tag:blogger.com,1999:blog-6125194422306151768.post156508858494810957..comments2024-03-16T10:03:59.180-07:00Comments on The Movie Projector: My Oscar Picks: 1967-68R. D. Finchhttp://www.blogger.com/profile/05045080274131718843noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-6125194422306151768.post-76806716092044549112013-01-26T23:53:42.287-08:002013-01-26T23:53:42.287-08:00I was only just starting to become interested in m...I was only just starting to become interested in movies at the time (1968) but I recall all the bad press Farrow received after her divorce. She was developing a reputation in Hollywood as a kook and I I believe it was columnist Joyce Haber who made the "prediction" that Farrow's outspoken views on drugs and sex were going to cost her an Oscar nomination. around the time of "Rosemary's Baby". <br />I hadn't thought of Carradine's situation until you brought it up, but I recall it was much the same...he and Barbara Hershey really rubbed their oddball hippie behavior in the face of those elder Academy voters. So cool of you to remember that!Ken Andersonhttps://www.blogger.com/profile/04940648971296673233noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-18548302932469220572013-01-26T21:45:01.630-08:002013-01-26T21:45:01.630-08:00Yes, Ken, I find these exercises in hindsight most...Yes, Ken, I find these exercises in hindsight most amusing. I'm a big fan of Audrey Hepburn and really liked her in "Two for the Road," a film I've seen only once a few years ago and would love to see again. She seemed quite different, loose and not actress-y at all. It reminded me what a great performance Stanley Donen got from her in "Funny Face." I always thought that she and Albert Finney (another favorite of mine) would be an odd couple, but when I finally saw the film I thought they worked really well together. <br /><br />An interesting comment you made about Mia's flower child image harming her chances for a nomination. This is a year when I imagine most voters had the same four in mind for best actress and for the fifth wavered between Mia and Patricia Neal for her comeback after her stroke. I guess in the end sentiment won out. Didn't about the same thing happen to David Carradine, who was so good in "Bound for Glory" a few years later? His flaky reputation turned voters away from him.R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-88340312800135284182013-01-26T14:55:33.840-08:002013-01-26T14:55:33.840-08:00A wonderful idea for a post! Child of the 60s as I...A wonderful idea for a post! Child of the 60s as I am, I enjoyed reading about who your preferred winners would have been during these seminal years of the burgeoning New Hollywood. I wholeheartedly agree with your picks for 1967, my sole deviation being that I would have awarded the Best Actress honors to Audrey Hepburn for the film she wasn't nominated for, "Two for the Road." if Wishes were horses, 1968 would have been a near-sweep for the non-nominated "Rosemary's Baby" in the categories of Best Film, Best Director, and Best Actress. I'd Leave Best Supporting actress alone (of course), but think Gene Wilder in "The Producers" was my favorite for Supporting Actor.<br />Very fun, playing Academy God like this. Now I have to seek out your previous posts on the topic. As I tend to think the Academy gets it right mostly by accident, I much prefer hearing the choices of film enthusiasts. Thanks R.D., for the opportunity to entertain a brief fantasy wherein Mia Farrow's polarizing hippie-kook persona of the 60s played no part in her being recognized for giving the best performance by an actress in a film in 1968!<br />Ken Andersonhttps://www.blogger.com/profile/04940648971296673233noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-12411883518962671582013-01-23T13:08:46.553-08:002013-01-23T13:08:46.553-08:00Kevin, I saw "The Ruling Class" at a rep...Kevin, I saw "The Ruling Class" at a repertory theater in Berkeley a number of years back, and it is certainly a one-of-a-kind movie. O'Toole IS brilliant in it and so different from his T. E. Lawrence or Henry II, which along with "The Stunt Man" are the performances that immediately come to mind when I think of him. In a way he's like Richard Burton--several Oscar-nominated and Oscar-worthy performances that in another year might have won but for one reason or another were overlooked when the awards were given. He's like Burton in another way too, I think, in that too many years of booze and hard-living took their toll if not on his talent, then on his career.<br /><br />Oliver Reed is the ideal Bill Sikes. But I quite liked him in "Women in Love" too (as well as Alan Bates), where his rage seemed to be turned inward. I think you're right in saying that the Oscars are usually more about their time than about timeless films and performances. There's always some reason for films and people winning Oscars, and trying to figure out the mood that accounts for these choices is for me a fascinating exercise.R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-71225557766938015632013-01-23T11:13:48.927-08:002013-01-23T11:13:48.927-08:00A fabulous post, sir.
