Did Anthony Hopkins deserve the Oscar in the face of Chadwick Boseman’s death?

The awards Oscar 2021 they awarded this past April 25 to the actor Anthony Hopkins in the category of best actor, a prize that the predictions awarded to the deceased Chadwick Boseman (the mother of the blues), but who finally won the Welshman for his role in The father.

The award was given amid much expectation. And it was also covered by many subsequent criticisms, as there are those who pointed out that the statuette belonged to Boseman as a token of honor at his death.

Despite this, what filled the spectators with doubts at the ceremony was the absence of Hopkins himself. According to several insiders, the actor did not appear because the Academy did not want to risk it.

And he also did not accept a remote appearance despite the fact that in other years, such as when Bob Dylan won a statuette, it was a traditional means of accepting the award.

“I can confirm that Anthony Hopkins offered to appear on Zoom during the ceremony and was turned down by the Oscars producers…According to another rumor, Olivia Colman [compañera del actor en El padre y también nominada] she was ready to accept it on his behalf, which is not true. She’s busy shooting a movie and she only appeared for her category,” said Kyle Buchanan of the New York Times.

So the ceremony ended without the best actor winner, and Hopkins didn’t find out that he had taken home his second little golden man until a few hours later, when he woke up and shared a video of his thank-you speech online. which reminded Chadwick Boseman.

Hopkins’ performance

The Father’ marks the feature directorial debut of Florian Zeller, who originally wrote this as a play in 2012.

That stage version won the Moliere Award for Best Play in Paris, and a few years later, Oscar-winner Christopher Hampton (‘Dangerous Liaisons’) wound up making his West End debut in London and winning praise for its lead performer. Frank Langella won a Tony Award for playing the title role when the show moved to Broadway.

Although The Father deals with what it is like to live with someone with dementia, and what it is like to live with dementia, the great success is that it does both things without melodrama and without appealing to easy sentimentality.

the father anthony hopkins

Of course, it is impossible to get away from this uncomfortable film, either because of the memory of our parents, or because of their future, or simply because the superb Anthony Hopkins disarms us with his most powerful performance since the Silence of the innocent.

Also read: Racial controversy over Oscar handed over to Anthony Hopkins over the late Chadwick Boseman

In this film version Mark Gatiss (‘Sherlock’), Imogen Poots (‘Green Room’), Rufus Sewell (‘Dark City’) and Olivia Williams (‘Dollhouse’) co-star.

The film’s story follows 80-year-old Anthony, mischievous, defiant, lonely. He rejects the care of his daughter, Anne, who can no longer make daily visits and her father’s grip on reality is crumbling. As we experience the ebb and flow of his memory, how much of his own identity and past can Anthony hold on to? How does Anne deal with the loss of her father, while he still lives and breathes before her? The Father affectionately embraces real life, through loving reflection on the vibrant human condition; heartbreaking and uncompromisingly moving: a film that is framed by the truth of our own lives.

The film has only six relevant actors, but they all do it very well, although it is fair to mention, in addition to Hopkins, Olivia Colman’s performance as the daughter: there are expressions on her face that are worth a thousand words.


Boseman’s performance

“Mother of the Blues” is not only a multiple Oscar-nominated Netflix movie, but it also captures Chadwick Boseman’s last performance.

The actor, who died on August 28 after battling colon cancer, gives a riveting performance as an ambitious trumpeter in the band of the legendary Ma Rainey (played by Viola Davis).

In the adaptation of August Wilson’s stage play, we follow the band as they record Ma’s hits in a Chicago studio in the 1920s.


Throughout the film, we see the members of the band dealing with their own challenges in relation to race and cultural status, leading them to tell stories from their past.

Trombonist Cutler (Colman Domingo) tells a story about what happened to a black pastor he knew when he was confronted by a group of white men. The story throws Boseman’s character, Levee Green, into a rage that leads him to denounce God.

Domingo recalled that Boseman was so excited to do this scene that there was a moment when it seemed that he was going to stop acting.

“He stopped in the middle of the speech, and whatever was going on there, I think (co-stars) Michael (Potts), Glynn (Turman) and I, we all knew about it,” Domingo said. “It was one of those moments where you’re like, ‘This is the cool stuff, and we’re all here, don’t walk away.'”

Domingo shared that he noticed a look in Boseman’s eyes that worried him.

“Something was going on with Chad, and he turned around,” he said. “I thought I was about to stop the scene, and I don’t think I’ve done this before in my entire career, I just said, ‘Tell me, tell me.’ I was just yelling at him: ‘Tell me! Tell me!’ Don’t give up this scene. And then he exploded with all the rage and fury and questions of God’s will.”

Wolfe told the Wall Street Journal Magazine in December that after the scene, “Chadwick just started sobbing, and Colman hugged him; and then his girlfriend basically picked him up.”


Domingo said that when the scene ended, all the actors knew they had just done something powerful.

“We all hugged and sobbed,” he said during the question-and-answer session.

“All these grown men with tears in their eyes. Michael, Glynn, Chad, and I were silent for at least a good minute and we were all trying to collect ourselves. We didn’t know what was in the room and what we were really dealing with, what the rationale for that scene was. It was a whisper at first and then a roar,” he added.

Domingo commented that he didn’t realize it at the time, but with Boseman’s passing he was able to recognize what the late actor was trying to accomplish.

Boseman won the Golden Globe and the SAG Award for Best Actor for his performance and is nominated for an Oscar alongside Anthony Hopkins (“The Father”), Riz Ahmed (“Sound of Metal”), Gary Oldman (“Mank”) and Steve Yeun (“Minar”).

Political correctness and talent

Without a doubt, Anthony Hopkins the Oscar in front of the death of Chadwick Boseman. However, criticism of the Academy comes after that institution promoted political correctness over talent.

In this case, the talent of Hopkins prevailed over the politically correct, although that has not been the constant of the Academy Awards in which more than once the productions have been privileged only for their minority themes.

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Did Anthony Hopkins deserve the Oscar in the face of Chadwick Boseman’s death?

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