The Academy of Best Makeup Award is one of the youngest Oscars. It was first delivered in 1981, a year after the Academy took heat to have a lack of reward that can recognize Christopher Tucker's excellent work for David Lynch's "man of the elephant". However, there was really pressure on the Academy to respect the effects of makeup since the early 1970s, when Dick Smith helped Marlon Brando become Don Vito Corleone into "Godfather" and turned young Linda Blair into a demon to the "exorcist".

The first Oscar for Best Makeup went to the big Rick Baker for the American Werewolves in London, and felt like a validation for horror fans around the world. Our genre would probably have never been considered worthy of the big Oscars, but here was a category that would probably possess it for the next decades, because no one did more revolutionary work in this field of geniuses like Smith and Baker.

While genres of films have always performed well in this category, the Academy branch tasks to highlight excellence in the effects of makeup have always been a tad. This is why Gore Maestros like Tom Savini and Greg Nicotero have never been nominated, while Rob Botin is nominated only once without a win. For GoreHounds, the last time the Oscars were properly. David Cronenberg's "flies".

It was a long, long wait, but the 97th Academy Awards did the right thing and reminded the world that Splot is a vital art form by teaching the best makeup and hairstyle of Pierre-Olivier Persin, Stephanie Gillon and Marilyn Scarseli.

If you managed to watch the horror opus of the Farget's body in a vacuum without thinking about the Oscars, you probably didn't get out of the theater thinking that you would only watch a movie that would be nominated for five awards at the Academy-and this is if you didn't run for the output before the blood and vice. Even if you got stuck for the whole burn spectacle, you probably didn't consider him a leader without a doubt about a category where a jump favorite was to be banned.

But the Farget's film is undeniable, and, as a lifelong horror fanatical, who has been reading Fangoria for eight years, it's hard not to see Persin, Gillon and Scarceli's victory as a validation for so many scatter classics. It is a victory for George A. films. Romero, Dario Argento, Lucio Fulci and many other directors whose visions of dipped dipped continue to give us the sweetest, the most leaf nightmares. Is that a sign that the Academy surpasses its aversion to a horror separation? If they were also nominated by Chris Nash's brilliantly nominent "in violent nature", I would respond with the full-thirds of the third. For now, I think The "substance" is widerBut who should say? The film industry is going through an incredible turnaround. Let's check out next year to see if we are talking about Oscar winner Tom Savini.