Re: Burying Vietnam, Launching Perpetual War
It used to be different, of course. Before Michael Moore, there was Marlon Brando, who in solidarity with the showdown of armed activists of the American Indian Movement with federal marshals after they seized the town of Wounded Knee, South Dakota, sent a Native American woman named Sasheen Littlefeather to accept the best actor award on his behalf.
And then there was 1975, the most bizarrely political Oscar night of all.
Late in 1974 a director named Peter Davis showed a documentary called Hearts and Minds briefly in a Los Angeles theater to qualify it for Academy Award consideration. It opened with images of a 1973 homecoming parade for POW George Thomas Coker, who told a crowd on the steps of the Linden, New Jersey, city hall about Vietnam, “If it wasn’t for the people, it was very pretty. The people there are very backwards and primitive, and they make a mess out of everything.” General William Westmoreland, former commander of US forces, in a comment the director explained had not been spontaneous but had come on a third take, was shown explaining, “The Oriental doesn’t put the same high price on life as does a Westerner. Life is plentiful. Life is cheap in the Orient.” (Thereupon, the film cut to a sobbing Vietnamese mother being restrained from climbing into the grave atop the coffin of her son.) Daniel Ellsberg was quoted: “We aren’t on the wrong side. We are the wrong side.” The movie concluded with an interview with an activist from Vietnam Veterans Against the War. “We’ve all tried very hard to escape what we have learned in Vietnam,” he said. “I think Americans have worked extremely hard not to see the criminalities that their officials and their policy-makers exhibited.”
A massive thunderstorm raged outside at the Oscar ceremony at the Dorothy Chandler Pavillion on Oscar Night, April 8, twenty days before the final fall of Saigon to North Vietnam’s Communist forces—where after Sammy Davis Jr.’s musical tribute to Fred Astaire, and Ingrid Bergman’s acceptance of the best supporting actress award for Murder on the Orient Express, and Francis Ford Coppola’s award for best director (one of six Oscars for The Godfather Part II: “I’m wearing a tuxedo with a bulletproof cumberbund,” cohost Bob Hope cracked. “Who knows what will happen if Al Pacino doesn’t win”), Lauren Hutton and Danny Thomas opened the envelope and announced that Hearts and Minds had won as the year’s best documentary.
Producer Bert Schneider took the microphone and said, “It’s ironic that we’re here at a time just before Vietnam is about to be liberated.” Then he read a telegram from the head of the North Vietnamese delegation to the Paris peace talks. It thanked the antiwar movement “for all they have done on behalf of peace…. Greetings of friendship to all American people.”
Backstage, Bob Hope was so livid he tried to push his way past the broadcast’s producer to issue a rebuttal onstage. Shirley MacLaine, who had already mocked Sammy Davis from the stage for having endorsed Richard Nixon, shouted, “Don’t you dare!” Anguished telegrams from viewers began piling up backstage. One, from a retired Army colonel, read, “WITH 55,000 DEAD YOUNG AMERICANS IN DEFENSE OF FREEDOM AND MILLIONS OF VIETNAMESE FIGHTING FOR FREEDOM…DEMAND WITHDRAWAL OF AWARD.” On its back, Hope madly scribbled a disclaimer for his cohost Frank Sinatra to read onstage. Sinatra read it to a mix of boos and applause: “The academy is saying we are not responsible for any political utterances on this program and we are sorry that had to take place.” Upon which, backstage, the broadcast’s third cohost, Shirley MacLaine berated Sinatra: “You said you were speaking for the academy. Well, I’m a member of the academy and you didn’t ask me!” Her brother, Warren Beatty, snarled at Sinatra on camera: “Thank you, Frank, you old Republican.”
Originally posted by lakedaemonian
View Post
And then there was 1975, the most bizarrely political Oscar night of all.
Late in 1974 a director named Peter Davis showed a documentary called Hearts and Minds briefly in a Los Angeles theater to qualify it for Academy Award consideration. It opened with images of a 1973 homecoming parade for POW George Thomas Coker, who told a crowd on the steps of the Linden, New Jersey, city hall about Vietnam, “If it wasn’t for the people, it was very pretty. The people there are very backwards and primitive, and they make a mess out of everything.” General William Westmoreland, former commander of US forces, in a comment the director explained had not been spontaneous but had come on a third take, was shown explaining, “The Oriental doesn’t put the same high price on life as does a Westerner. Life is plentiful. Life is cheap in the Orient.” (Thereupon, the film cut to a sobbing Vietnamese mother being restrained from climbing into the grave atop the coffin of her son.) Daniel Ellsberg was quoted: “We aren’t on the wrong side. We are the wrong side.” The movie concluded with an interview with an activist from Vietnam Veterans Against the War. “We’ve all tried very hard to escape what we have learned in Vietnam,” he said. “I think Americans have worked extremely hard not to see the criminalities that their officials and their policy-makers exhibited.”
A massive thunderstorm raged outside at the Oscar ceremony at the Dorothy Chandler Pavillion on Oscar Night, April 8, twenty days before the final fall of Saigon to North Vietnam’s Communist forces—where after Sammy Davis Jr.’s musical tribute to Fred Astaire, and Ingrid Bergman’s acceptance of the best supporting actress award for Murder on the Orient Express, and Francis Ford Coppola’s award for best director (one of six Oscars for The Godfather Part II: “I’m wearing a tuxedo with a bulletproof cumberbund,” cohost Bob Hope cracked. “Who knows what will happen if Al Pacino doesn’t win”), Lauren Hutton and Danny Thomas opened the envelope and announced that Hearts and Minds had won as the year’s best documentary.
Producer Bert Schneider took the microphone and said, “It’s ironic that we’re here at a time just before Vietnam is about to be liberated.” Then he read a telegram from the head of the North Vietnamese delegation to the Paris peace talks. It thanked the antiwar movement “for all they have done on behalf of peace…. Greetings of friendship to all American people.”
Backstage, Bob Hope was so livid he tried to push his way past the broadcast’s producer to issue a rebuttal onstage. Shirley MacLaine, who had already mocked Sammy Davis from the stage for having endorsed Richard Nixon, shouted, “Don’t you dare!” Anguished telegrams from viewers began piling up backstage. One, from a retired Army colonel, read, “WITH 55,000 DEAD YOUNG AMERICANS IN DEFENSE OF FREEDOM AND MILLIONS OF VIETNAMESE FIGHTING FOR FREEDOM…DEMAND WITHDRAWAL OF AWARD.” On its back, Hope madly scribbled a disclaimer for his cohost Frank Sinatra to read onstage. Sinatra read it to a mix of boos and applause: “The academy is saying we are not responsible for any political utterances on this program and we are sorry that had to take place.” Upon which, backstage, the broadcast’s third cohost, Shirley MacLaine berated Sinatra: “You said you were speaking for the academy. Well, I’m a member of the academy and you didn’t ask me!” Her brother, Warren Beatty, snarled at Sinatra on camera: “Thank you, Frank, you old Republican.”
Comment