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Movies are many things: art, artifacts, representations, statements, manifestations of specific times and spaces, real and imagined. Truffaut was wrong, I think, and not simply because I’d like a close look at the skull from that Hitchcock shocker. “Putting a Garbo costume next to the skull from ‘Psycho’ was a gimmick for tourists,” he said.
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François Truffaut, for one, found little value in a film museum that spent resources on objects rather than on the preservation of film or on programming (both will be well-represented in the museum by the academy’s own holdings). More than once, I found myself wildly grinning at an object - cool, the typewriter that Joseph Stefano used to write “Psycho”! - even as I tried to decide whether these items were important cinematic artifacts, Instagram-ready tourist bait or, really, both. These relics have charm and an iconic aura, and there’s an undeniable kick in seeing them in person. Elsewhere, a fiberglass model of the shark in “Jaws” floats above escalators. The two-story “ Backdrop: An Invisible Art” is a showcase for the huge reproduction of Mount Rushmore used in “North by Northwest.” In other galleries reserved for the museum’s biggest, most provocative exhibit, the multipart “Stories of Cinema,” you can gape at the bedazzled ruby slippers that Judy Garland wore as Dorothy when she clicked her heels in “The Wizard of Oz” and gawk at one of the sleds from “Citizen Kane,” glowing jewel-like in soft light. Housed in the Marilyn and Jeffrey Katzenberg Gallery, it is down the hall from a much smaller room that holds “The Pixar Toy Story 3D Zoetrope,” a whirling, carousel-like amusement that features maquettes of characters from the Disney franchise. (The Museum of Modern Art added close to that much space in its last expansion.) Elsewhere, there is an extensive Hayao Miyazaki retrospective. There is a lot more to see and ponder, even if the exhibition space, at 50,000 square feet, also feels somewhat modest. As the museum’s website (if not its wall caption) notes, in 2019, just 6 percent of the top 250 films had scores by women. Gudnadottir won an Oscar for her score for “Joker” - perhaps the strongest explanation for why she’s kicking off this exhibition - and belongs to a select cohort.
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One room, “Composer: Hildur Gudnadottir,” part of the sweeping “Stories of Cinema” exhibit, features a work created for it by Hildur Gudnadottir that you can listen to in a dark room. The academy’s push toward greater diversity extends to its museum. The most recent is the 2017 best adapted screenplay award for “Moonlight,” which is part of an inclusive lineup that includes best actor (Sidney Poitier), costume design (Eiko Ishioka), documentary (“The Times of Harvey Milk”) and song (“Up Where We Belong”). The oldest is the best cinematography award given to “Sunrise” in 1929, the first year of the ceremony and the only year the academy divided its top honors between “unique and artistic picture” and “outstanding” film the latter was given to “Wings” and isn’t on display. The 20 statuettes in the significant Oscars gallery underscores this idea. The industry’s ugliness, its racism and sexism, is directly addressed, but the emphasis is on diversity and pluralism, not past and present sins. Yet while the awards invariably loom large, as does Hollywood - this is very much an academy endeavor, as the many nods to Steven Spielberg underscore - the long-delayed museum has embraced a tricky, complicated brief to accentuate the positive, to borrow the title of an Oscar-nominated song. Given the academy’s focus on all things Oscar, its latest production could have played up the event even more than it does.
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Tucked in the new Academy Museum of Motion Pictures, which opened Thursday in Los Angeles, is a surprisingly modest exhibit of “significant Oscars.” The museum, after all, is the latest venture of the Academy of Motion Picture Arts and Sciences, the organization that each year entertains, inflames and invariably stupefies movie lovers of every taste and critical persuasion with that gaudy bacchanalia of self-love known as the Oscars.