by Allan Fish
Another tough year out of the way, but too many ties for my liking. Sam had two all of his own, this is becoming a bad habit.
Best Picture Pather Panchali, India (8 votes)
Best Director Satyajit Ray, Pather Panchali (6 votes)
Best Short Nuit et Brouillard, France, Alain Resnais (10 votes)
Best Actor James Dean East of Eden & Robert Mitchum, The Night of the Hunter (5 votes each, TIE)
Best Actress Simone Signoret, Les Diaboliques (7 votes)
Best Supp Actor Sal Mineo, Rebel Without a Cause (10 votes)
Best Supp Actress Lillian Gish, The Night of the Hunter (7 votes)
Best Cinematography Stanley Cortez, The Night of the Hunter (12 votes)
Best Score Ravi Shankar, Pather Panchali (10 votes)
—
and my own choices…
Best Picture FLOATING CLOUDS, Japan
Best Short NUIT ET BROUILLARD, France, Alain Resnais
Best Director Mikio Naruse, Floating Clouds
Best Actor Laurence Olivier, Richard III
Best Actress Hideko Takamine, Floating Clouds
Best Supporting Actor Ralph Richardson, Richard III
Best Supporting Actress Lillian Gish, The Night of the Hunter
Best Cinematography Stanley Cortez, The Night of the Hunter
Best Musical Score Ravi Shankar Pather Panchali
—
So to 1956…
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Best Picture/Director
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Anastasia (US…Anatole Litvak)
Aparajito (India…Satyajit Ray)
Around the World in 80 Days (US…Michael Anderson)
Attack! (US…Robert Aldrich)
Baby Doll (US…Elia Kazan)
The Bad Seed (US…Mervyn le Roy)
Beyond a Reasonable Doubt (US…Fritz Lang)
Bhowani Junction (US…George Cukor)
Bigger Than Life (US…Nicholas Ray)
Bob le Flambeur (France…Jean-Pierre Melville)
The Burmese Harp (Japan…Kon Ichikawa)
Bus Stop (US…Joshua Logan)
Calabuch (Spain…Luis Garcia Berlanga)
Calle Mayor (Spain…Juan-Antonio Bardem)
Carousel (US…Henry King)
The Country I Came From (France…Marcel Carné)
Crazed Fruit (Japan…Ko Nakahira)
Crime in the Streets (US…Don Siegel)
Deadlier Than the Male (France…Julien Duvivier)
Dracos (Greece…Nikos Koundouros)
Early Spring (Japan…Yasujiro Ozu)
Edge of the City (US…Martin Ritt)
Eléna et les Hommes (France…Jean Renoir)
Et Dieu Créa la Femme (France…Roger Vadim)
Flowing (Japan…Mikio Naruse)
Forbidden Planet (US…Fred M.Wilcox)
Friendly Persuasion (US…William Wyler)
Gervaise (France…René Clément)
Giant (US…George Stevens)
The Girl Can’t Help It (US…Frank Tashlin)
The Halliday Brand (US…Joseph H.Lewis)
High Society (US…Charles Walters)
Hyperbole of Youth (South Korea…Han Pyeong-mo)
Ilya Muromets (USSR…Aleksandr Ptushko)
Invasion of the Body Snatchers (US…Don Siegel)
The Killing (US…Stanley Kubrick)
The King and I (US…Walter Lang)
Lust for Life (US…Vincente Minnelli)
Madame Freedom (South Korea…Han Pyeong-mo)
A Man Escaped (France…Robert Bresson)
The Man Who Never Was (UK…Ronald Neame)
Miracle in the Rain (US…Rudolph Maté)
Mitsou (France…Jacqueline Audry)
Moby Dick (US…John Huston)
Le Monde du Silence (France…Louis Malle, Jacques-Yves Cousteau)
The Mystery of Picasso (France…Henri-Georges Clouzot)
Patterns (US…Fielder Cook)
People of no Importance (France…Henri Verneuil)
Playing with the Devil (Czechoslovakia…Josef Mach)
Private’s Progress (UK…John Boulting)
Punishment Room (Japan…Kon Ichikawa)
Requiem for a Heavyweight (US…Ralph Nelson)
Revenge of the Pearl Queen (Japan…Toshio Shimura)
Rose on his Arm (Japan…Keisuke Kinoshita)
Samurai Part Three: Duel at Ganryu Island (Japan…Hiroshi Inagaki)
Sången om den eldröda blomman (Sweden…Gustaf Molander)
The Searchers (US…John Ford)
Season of the Sun (Japan…Takumi Furukawa)
Seven Men from Now (US…Budd Boetticher)
Street of Shame (Japan…Kenji Mizoguchi)
Suzaki Paradise Red Light District (Japan…Yuzo Kawashima)
The Ten Commandments (US…Cecil B.de Mille)
Il Tetto (Italy…Vittorio de Sica)
There’s Always Tomorrow (US…Douglas Sirk)
La Traversée de Paris (France…Claude Autant-Lara)
El Trueno Entre las Hojas (Argentina…Armando Bo)
War and Peace (US…King Vidor)
While the City Sleeps (US…Fritz Lang)
Written on the Wind (US…Douglas Sirk)
The Wrong Man (US…Alfred Hitchcock)
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Best Short
—
Magoo’s Puddle Jumper (US…John Hubley)
There They Go Go Go (US…Chuck Jones)
The Tin Wood Man (US…Harry Smith)
Toute la Mémoire du Monde (France…Alain Resnais)
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Best Actor
—
Eddie Albert Attack!
