionary ways, a perennial action Christmas classic, and one of the most beloved Best Picture winners ever that opened the world’s eye of consciousness regarding autism. Be sure to come back next month when we look at films like When Harry Met Sally…, Batman, and Do the Right Thing. Next time we’ll return for the Oscars of 1990, celebrating the films of 1989!
You can read more from Heath Lynch, and follow him on Letterboxd