OVP: Best Art Direction (1999)
The Nominees Were...
Luciana Arrighi & Ian Wihittaker, Anna and the King
David Gropman & Beth Rubino, The Cider House Rules
Rick Heinrichs & Peter Young, Sleepy Hollow
Roy Walker & Bruno Cesari, The Talented Mr. Ripley
Eve Stewart & John Bush, Topsy-Turvy
My Thoughts: We are finishing off the visual categories today with Art Direction (yes, back in the day, young Oscar watchers, it was not called Production Design but something far more confusing to explain to your non-Oscar affiliated friends). As I pointed out, this is virtually the same lineup as the Best Costume field (links to all other races at the bottom of this article), and the one new name isn't new at all, but one of the primary competitors for Best Picture. So I don't have a lot new to say as a preamble, and think we should just dive in.
I'll be honest-starting with Anna and the King to get it out of the way feels about the best decision of this bunch. The movie is so forgettable, I doubt even Jodie Foster really thinks about it anymore, and that is true for the set decoration. Nothing in this picture is super distinctive, and it doesn't help that this story has already been told multiple times on the stage and the big-screen, including a more memorable musical in 1956. I guess for me, if I was hoping for something that would set this story apart, and this version doesn't have that-it very much stays in the wheelhouse of its predecessors in terms of its look.
Sleepy Hollow, on the other hand, defines its century-old story with one of Tim Burton's most distinctive styles. Much of Burton's films that would follow would borrow a similar aesthetic, to the point where you might forget that the first one was unforgettable, a gothic horror town that feels both true to history but with little indulgences to keep you in Burton's universe. Love the way that it folds in with the cinematography...everything about this movie feels meticulous and moody, like you're building some sort of idea from scratch. Particularly love the way that the trees play a role in the story (a production design becoming plot).
The Talented Mr. Ripley is one of those situations where I don't entirely know how much I should give credit to the production design, and how much I should give credit to Roman architects from 2000 years ago. Much of the magic of Ripley's look comes from location scouting, giving us a view of Italy that is moneyed and appropriately dazzling in enrapturing our titular Tom. But that doesn't mean this team isn't doing some heavy-lifting. Look at the the chic, dripping-with-wealth looks of Dickie's flat, both minimalist and still very much something only someone with access to money could afford, the gorgeous tables feeling like they're pulled from future interior design photo shoots...Mr. Greenleaf is a NepoBaby with taste and a bank account.
Topsy-Turvy is, once again, really a wonder in terms of its realism while also maintaining an artistry in the design. I love that this always feels like a 19th Century London theater company, the wood damaged and the sets not pristine, but instead it's carved by hands that don't have the same tools their modern counterparts have access to...which makes it all the more impressive when the staging does end up looking truly special. I love the gorgeous set designs that they bring onstage, filled with red and gold coloring to make it really pop (while still being obviously in the confines of a theater).
The final nomination is for The Cider House Rules. This could be one of those nominations that happens when you have a period film in the Best Picture field, but it's actually a little bit better than that. This is a series of New England farmhouses and doctors' clinics, yes, but it also does have some detailing that feels story-building. I love the way that the doctor's office gives no sense of privacy, which illustrates just how much the characters are intertwined into each other's lives. They don't do enough of this when Homer leaves the orphanage, though, as you frequently see scenes where all the apple pickers are in one cabin, and yet somehow you can't hear through the curtains, even if the production design is designed to imply that there are no secrets here. Good, but inconsistent stuff from the production team in terms of working with the writers.
Other Precursor Contenders: This was during the era when the Art Directors Guild was only having one category for feature film, and they gave their statue to Sleepy Hollow against American Beauty, Anna and the King, The Matrix, and Titus, while the BAFTA Awards also went with Sleepy Hollow while American Beauty, Angela's Ashes, The End of the Affair, & The Matrix were the losers. In sixth place, it's gotta be a battle between Titus (the Best Costume Design nominee, and in this case one that landed a precursor, so it should be seriously considered) or American Beauty (which was the Best Picture winner, and landed both precursors). I don't think there's any other names that would fit here (Star Wars and The Matrix might make sense, but their reliance on CGI would've been a hindrance circa 1999), but between these two...honestly no idea who was next up-flip a coin?
Films I Would Have Nominated: I have no such qualms about nominating visually-assisted works, and cannot help but be in love with Toy Story 2 for a category like this. The way that we get looks at an old-west TV show, a cavernous toy store, and a tribute to the world of Barbie...this is a sequel that knows how to lean in on its initial design with more inventiveness. If Oscar ever considered things like animated film for art direction, this would've been the place to do it.
Oscar’s Choice: Oscar continued the trend of the season-Sleepy Hollow was a big deal in 1999, and it beat out probably Topsy-Turvy(?) for the win.
My Choice: I am not going to be a contrarian here-Sleepy Hollow is in a class by itself, and the best look of any of Tim Burton's pictures. Behind it, in order, would be Topsy-Turvy, The Talented Mr. Ripley, The Cider House Rules, and Anna and the King.
Those are my thoughts-how about yours? Is everyone feeling good with getting into Ichabod Crane's lair, or does someone want to advocate for another nominee? How much should really good location scouting (like in The Talented Mr. Ripley) factor into how you consider a nomination in this field? And was it Titus or American Beauty that was in sixth place here? Share your thoughts below!
Past Best Art Direction Contests: 1931-32, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023
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