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Kathryn Bigelow worked it out on Sunday, leading her team for "The Hurt Locker" to pick up six wins out of their nine Oscar nominations.

By Gina Carbone
gina_carbone@comcast.net

Weird that there wasn’t more fuss when Barbra Streisand said “the time has come” and announced Kathryn Bigelow’s name as the first woman to win best director.

Then again, why fuss? She was the best director of the year. “The Hurt Locker” was the best picture of the year. No need to make even more of a fuss about how she’s the first woman ever to win. (I’ve done enough fussing about that.)

Yes, I'll bet at least a small part of James Cameron wishes he could strangle her. Almost not worth the bother for him to show up to the Oscars.

I’m thrilled for her.

The rest of the Oscars went pretty much as expected, except — to me — for “Precious” winning the best adapted screenplay over “Up in the Air,” and “Avatar” getting best cinematography over absolutely anything else.

What cinematography, I wonder? That’s just a bad sign for film when a CGI behemoth is counted as best cinematography.

But anyway…

Bonus: A local girl, Channing Cooke, got to dance with Neil Patrick Harris during that opening number.

I’m posting a full list of winners below. “The Hurt Locker” crushed “Avatar.”

Click here for photos from my best and worst dressed list.

WINNERS

List of winners at the 82nd annual Academy Awards:

— Motion Picture: “The Hurt Locker.” (YES!)

— Actor: Jeff Bridges, “Crazy Heart.” (Happy for him, although part of me was quietly rooting for Jeremy Renner, especially after Colin Farrell’s sweet and funny tribute.)

— Actress: Sandra Bullock, “The Blind Side.” (I did not like her film but I do like her and she gives the best speeches. Ever.)

— Supporting Actor: Christoph Waltz, “Inglourious Basterds.” (His speeches are incomprehensible but he was the one person who 100 percent deserved his win with no question. There was no competition at all.)

— Supporting Actress: Mo’Nique, “Precious: Based on the Novel ‘Push’ by Sapphire.” (What was that about how her win proved politics don’t matter? And you sometimes have to do something that isn’t popular because it’s right? What does she mean? She’s been incredibly popular and supported through this, so she must mean something else. I’m tired of her speeches, but she gave a brave, bold performance. Still wish Vera Farmiga won, even with that odd “vagina” comment in her clip.)

— Director: Kathryn Bigelow, “The Hurt Locker.” (Yeah, I guess so. … Kidding. Ecstatic. Obviously!)

— Foreign Film: “El Secreto de Sus Ojos,” Argentina. (Guess I have to see this now. Netflix, can you set me up?)

— Adapted Screenplay: Geoffrey Fletcher, “Precious: Based on the Novel ‘Push’ by Sapphire.” (I expected “Up in the Air” to win, since the “Precious” screenplay was a bit overpowering, not always in a good way.)

— Original Screenplay: Mark Boal, “The Hurt Locker.” (Glad for this.)

— Animated Feature Film: “Up.” (Yes)

— Art Direction: “Avatar.” (CGI art direction, you mean)

— Cinematography: “Avatar.” (What cinematography? It was digital. This is total bull. I would’ve put this last on the list. Give it to “Inglourious Basterds” or even “The White Ribbon” (which I haven’t seen) or the “Harry Potter” film (or “The Hurt Locker”) but not flipping “Avatar.”

— Sound Mixing: “The Hurt Locker.” (Yay! This was expected to go to “Avatar.”)

— Sound Editing: “The Hurt Locker.” (Same as above. Yay!)

— Original Score: “Up,” Michael Giacchino. (This score is so beautiful, it made me put my hand on my heart whenever they played a clip.)

— Original Song: “The Weary Kind (Theme From Crazy Heart)” from “Crazy Heart,” Ryan Bingham and T Bone Burnett. (Perfect. Really good choices this year, I must say.)

— Costume: “The Young Victoria.” (Always put your money on the royal corset drama. Even the lady who won felt kind of embarrassed for winning again for the same kind of film.)

