Archive for February, 2012

Billy Crystal ‘blackface’ controversy is baloney

February 28, 2012

Billy Crystal (left) and Sammy Davis Jr.

By ADAM BUCKMAN

Billy Crystal is being criticized for appearing in costume as Sammy Davis Jr. in the elaborate pre-produced bit that opened the Oscar telecast Sunday night on ABC.

What are the critics complaining about?  His face — specifically, the dark makeup Billy used to complete his impersonation of Sammy.

In the aftermath of the Oscars, the makeup is producing accusations that Billy was doing a racist, “blackface” impersonation of the late, legendary entertainer, who was African-American (and also Jewish).

The Hollywood Reporter has a rundown — here — of the “controversy” and the handful of critics whose Tweets appear to have ignited this mini-firestorm.

For example, a blog identified as “Feministing” declared, “Blackface is not okay, ever.”  And from this thin gruel are “controversies” made these days.

My own opinion is that this “firestorm” doesn’t hold water, but more on that in a moment.

First, the background: Billy turned up in costume as Sammy Davis in the portion of that opening bit that spoofed the Woody Allen movie “Midnight in Paris.”  “Sammy” appeared in a vintage limousine with Justin Bieber (the real one).

The choice was apparently made to include Billy’s “Sammy” character simply because it’s a character he was famous for doing on “Saturday Night Live” when he was a cast member in 1984-85.  Back then, as now, the characterization required dark makeup.  (It’s also worth noting that Billy impersonated Muhammad Ali and Prince on “SNL”; in fact, it was his impression of Ali that made him famous as a young comedian in the 1970s.)

In the wake of Sunday’s “Sammy” appearance on the Oscar show, these “critics” have dealt Billy the “blackface” card.  “Blackface” refers to a practice with roots in 19th-century forms of popular entertainment in which white stage performers blackened their faces with burnt cork or shoe polish to portray African-Americans in ways that often weren’t exactly flattering (and if that’s an understatement, then unlike the Twitterers, I admit right up front I’m not an expert on this subject, though there are plenty of places to learn about it in books and on the Internet).

The “blackface” practice probably reached its zenith when Al Jolson, considered by many to be one of the most electrifying entertainers who ever lived, donned the dark makeup in the early decades of the 20th century to sing songs such as “Mammy,” which certainly wouldn’t fly today.

Cut to the present day: And now, Billy Crystal is being accused of racist “blackfacing” as if he’s been caught barnstorming the country in a minstrel show.

I happen to think this mini-controversy is baloney for several reasons.  For one thing, Billy Crystal has never demonstrated any sort of bias against African-Americans or anyone else, as far I can recall.  In addition, when it comes to Sammy Davis Jr. in particular, he seems to have adored the man — as I learned earlier this month when Billy talked at length about Sammy on Showtime’s “Inside Comedy,” the show on which David Steinberg interviews top comedians about their craft.

Billy told an incredibly affectionate story about Sammy from the days when Billy opened for Sammy in Lake Tahoe (and probably other places).  You could tell that Billy had nothing but love and respect for Sammy.  Certainly, how Sammy felt about Billy’s impersonation of him on “SNL” remains an open question (one biography of Sammy that I own – “In Black and White: The Life of Sammy Davis Jr.” by Wil Haygood – doesn’t report on Sammy’s reaction but speculates that he may have felt forced to accept it because of his own history of doing impersonations; Davis died in 1990).

The last thing I’ll say about this is: I think the people criticizing Billy for “blackfacing” are being awfully selective here.  I’m pretty sure Fred Armisen has to tint his face a bit to play Barack Obama on “SNL” (and, in a recent sketch, Prince), but we haven’t seen any “blackface” accusations thrown his way.

In addition, Robert Downey Jr. was criticized by some for applying dark-face makeup for the 2008 movie “Tropic Thunder.”  But that “controversy” died down and was soon forgotten.

My prediction: The same thing will happen with this Crystal controversy too.

LINKS:

Watch a video clip HERE of Billy as Sammy on SNL.

AND DON’T MISS: “Jerk: My Life as a Columnist on the TV Beat” by yours truly — only at AdamBuckman.com.

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And the winner is: Reliable Billy Crystal

February 26, 2012

Billy Crystal at the Oscars Sunday.

By ADAM BUCKMAN

There’s something to be said for reliability.  And that’s what Billy Crystal brought to the Oscars Sunday night when he hosted the show for the ninth time.