I've never seen "...A fabulous post, sir. <br /><br />I've never seen "Romeo and Juliet" and there's really no excuse for that. I love the Rota score, so I need to rectify this soon. <br /><br />Alas, I've never seen "Isadora" either. Back in the 1980s there was a suburban repertory theater which changed movies, often double features, every two or three days. I saw things there I've never seen anywhere else, like Otto Preminger's last film "The Human Factor." <br /><br />One night I went to a double feature of "The Ruling Class" and "Isadora." I loved, loved, loved "The Ruling Class" (is this Peter O'Toole's greatest performance?) but was so tired late that evening that I left before "Isadora" started. I told myself I would see it sometime down the road. Yep, I'm still waiting. I'm kicking myself for that now. <br /><br />I often think the Oscars are as much a baromter for what is happening in society at the time as it is a celebration the year's best in cinema. I think the win for "In the Heat of the Night" was more about what was happening in the country than its merits as a film (I happen to like it quite a bit). <br /><br />I love "Oliver" too, and think its one of the great film adaptations of a stage musical. While I may have preferred something else to have won that year, such as "Rosemary's Baby", I can't begrudge "Oliver". It's a wonderful film, with probably Oliver Reed's finest hour on film, after "The Devils." After suffering through this year's "Les Miserables", "Oliver" stands as a great example of transferring material from the stage to the screen. <br /><br />Kevin Deanyhttps://www.blogger.com/profile/07697597405552599370noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-47076886224559617192013-01-23T10:52:07.421-08:002013-01-23T10:52:07.421-08:00John, it's always interesting to see the diffe...John, it's always interesting to see the differences between the nominations for best picture and best director. It seems these should match up, but they often don't because the directors branch of the Academy determines the nominations for best director while the membership at large determines those for best picture. For the many years there were five nominations for picture and director, these seldom matched exactly. In some years, 1954 and 1955 for example, only two pictures also got a best director nomination. Some of the nominations for best picture over the years have been absurd, like "Dr. Doolitle."<br /><br />Joanne Woodward, a wonderful actress, is fantastic in "Rachel, Rachel." (I thought Paul Newman's direction of the complicated stream-of-consciousness screenplay was also impressive. I never understood the big flap in the NY Film Critics when that group gave him their award for best director. The dissenters wanted John Cassavetes for "Faces," a movie I find unwatchable.) Any of the four nominees for best actress I named would have been a reasonable choice. The fifth, Patricia Neal for "The Subject Was Roses," was a sentimental nomination (it was her comeback after her recovery from that stroke) for a good performance that wasn't quite in the same league as the others. I'm assuming that she got the nomination Mia Farrow should have had. That would have been a race, with five Oscar-worthy performances! R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-78138390773825857372013-01-23T07:26:02.939-08:002013-01-23T07:26:02.939-08:00IN THE HEAT OF THE NIGHT was a decent film but not...IN THE HEAT OF THE NIGHT was a decent film but not in the same league with BONNIE AND CLYDE, IN COLD BLOOD or THE GRADUATE. It was a good compromise for the Hollywood establishment. I am on board with you for 1967 pretty much though I must admit it’s a tossup for me in the director category between Arthur Penn, Mike Nichols and Richard Brooks. My biggest question is how did DOCTOR DOLITTLE get a Best Picture Nod and IN COLD BLOOD did not??? Hepburn getting the Best Actress award was just a nod to Spencer’s death. The film itself is a bore. I just don’t understand the love for this trite piece of film. Bancroft and or Dunaway were certainly more deserving for Best Actress. Yes, on CLOSELY WATCHED TRAINS! By the way, I know this was not part of your list but I will throw in a nod in the Best Documentary category for THE ANDERSON PLATOON, a film that deserves a video release! <br />ROMEO AN JULIET should have won! FUNNY GIRL was a Babs love fest and the IMHO certainly one of Wyler’s lesser works. I would have had ROSEMARY’S BABY up there instead. For Best Actress, I would have gone with Joanne Woodward who I thought was superb though admittedly I have not seen THE LION IN WINTER so I really should not comment. <br />John/24Frameshttps://www.blogger.com/profile/14719659042858962026noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-6758680558840402582013-01-22T22:47:45.504-08:002013-01-22T22:47:45.504-08:00GOM, Edith Evans didn't appear in many movies,...GOM, Edith Evans didn't appear in many movies, but when she did she made quite an impression. For me she will always be the definitive Lady Bracknell for her performance in the 1952 film version