The Oscars give the movie-going public what they want: sheer glamour. Academy Awards night has always been one to bring beautiful female stars and handsome leading men onto television screens around the world to thrill people who are starved for a glimpse of that old-time glitz. Marlene Dietrich, she a veteran glamour-puss of icon status, was a great star during the Golden Age of Hollywood. She knew how to gain attention and elicit oohs and aahs from fans. In 1951, Dietrich was to be a presenter at the awards show. She had spies all over town find out what the “other” stars were wearing. She then hired Christian Dior to design a gown that would be a showstopper and the opposite of what any other, lesser star was wearing. The gown had a long slit up the side so that one of the sultry star’s famous legs would be shown from hip to toe and dazzle the audience. She accomplished the goal with the help of Mr. Dior. She was a sensation. Barbra Streisand made news for another reason in 1969. She won the Best Actress Oscar for “Funny Girl” and tied with the great Katharine Hepburn in “The Lion In Winter.” Streisand called up designer Arnold Scaasi (nee Isaacs) to whip up a scandalous black tulle pantsuit lined with skin-colored silk. When La Streisand hit the lights on stage, she looked completely nude and shocked a billion fans around the world. The most sensational outfit to appear on the show was Cher’s Mohawk Indian black-beaded outfit designed by Bob Mackie (he who designed Carol Burnett’s famous drapery rod dress for her “Gone With the Wind” spoof). Clearly Mr. Mackie has a great sense of humor. Because Cher is something of a wild celebrity, the outrageous costume was perfect for her image. Times have changed and the gals are not so spectacular in their choice of gowns. We will have to wait until the ceremonies take place on Sunday, Feb. 22 to see what hits and egregious mistakes some of the stars will make. As for the films, these are my choices for the winners this year. It has been a varied year for movies, many with no-name stars, some with has-beens and some with wildly popular stars of today. For me, the Best Picture nod should go to “Slumdog Millionaire.” Why? Because it offers hope to some of the most miserably poor people in the world. From falling (literally) into the toilet to rising up to be a winner it is inspiring, fun and joyful. The Academy members may disagree and choose “The Curious Case of Benjamin Button” for the sheer magnitude of its production. Along with the Best Picture win, it then follows that Danny Boyle should win Best Director for turning “Slumdog” into the biggest worldwide sensation of the year. Gus Van Sant was good with “Milk,” but again, the Academy may select “Button.” My choice for Best Actress is Kate Winslet as the Nazi security guard in “The Reader.” I feel she is much more real than Meryl Streep as the nun in “Doubt” with that phony Brooklyn accent. But Streep has been nominated a million times and the acting community may reward her for her efforts. Best Actor for me is a toss-up. I select Mickey Rourke for not only a sensational performance in “The Wrestler” but for pulling off the greatest comeback of any star in recent memory. Frank Langella did a sterling job capturing the subtleties of Richard Nixon in “Frost/Nixon.” I loved Sean Penn in “Milk.” But I think the Academy may lean toward Brad (“Benjamin Button”) Pitt. On the other hand, they love comebacks and Rourke has that sewn up. Best Supporting Actor goes hands down to the late Heath Ledger in “The Dark Knight.” He created such an original, interesting, curious character that he deserves it for his creativity. I thought newcomer Michael Shannon was incredible in “Revolutionary Road” and loved Josh Brolin in “Milk.” Best Supporting Actress should go to the heartbreaking performance of Viola Davis in “Doubt.” On screen for eight minutes, she does no less a good job than Beatrice Straight in “Network” and Judi Dench in “Shakespeare In Love” for their oh-so-brief Oscar-winning parts. My choice for Best Costume Design goes to “The Duchess,” Best Cinematography to “Slumdog,” Best Art Direction to “The Duchess,” Best Score & Songs to “Slumdog,” Best Makeup to “Button,” Best Adapted Screenplay to “The Reader” and “Slumdog” (a tie). I’m probably all wrong with my personal choices, but what do I know?