OVP: Best Sound (2001)
The Nominees Were...
Vincent Arnardi, Guillaume Leriche, & Jean Umansky, Amelie
Michael Minkler, Myron Nettinga, & Chris Munro, Black Hawk Down
Christopher Boyes, Gethin Creagh, & Hammond Peek, The Lord of the Rings: The Fellowship of the Ring
Andy Nelson, Anna Behlmer, Roger Savage, & Guntis Sics, Moulin Rouge
Kevin O'Connell, Greg P. Russell, & Peter J. Devlin, Pearl Harbor
My Thoughts: Unlike Best Sound Editing (links to all past contests at the bottom of this page), the Sound Mixing categories have consistently had five nominees for decades, and weirdly, we still had something of a split here. Monsters, Inc, already a surprise for Sound Editing, is missing in Mixing, and so only one film was able to get nominated in both categories. Let's start there, shall we?
Pearl Harbor is coming to an end with the 2001 Oscars after this article (we've hit it in more categories than I remember it being in, though it was a genuinely big deal in 2001 even though it didn't become Titanic, which is how it was marketed). The thing about the movie is, it'd probably be better-received in 2023 because it's so unique-an epic, no-cynicism love story on the backdrop of a major historic event with a blockbuster budget...sign me up. But the film isn't strong, and that's true of the sound work. The movie doesn't expand beyond "war film" motifs, and I need more than that to like its aural work. The score is also too loud, and though kudos to Diane Warren on writing her last big hit (to date), that song does little for me as it's inserted into the picture.
A much better choice would be Black Hawk Down. The film does a stronger job of giving us an immersive sound experience within the confines of the movie (you do feel, unlike Pearl Harbor, like we're in the middle of a war), while you can still hear the dialogue as a general rule (Christopher Nolan has made it so this is a genuine question mark in movies of this nature). I don't think the score is that impressive, and so I don't know that I would give this an A+, but it's an above average look at a realistic war film...harder to do than it sounds.
Moulin Rouge! is the one musical in this bunch, and if you've followed along with me for a while (links to past contests at the bottom of this page), you'll know that I am not a de facto lover of musicals in this category, unlike Oscar. This is a good reason why I'm picky-because when it's good, it's amazing. I love the way that songs merge into one, the use of the playful, sometimes OMG-filled score alongside dancing, conversation, & even audible moans and mumbles is so strong. Think of the alternating singing styles and moments throughout a number like "The Pitch" or "Roxanne," trying to be multiple different places at once, and doing them all successfully within the confines of the song...it's fantastic.
The Fellowship of the Ring does a brilliant job with its sound work as well. Some of the mixing is coming from the editing team (the Nazgul, for example, have their signature screaming), but in general this is perfectly mixed. Howard Shore's score is incorporated in a fabulous way, as is Enya's end credits song. It also just sounds really good, full stop. The pacing of the dialogue and the gravitas that each actor brings (if there's anything watching movies of the late 1990's & early 2000's has made me nostalgic for, it's sincerity, and these movies are so sincere). That comes across well in the mixing.
We'll finish with Amelie. Amelie's sound team is very playful, not just with the film's score, but also with the many random segways the character goes through for silliness & laughs (most of the sight gags are actually sound gags as well, squishing & moaning going along with the obvious visual jokes). I don't think, similar to Pearl Harbor, that this is breaking a lot of new ground even if I think this is better because it reaches its end goal much more easily.
Other Precursor Contenders: The Cinema Audio Society was not yet splitting its awards between Animated & Live-Action in 2001, so we get a combined category. Here we have The Fellowship of the Ring besting Black Hawk Down, Pearl Harbor, Moulin Rouge!, and Shrek, while BAFTA went with Moulin Rouge! as the victor against Black Hawk Down, Harry Potter, The Fellowship of the Ring, and Shrek. In terms of sixth place...I still think it's probably Monsters, Inc. as that movie was nominated in Sound Editing, though Shrek showing up in both major precursors (and nearly getting in for Best Picture) surely means it was close too.
Films I Would Have Nominated: I think, in the same way I loved Fellowship, we should've seen Harry Potter and the Sorcerer's Stone show up here. Few films have incorporated their score so well, and I think throughout the movie we get little touches of wonder, well-placed dialogue, and strong audio that would eventually be the catalyst for one of cinema's all-time biggest franchises.
Oscar’s Choice: In a tight three-way race between Black Hawk Down, Fellowship, and Moulin Rouge, it was the wartime Ridley Scott film that got out on top (you're forgiven if you forgot it won).
My Choice: Yeah, this is Fellowship for me. I like Ridley Scott's movie, but it's third for me (also behind Moulin Rouge!) and the work being done in Fellowship is so pristine it's one I can't deny. Bringing up the rear is Amelie and then Pearl Harbor.
Those are my choices-how about you? Are you going with Oscar and the cascading bullets of Black Hawk Down, or do you want to take a long walk with Howard Shore & I? Given its relative strength in Sound & Film Editing (it won both), why didn't Black Hawk Down break into Best Picture? And which animated feature was in sixth here-Shrek or Monsters? Share your thoughts in the comments!
Also in 2001: Sound Editing, Score, Original Song, Art Direction, Cinematography, Costume, Film Editing, Visual Effects, Makeup, Previously in 2001
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