of "The Importance of Being Earnest." You're not alone in your admiration of her in "The Whisperers." She won the NY Film Critics award and a BAFTA as well. <br /><br />I saw "Isadora" in the theater in re-release a number of years ago and rue that it doesn't seem to be available on home video so I can watch it again. It makes quite a contrast with Ken Russell's equally fascinating but less idealized take on Isadora Duncan made for British TV right before the Redgrave film.R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-1617337363058571072013-01-22T18:33:14.362-08:002013-01-22T18:33:14.362-08:00For the 1967 best actress, I would have gone with ...For the 1967 best actress, I would have gone with Edith Evans in "The Whisperers" no contest - She gave a performance of such transcendent depth and delicacy that, many years after seeing the film, I can still recall how her acting affected me. She burrowed so deeply and fearlessly into her character in a way that I think few actors are capable of - but, being elderly, not beautiful and famous, and not 'Hollywood,' there was no way she would have won (that she received a nomination was miracle enough). As for the 1968 best actress, I agree with your choice of Redgrave for "Isadora," one of those performances in which the actress simply "is" her character.Grand Old Movieshttp://grandoldmovies.wordpress.comnoreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-13982786570873226632013-01-21T23:23:31.926-08:002013-01-21T23:23:31.926-08:00Rick, the two scenes you mention in "In the H...Rick, the two scenes you mention in "In the Heat" are two of the three that stayed in my mind the most vividly. (The other was the scene between Poitier and Beah Richards, who played his mother in "Guess Who's Coming to Dinner?" as the abortionist.) I think that scene in Steiger's house you refer to was what clinched Steiger's Oscar because he convincingly showed a totally different side of his character--the guy was secretly intelligent and sensitive and vulnerable! I am surprised, though, that Poitier wasn't nominated as well. I suspect that between "In the Heat," "Guess Who's Coming to Dinner?" and "To Sir, With Love," his votes got split because there were too many possibilities to choose from.<br /><br />Nichols did do an impressive job of directing in "The Graduate." As you mentioned, there are many memorable scenes in it. But the one I thought really showed Nichols's skill was the one fairly early in the film when Benjamin is floating in the swimming pool and goes into a stream-of-consciousness reverie. Amazing. R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-34199343566788644912013-01-21T23:11:09.682-08:002013-01-21T23:11:09.682-08:00Sam, thank you, and thanks for contributing your i...Sam, thank you, and thanks for contributing your ideas on this subject. I agree about Rod Steiger's talent; I think his performance in "The Pawnbroker" is one of the greatest of all time by an actor. In a way, I think that smugness that sometimes comes through in his performances worked in his favor as the sheriff in "In the Heat" since it fit the character so well. But he certainly had a high opinion of his abilities. He often claimed that HE, not Brando, was the one who made the "I coulda been a contender" scene in the taxi in "On the Waterfront" great!<br /><br />To be fair, Oscars in the picture, director, and actor categories for 1967 exactly duplicated those of the NY Film Critics, who still had tremendous influence over the Oscars (though this was the last year that would be the case).R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-20496527266841710622013-01-21T22:56:33.720-08:002013-01-21T22:56:33.720-08:00Eve, the only explanation I can think of for "...Eve, the only explanation I can think of for "Rosemary's Baby" not getting more nominations is that it was dismissed as just a shocker and thus not as award-worthy as other films of the year. "Vertigo" and "Psycho" among others got the same treatment. <br /><br />Katharine Hepburn is near the top of my list of all-time favorite actresses. I picked her in "Long Day's Journey" in 1962, my favorite dramatic performance by her. Her Oscar in 1968 was understandable, but the one for "Guess Who's Coming to Dinner" I can explain only as a sentimental award, or maybe in honor of her helping Spencer Tracy make it through his last performance. I don't think the kind of supportive little woman she played in that film was her forte. R. D. Finchhttps://www.blogger.com/profile/05045080274131718843noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-15129686219780737382013-01-21T14:22:27.378-08:002013-01-21T14:22:27.378-08:00R.D., I loved this series last year and it's s...R.D., I loved this series last year and it's shaping up to be just as insightful and entertaining this year. Over the years, I have gradually become a big fan of IN THE HEAT OF THE NIGHT. While there's some truth in your observations, I think Poitier and Steiger are both excellent (especially their key scene in Steiger's house where each character lets down his guard for a second). It may not have been as trendsetting