by MITU SENGUPTA
The unusually lengthy list of nominees for this year’s Best Picture Oscar features a slew of do-gooder films about the suffering of others. Most are about people who’re at a considerable cultural distance from the white, middle-class Americans who are the primary consumers of these films.
Lee Daniel’s Precious transports us to Harlem, to the world of Precious Jones, an illiterate, obese, and sexually abused black teenager. John Lee Hancock’s The Blind Side — adapted from a biography of NFL superstar, Michael Oher — follows the troubled life of another overweight and undereducated dark-skinned teen. Loaded with racial allegory, the science fiction blockbusters up for Best Picture also promise insight into the plight of the culturally distant — segregated blacks under South Africa’s apartheid regime in Niall Blomkamp’s District 9, and aboriginal communities on the brink of colonization in James Cameron’s Avatar. One might add to this mix last year’s Best Picture winner, Danny Boyle’s Slumdog Millionaire, which ventured into the sprawling slums of Mumbai to chronicle the journey of a young boy, Jamal Malik, as he navigated through a childhood ravaged by violence and poverty.
These films are meant to be vehicles of social justice: stirring calls to action. Precious has been praised for its “inspiring message” and “glimpse inside a world we’d rather pretend does not exist in America,” Slumdog Millionaire for “entertain[ing] people into taking action for a compelling cause,” and Avatar for its anti-imperialist voice against “totalitarianism and genocide.” Many of Slumdog’s Oscars were dedicated to “the children,” and the child actors in the film — who’re actually slum-dwellers — were paraded about in tuxedos and colourful frocks. One should expect an onslaught of righteous acceptance speeches at this year’s Oscars too.
Hollywood’s in the midst of an altruistic moment — one with a distinctly cultural twist.
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