What’s so great about reliability as opposed to, say, unpredictability?  The main thing is this: In the hours and days after the telecast, few will complain about the host this year — even those who don’t particularly care for Billy Crystal.  A year ago, the majority of the post-Oscar talk was all about how Anne Hathaway and James Franco flopped (especially him).  And in other years, “unpredictable” hosts such as David Letterman and Chris Rock were panned too.

But with Billy Crystal, you get a guy who takes on one of the hardest jobs in show business and then makes it look easy.  He’s a consummate entertainer — he sings (not perfectly, but good enough for a comic), he dances (sort of) and he knows how to get off jokes and one-liners that are neither too soft nor too sharp.  Instead, Billy tends to bowl ‘em right down the middle, which is what this telecast demands and, seemingly, only he can deliver.

And deliver he did for a ninth time, starting with one of his trademark, pre-produced bits — an epic retrospective that opened the show, in which Billy turned up in scenes from all nine of the Best Picture nominees.  The most memorable moment in this bit: When George Clooney kissed him tenderly on the lips in a spoof scene from “The Descendants.”

After his grand entrance, which also included an elaborate song-and-dance routine in which Billy sang lyrics poking fun at all the nominated movies, he appeared at various times throughout the evening, got off a joke or two and then made himself scarce.  That’s also a talent he possesses: Knowing when to get on and off stage before the audience tires of him.

I loved his constant jabs at the theater the telecast was coming from — the former Kodak Theatre that no longer carries the name because the revered company is bankrupt.  I counted at least three references to Kodak’s plight when Billy renamed the venue “the Chapter 11 Theater,” “the Your Name Here Theater” and “the Flomax Theater.”

And I loved the way this veteran comic delivered his jokes.  “So, tonight enjoy yourselves,” he said near the beginning of the show, “because nothing can take the sting out of the world’s economic problems like watching millionaires present each other with golden statues!”

Later, he introduced presenter Christian Bale this way: “A dark knight, an American psycho, a charismatic crack addict [referring to some of Bale's best-known roles] . . .   You’ll get to choose one on super Tuesday!”

And after a soaring performance by Cirque du Soleil (which really was mind-blowing), Billy said, “Wow, I pulled a hamstring just watching that!  Now it’s a party!  We got puppets, acrobats, we’re a pony away from being a bar mitzvah!”

As for the non-Billy moments, my favorite was the pre-produced bit with the 1939 “focus group” that critiqued “The Wizard of Oz.”  That bit’s participants included Bob Balaban, Christopher Guest, Eugene Levy, Fred Willard, Jennifer Coolidge and Catherine O’Hara — the tightknit group of comic actors from Guest’s movies such as “A Mighty Wind,” “Best in Show” and “Waiting for Guffman.”  That was a great surprise.

In the moments before the telecast began, ABC’s Robin Roberts caught up with Natalie Portman on the way into the theater.  And Portman, last year’s Best Actress winner for “Black Swan,” probably spoke for many of us when she told Roberts she was looking forward to the Oscar show because Billy Crystal had returned.

“We’re in good hands,” Portman said.  And she was right.

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DON’T MISS: The incredible, true memoirs of a bleary-eyed TV critic — It’s “Jerk: My Life as a Columnist on the TV Beat” — only at AdamBuckman.com!

So much for ‘Smash’: Broadway series is doomed

February 23, 2012

By ADAM BUCKMAN

It will go down as one of the biggest debacles in the history of television — a hugely expensive flop that NBC hoped would trigger a turnaround in its low-rated prime-time lineup.

That hasn’t happened so far with “Smash,” but even more importantly, it’s not ever going to happen.  Three weeks into its run, it’s tanking.

Here’s the rundown:

In its premiere (Monday nights at 10) the night after the Super Bowl when it got promoted like crazy (see story below), it drew 11.44 million total viewers, and scored a 3.8 rating in the “young” demo, 18-49.

In Week Two (Feb. 13): 8.06 million viewers, 2.8 in the demo.

In Week Three (Feb. 20):  6.47 million, 2.3.

Here’s the thing about ratings: The trends are just as important as the numbers.  And downward trends don’t usually reverse themselves.  In fact, to be even more blunt, they almost never do.

Instead, they just indicate the obvious: Viewers are abandoning “Smash.”  They’re simply not finding it enjoyable enough to return the following week to see what happens.  And that means the show is toast.  It will probably stay on until its season ends in May, but don’t hold your breath waiting for Season Two next fall because you’ll suffocate.