as BONNIE AND CLYDE, but it was an important film at the time (e.g., the slap scene). I think I'd also opt for Nichols as Best Director; his 1960s directorial style seems dated (not his use of music), but think of all the iconic images from THE GRADUATE: Benjamin framed under Mrs. Robinson's leg. Benjamin shouting in the church, etc. I agree with all your other picks!Classic Film and TV Cafehttps://www.blogger.com/profile/09548537117263337339noreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-88389696305863368152013-01-21T10:27:50.758-08:002013-01-21T10:27:50.758-08:00R.D., yet another extraordinary analysis of the Os...R.D., yet another extraordinary analysis of the Oscar nominations and winners, in this instance during the great social upheaval of the late 1960's.<br /><br />I am pretty much on the same page with you in 1967. IN THE HEAT OF THE NIGHT remains a tout thriller, but yes it has dated badly, and it's nowhere in the same league with the likes of THE GRADUATE nor BONNIE AND CLYDE, of which the former gets my vote narrowly. Both are American masterpieces.<br /><br />For Best Director I would probably go with Nicholds as well, though both Penn for BONNIE AND CLYDE and Richard Brooks for IN COLD BLOOD are right there.<br /><br />I fully understand the matter of ego shining through in some of Steiger's work, but I still consider him a very great actor, one of the absolute best of his generation. His performances in THE PAWNBROKER, ON THE WATERFRON and A FISTFUL OF DYNAMITE are legendary. Should he have won his Oscar for IN THE HEAT OF THE NIGHT? No. I agree that Hoffmann's turn in THE GRADATE was the best of the five. For actress, well, as always I respect Eve's opinions, but I must say that Katherine Hepburn may well be the GREATEST American actress who ever lived (my site colleague the Brit Allan Fish considers here the greatest, period!) and her late-career work, especially in THE LION IN WINTER is quite noteworthy. Still, I do not agree with her win for DINNER either, and would have cast my vote for either Bancroft, Dame Edith Evand or Audrey Hepburn. It's a close, close call for me, and I would need to think on it longer. I am completely with you on Hackman, Parsons and CLOSELY WATCHED TRAINS. (though my top foreign film is the un-nominated MARKETA LAZAROVA)<br /><br />As far as 1968, it's extremely close between ROMEO AND JULIET and OLIVER! but today I am going to cast my vote for your choice R.D. And I will also give my Best Director prize to Franco Zeffirelli for his brilliant casting of young unknowns. He and his cinematographer Pasqualino De Santis offerred up the most visually ravishing Shakespeare film of all-time, and Nino Rota's score is magnificent. But OLIVER! does come within a hair. Of course the unominated 2001 and THE PRODUCERS would complicate matters. But I adore ROMEO AND JULIET and have used it in classroom units. It deserved to win of the five nominated films, and Zeffirelli should have steeped up to the podium for Best Director. I do also like THE LION IN WINTER quite a bit.<br /><br />Yes indeed, R.D., Peter O'Toole got robbed here! Robertson really had no business winning, but his role was Oscar bait. I do however, believe myself that Oscar had it right with Katherine Hepburn for THE LION IN WINTER.<br /><br />In the supporting categories I would have cast by vote for Ruth Gordon, as you have done for ROSEMARY'S BABY (Oscar got this right) but as much as I do love Albertson's moving work here I probably would go with Gene Wilder for THE PRODUCERS of those nominated. I lament the absence of Kenneth Mars as the Nazi playright in the same film on the shortlist.<br /><br />For 1968 my foreign film vote goes to Milos Forman's Czechoslovakian THE FIREMEN'S BALL.<br /><br />Really a spectacular post here R.D.!!<br /><br /><br /><br /><br /><br />Sam Julianonoreply@blogger.comtag:blogger.com,1999:blog-6125194422306151768.post-72602591063202463902013-01-21T09:45:55.564-08:002013-01-21T09:45:55.564-08:00R.D., No disagreement on your 1967 choices at all ...R.D., No disagreement on your 1967 choices at all - the great film of that year, hands-down, was "Bonnie & Clyde." I remember loving "The Graduate" - among other things, it cleverly depicted the "generation gap" of the time. But, you're right, it loses energy in the last half, although the final shot of the two at the back of the bus ends it well. As for 1968, the film that stands apart from the rest for me is "Rosemary's Baby." I don't think I've ever seen "Oliver!" in its entirety, so perhaps I'm missing something. Had Mia Farrow been nominated, my vote would go to her. Given the field, I agree with you on Vanessa Redgrave. I don't quite understand all the Oscars to Katharine Hepburn. She was a great star with incredible presence - a real icon - and I love her in many of her films. But I've never thought of her as an especially great actress - though she was magnificent in "Long Day's Journey Into Night" and would've deserved a Best Actress for her performance (stiff competition that year, though).The Lady Evehttps://www.blogger.com/profile/11963115499930520653noreply@blogger.com