Oscar puts on a happy face

Oscar voters must have taken their happy pills this year. Or maybe they’re in search of happy pills.
Looking over the long list of critically praised films that were not nominated for best picture this year, one thing becomes abundantly clear. There was no room for Debbie Downers at this year’s Oscars.
“Drive,” “Young Adult,” “Melancholia,” “Take Shelter,” “Martha Marcy May Marlene,” “Shame,” “The Ides of March” — all were thought to be in contention, all were shut out. None of them are “Singin’ in the Rain” type films.
Meanwhile every single one of the best picture nominees ends on a positive note. The horse comes home in “War Horse.” Viola Davis transcends racism in “The Help.” Clooney’s family comes together in “The Descendants.” “The Artist” dances, “Moneyball” wins, everybody goes to heaven or somewhere in “The Tree of Life.” “Hugo” sees a great artist recognized.
Chances are the poorly reviewed “Extremely Loud and Incredibly Close” made it on to the best picture list simply because that kid found what he was looking for.
Hey, it’s easy to see why Hollywood is into “up” movies these days. Times are tough, politics are ugly and there doesn’t seem to be any light at the end of the tunnel.
But it’s hard to recall Oscar taking such a pointed stance before, completely ignoring the dark side.
Last year there was “The King’s Speech,” but there was also “Black Swan” and “Winter’s Bone.” In 2009 there was “Avatar” right alongside “The Hurt Locker” and “Precious.” In 2008 there was the triumphant “Slumdog Millionaire” up against the depressing “The Reader.”
Sure some of this year’s best pic nominees have darkness in them — the racism of “The Help,” the slow death in “The Descendants,” the career crash of “The Artist.” But it looks like landing on a sweet spot was a prerequisite for consideration in 2012.
There’s something very sad and limiting about that. In trying to draw a happy face, the Academy may be doing just the opposite.