— Documentary Feature: “The Cove.” (So glad to see this. More people expected “Food, Inc.” to take it — and “Food, Inc.” was great — but “The Cove” was so impassioned and disturbing, yet strangely exciting as an action film.)

— Documentary (short subject): “Music by Prudence.” (Guess I’ll have to try to see this.)

— Film Editing: “The Hurt Locker.” (Nice.)

— Makeup: “Star Trek.” (Nice.)

— Animated Short Film: “Logorama.” (Guess I’ll have to try to see this, too.)

Live Action Short Film: “The New Tenants.” (Same as above, although I recall this was one of the films the Concord, N.H., fans picked as their favorite.)

— Visual Effects: “Avatar.” (Fine. I have always acknowledged the visuals in this film were stellar.)

Kathryn Bigelow on the set of "The Hurt Locker," where she earned the best director Oscar.

By Gina Carbone
gina_carbone@comcast.net

Like most people, I’ve wanted to be many things at different points in my life.

Vet. Miss America. Archaeologist. FBI agent. Criminal mastermind (blame “The Usual Suspects.”)

But at some point after I realized everything I wanted to do could be tied to a movie, I decided I wanted to be a filmmaker.

And when I realized no woman — more than 50 percent of the population of our planet — had ever won the Academy Award for best director, that was my goal.

Then I got to college and realized if I have any talents at all they do not exist behind a camera.

So I watched and waited for superior talents — like Jane Campion, Rebecca Miller, Sarah Polley, Susanne Bier, Kasi Lemmons, Gillian Armstrong, Sofia Coppola and Lone Scherfig — to get the job done.

And I kept waiting.

And waiting.

Grabbed a snack.

Went back to waiting.

And now here we are in 2010 and we’ve been graced with only the fourth-ever female best director Oscar nominee.

The first was Lina Wertmuller in 1976 for “Seven Beauties.”

Fast forward to 1993 for Jane Campion’s “The Piano.” (If that hadn’t been the same year as “Schindler’s List,” this would probably be a done deal.)

Ten years later, 32-year-old Sofia Coppola would be the first American woman nominated for “Lost in Translation.”

(I want to support them all, but “Lost in Translation” was wildly overrated and is my least favorite Coppola film.)

But going into tonight’s Oscars — starting at 8 p.m. on ABC — Kathryn Bigelow will enter the Kodak Theater not only as the fourth woman nominated (and second American) but as the first-ever frontrunner.

“The Hurt Locker” was far and away the best film of 2009, and I am gratified to see so many local film fans agree with me on that.

(If you feel like it, read my July 16, 2009, review, “‘The Hurt Locker’ review: First female best director Oscar right here”)

I never thought Kathryn Bigelow would be the first woman to win best director, but she’s earned it this year.

(I lobbied hard for her 2000 film “The Weight of Water” to play at The Music Hall in Portsmouth, because it’s an adaptation of the Anita Shreve book about real-life murders that happened on the Isles of Shoals, off the coast of New Hampshire and Maine. But the movie was just as bad as they said it was. Glad we got to see it, though.)

Her ex-husband, James Cameron, has NOT earned another best director Oscar this year with “Avatar” (he already has one for “Titanic”), although I am happy to see they are “good exes” and compliment each other.

“The Hurt Locker” had a budget of only $11 million (versus, what, $300-$500 million for “Avatar”?) and was shot in the heat of Jordan and Kuwait without cushy Hollywood benefits or green screen.

The 58-year-old 5’11 1/2″ director looks like a former model, not someone rolling around in the desert making a war film with a bunch of young guys. But she has handled this whole Oscar season with grace, elegance and humility.

Even if Kathryn Bigelow were the 82nd woman to win best director, she would deserve it this year. That’s all that matters.

Having said that, if/when she wins the Oscar tonight, I plan to jump up and down and scream like a tween at a Justin Bieber concert.

I want her to fulfill my dream.

Go Team Kathryn!

***

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