A kind of anti-Oscars, the European Film Awards are an uneasy hybrid of lofty cultural declamations and Eurovision-style tack, writes Hugh Linehan
There's always been something a little gauche about the European Film Awards, the prize ceremony devised by the European film industry as a counterweight to the overweening might of Hollywood's Oscars. For a while, they were known as the Felix Awards, which suggested that its organisers combined a wry sense of humour with an appreciation of The Odd Couple. That title has been jettisoned, but some of the neuroses and prissiness of the character of that name still remain; in fact, the EFAs encapsulate quite well the strengths and the weaknesses of contemporary European film-making.
Last Saturday, Warsaw played host for the first time to the ceremony, and not before time, given Polish cinema's impressive history. After all, the very first EFA for Best Film went to the late Krysztof Kieslowski for A Short Film About Killing.
Present and correct in a cavernous conference centre in the Polish capital were some of the great names of European cinema, among them Pedro Almodóvar, Ken Loach, Andrzej Wajda and Roman Polanski, who received a lifetime achievement award. After the evening's only standing ovation, the Polish emigré told the audience that, for him, Warsaw had always been a lucky city. "Every time I come here I feel elated," he said. "Only good things happen to me here."
But there was an awkwardness about the event (conducted in English, the first language of only a small fraction of the participants) that was telling in itself. Despite the valiant attempts of guiding spirit Wim Wenders (the Bono of European cinema), the evening was an uneasy hybrid of lofty cultural declamations and Eurovision-style tack. The Polish writer sitting beside me clucked disapprovingly at the strained attempts at Humour in a Foreign Language essayed by the presenters - not because they weren't funny (and they weren't), but because levity at such a prestigious event was "really not acceptable in Poland".
Irish-themed films had an unusually high presence among this year's nominees, with strong showings from The Wind That Shakes the Barley(six nominations) and Breakfast on Pluto(two), with Cillian Murphy up for Best Actor for his performances in both. Unfortunately, the Cork-born actor, currently on stage in London, was unable to attend, as was Neil Jordan (probably sensing an award for Breakfast on Plutowas a very long shot). But Loach was there, setting up a reprise of this year's contest for the Palme d'Or at the Cannes Film Festival, when many were surprised that The Wind That Shakes the Barleybeat Almodóvar's Volver to the top spot.
The tables were turned this time, when Almodóvar's typically ripe melodrama walked away with five awards, including Best Director and Best Actress (Penelope Cruz). In truth, Almodóvar, Cruz and their entourage deserved an award simply for the star wattage they brought to proceedings; sweeping through the crowd, trailing paparazzi, excitement and glamour in their wake. If European cinema is to keep its head above water, it really needs more of this sort of thing.
Apart from Volver, this year's dominant film was Florian Henckel von Donnersmarck's The Lives of Others. Set in East Germany during the 1980s, and following a Stasi officer assigned to spy on citizens on behalf of his unscrupulous boss, it's a powerful antidote to the Communist nostalgia that has crept into some corners of German culture in recent years. According to von Donnersmarck, he had been told his film's subject matter would not resonate beyond Germany. But, he said, "I've lived in many different European countries, and when you come to fundamental human emotions people are basically the same." The Lives of Otherswon Best Film and Best Screenplay, while Ulrich Mühe, as the Stasi man, deservedly won Best Actor. It's due for release here in April.