Why did it fail?

Here are a few reasons:

The show was one big cliche:  They should have just named it “TV Show: The Musical” — that’s how generic this thing was.  Here’s a litany of some of the cliches this tired show trafficked in: The dream of Broadway stardom (more on this below), a musical about Marilyn Monroe (c’mon, really?), and the macho, authoritarian director who tries to seduce the young female contestants for the lead role in his show by laying some line on them about how they must free themselves from their inhibitions.   Excuse me for bluntly leveling an accusation here with no proof, but that one came straight out of “Black Swan” (which did it a whole lot better).

Nobody cares about Broadway: At least not in numbers sufficient to support a TV series that is supposed to draw the kind of viewership that is supposed to save an entire network.  Sure, the tourists flock to the shows in and around Times Square, but that’s because they’re in New York — it’s one of the things you do when you come here.

It’s a lot of fun too, and Broadway, generally speaking, is very profitable these days.  But that’s because of the peculiar characteristics of Broadway and its shows — they’re live, they’re in theaters, and they’re something you do so that when you go back home, you can tell your friends and neighbors that you saw a Broadway show while you were in New York.

A TV show about Broadway is just not the same thing at all.

It’s almost a certainty that the decision-makers who said yes to “Smash” went through a thought process that went something like this: They observed the crowds in Times Square just before curtain time and noted what they read about box-office receipts.  Then they considered how many aspirational talent shows are on TV nowadays, from “American Idol” and “The Voice” to “Glee.”   So they decided they would make a drama series combining all these elements (in the hope that high ratings would become their version of robust ticket sales).

That didn’t happen, for the simple reason that Broadway shows are for viewing once or twice in a lifetime on a rare trip to New York City, not for watching every Monday night at home.

Of course, I could have told them this, but nobody asked me.  On the other hand, what do I know?  Before it premiered, I predicted that “Smash” would be an 8 million-viewer show.  I was correct where the series’ second episode was concerned, but in Week Three, “Smash” proved me wrong.  How wrong?  That all depends on how low it goes next week.

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NBC promo ploy pays off for ‘Smash,’ ‘The Voice’

February 7, 2012

Megan Hilty in NBC's "Smash" (Photo: NBC)

By ADAM BUCKMAN

NBC smashed its way to victory in the ratings Monday night — a huge turnaround for the network on a night where it suffered mightily all season.

The reason: A one-two punch of series that were highly promoted during the Super Bowl – “The Voice” and “Smash.”  It was a promotion ploy that paid off — promoting both shows during the big game that was watched by 111 million people, and also premiering the new season of “The Voice” directly following the game on Sunday night.

By the time Monday rolled around, America was apparently ready to check in with “The Voice” for a second consecutive night, and also primed to sample “Smash,” the widely promoted Broadway drama that NBC hopes will ignite a comeback for the entire network in the ratings.

Well, the jury’s still out on whether “Smash” will revive NBC’s entire lineup, and it also won’t be known ’til next Monday if this week’s “Smash” viewers will return next week.  But for now, NBC execs are likely popping champagne corks over the 11.498 million viewers the “Smash” premiere drew at 10/9c Monday night.  While they had probably hoped for an even bigger audience on opening night, that number is far, far better than anything NBC had aired previously in any time slot on Mondays this season, including shows such as “Chuck,” the ill-fated “Playboy Club” and the Brian Williams news magazine “Rock Center.”

And the news for “The Voice” was even better.  The talent-competition series found itself in “American Idol” and “Dancing With the Stars” territory Monday night with a two-hour average from 8 p.m. to 10 p.m. (7-9c) of 17.686 million viewers, according to the Nielsen overnights — the kind of audience tally for a regular series that NBC hasn’t seen in years.  It also bears mentioning that the “Voice” numbers far outpaced Simon Cowell’s “X Factor” on Fox earlier this season.  In fact, the second hour of “The Voice” Monday night drew a monster-sized audience Simon can only dream about: 19.295 million.

That figure was more than enough to clobber the usually dominant sitcoms on CBS – “Two and a Half Men” at 9/8c (which drew 12.898 million Monday night) and “Mike & Molly” at 9:30/8:30c (11.015 million).

NBC won every prime-time hour Monday night.  Among the other shows on the other networks, “The Bachelor” on ABC averaged only 8.243 million viewers over its two hours (8-10/7-9c).

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