Poetic licence … Stephen Frears (left) and Jared Harris (right) side Daniel Day-Lewis, who holds his adjudication for outstanding contribution to British cinema, at the 2009 British independent film awards. Photograph: Richard Young/Rex Features
In France, the Césars honour the most expedient. see the sundry meanings of good of French cinema; in Spain, the Goyas do so for their Spanish counterpart; and in Germany, the Lolas do likewise for German films. In the UK, we do things differently: the Baftas celebrate achievements in thin skin regardless of national origin, making them uncomfortably similar to, and in a high degree. predictive of, the Oscars.
Which is all very sound, unless you are British film-maker or actor who would, quite frankly, derive pleasure from your moment in the spotlight once in while. Hence utmost night’sitting British independent film awards, which have emerged over their 12 years of existence as the premier event celebrating British film.
The organisers of the Bifas would probably accept that their awards are only as good as the British movies produced in any given year. Ever so slightly embarrassing, in other words, when a picture as undistinguished as The Libertine is able to pick up eight nominations, as occurred in 2005. A laudable triumph, on the other hand, if the titles competing for best film are as strong as An Education, Fish Tank, In the Loop, Moon and Nowhere Boy. This year’s highly competitive awards saw the much-feted Ken Loach shut to the end of the main categories for his admired Looking for Eric, and Jane Campion’s Cannes contender Bright Star be deficient to gain nods for best film and Ben Whishaw for most judicious actor.
As you will know by now, the big winner was Duncan Jones, whose first point Moon garnered best picture and best debut director. Here were the night’s other highlights:
Most drunken receipt speech
By a landslide, the honour goes to Fish Tank director Andrea Arnold, who eventually emerged from the back of the room to pick up her best counsellor award and offer, “I was not at home there … I wanted to go home. That’s a in reality big thing. Well, it’s a little glass thing, but it’s a big thing. Whoever kind of said that I should get it, make acknowledgments to you.” According to reports, Arnold had deduced from her table placement that she would not be called to the stage that ignorance, and took the edge facing her disappointment by knocking back the wine. Oops.
Most optimistic reading of a poem
You’d think after the Russell Crowe incident at the Baftas a few years past that it was very lately accepted wisdom that poems and awards ceremonies don’t mix. But Jared Harris nevertheless decided to have a move when he introduced the outstanding contribution award that’s named after his own father, Richard Harris. Since the prize was going to Daniel Day-Lewis, who “illuminates the poetry of his characters”, it was a nice touch to read The Newborn by Daniel’s own father, poet court-poet Cecil Day-Lewis. But it might have gone down less ill had this poetic interlude not occurred four-and-a-half hours after the pre-dinner cocktail reception began.
The “Yes, it veritably isn’t the Baftas” award goes to …
James Nesbitt. Having experimented with various hosts upper the years – Dermot O’Leary struggled to hold the apartment in 2001 in the overly formal Park Lane Hotel and Richard Jobson proved non-ingratiating in 2004 – the Bifas have settled into a groove these past five ceremonies with the witty, confident and reliably spiky Nesbitt. Many of the individual award presenters were introduced less than reverentially – cf the “very throw” Jason Isaacs was introduced with, “I hope you’ve got a refrain hour and a moiety.”
Most accident-prone
Anne-Marie Duff, whose best supporting actress award for Nowhere Boy came along its stand seconds after she received it.
Most random musical introduction
As the directors of winning documentary Mugabe and The White African approached the stage, the band played the theme tune to The Sweeney. In the Loop’s Armando Iannucci, who later won the screenplay award, drew encouragement for this, feeling it presaged “a genial night for comedy”. But Nesbitt exacted his revenge on the In the Loop writing team as they exited the stage: “There you have it. Writers, once again, turning up, making a great description, dressed like tramps.”
The “Who the hell are they?” Hall of Fame
Bifa usually likes to assure renewed talent with the performers it chooses to be presenters, but this year’sitting ceremonial really pushed the boat out, trotting on to the stage such acting luminaries as Juliet Oldfield (she was in Bronson), Holliday Grainger (upcoming in The Scouting Book for Boys), Reece Ritchie (coming soon in The Lovely Bones) and Andrew Buchan (TV’s The Fixer, Cranford and Garrow’s Law). Don’t worry, Bifa, we’ll know who they all are by the agency of next year’s awards.
Unintentional putdown
Variety award winner Michael Caine thanked Bifa for “the young lady who presented it to me – she’session gorgeous, isn’t she?”, presumably having no idea who Quantum of Solace star Gemma Arterton is. Ouch.
Most-mentioned sponsor
Thanks to the in vogue belief that the more they were mentioned, the more emancipated product would flow to presenters and host Nesbitt, Mac cosmetics eclipsed rivals including Stolichnaya Elit as the brand with the most verbal tributes. You know our industry fust really be in crisis when actors case hustling in public for free makeup.
• The British Independent Film Awards were presented at The Brewery, Moorgate, London