Yul Brynner The King and I
Kirk Douglas Lust for Life
Roger Duchesne Bob le Flambeur
Peter Finch A Town Like Alice
Jean Gabin Deadlier Than the Male
Jean Gabin People of no Importance
Jean Gabin La Traversée de Paris
Van Heflin Patterns
Charlton Heston The Ten Commandments
François Letterier A Man Escaped
Kevin McCarthy Invasion of the Body Snatchers
Karl Malden Baby Doll
Lee Marvin Attack!
James Mason Bigger Than Life
Ray Milland Three Brave Men
Kenneth More Reach for the Sky
David Niven Around the World in Eighty Days
Jack Palance Requiem for a Heavyweight TV
John Payne The Boss
Walter Pidgeon Forbidden Planet
John Wayne The Searchers
Clifton Webb The Man Who Never Was
Richard Widmark Backlash
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Best Actress
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Françoise Arnoul People of no Importance
Carroll Baker Baby Doll
Karuna Banerjee Aparajito
Brigitte Bardot Et Dieu Créa la Femme
Ingrid Bergman Anastasia
Joan Crawford Autumn Leaves
Bette Davis The Catered Affair
Danièle Delorme Deadlier Than the Male
Audrey Hepburn War and Peace
Nancy Kelly The Bad Seed
Deborah Kerr The King and I
Deborah Kerr Tea and Sympathy
Machiko Kyo Street of Shame
Dorothy McGuire Friendly Persuasion
Virginia McKenna A Town Like Alice
Vera Miles The Wrong Man
Marilyn Monroe Bus Stop
Maria Schell Gervaise
Hideko Takamine Flowing
Kinuyo Tanaka Flowing
Elizabeth Taylor Giant
Esther Williams The Unguarded Moment
Jane Wyman Miracle in the Rain
Isuzu Yamada Flowing
—
Best Supp Actor
—
Harry Andrews Alexander the Great
Ed Begley Patterns
André Bourvil Le Traversée de Paris
Stephen Boyd The Man Who Never Was
Elisha Cook Jnr The Killing
James Dean Giant
Walter Hampden The Vagabond King
John Kerr Tea and Sympathy
Herbert Lom War and Peace
Arthur O’Connell The Man in the Gray Flannel Suit
Jack Palance Attack!
François Perier Gervaise
Anthony Quinn Lust for Life
Vladimir Raz Playing with the Devil
Everett Sloane Patterns
Robert Stack Written on the Wind
Eli Wallach Baby Doll
Orson Welles Moby Dick
Hank Worden The Searcher
Ed Wynn Requiem for a Heavyweight TV
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Best Supp Actress
—
Isabelle Corey Bob le Flambeur
Suzy Delair Gervaise
Mildred Dunnock Baby Doll
Nina Foch Three Brave Men
Gabrielle Fontan Deadlier Than the Male
Helen Hayes Anastasia
Eileen Heckart The Bad Seed
Michiyo Kogure Street of Shame
Julie London The Great Man
Mercedes McCambridge Giant
Patty McCormack The Bad Seed
Dorothy Malone Written on the Wind
Aiko Mimasu Street of Shame
Chieko Nakakita Flowing
Debbie Reynolds The Catered Affair
Haruko Sugimura Flowing
Yukiko Todoroki Suzaki Paradise Red Light District
Ayako Wakao Street of Shame
Marie Windsor The Killing
Estelle Winwood The Swan
Dana Wynter Invasion of the Body Snatchers
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Best Cinematography
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Lucien Ballard The Killing
Léonce-Henri Burel A Man Escaped
Jack Cardiff, Aldo Tonti War and Peace
Henri Decaë Bob le Flambeur
Loyal Griggs The Ten Commandments
Winton C.Hoch The Searchers
René Juillard Gervaise
Boris Kaufman Baby Doll
Robert Krasker Alexander the Great
Lionel Lindon Around the World in 80 Days
Joseph P.MacDonald Bigger Than Life
Russell Metty Written on the Wind
Subrata Mitra Aparajito
Kazuo Miyagawa Street of Shame
Oswald Morris Moby Dick
Louis Page People of no Importance
Harold Rosson The Bad Seed
Joseph Ruttenberg Somebody Up There Likes Me
Armand Thirard Et Dieu Créa la Femme
Minoru Yokoyama The Burmese Harp
Frederick A.Young, Russell Harlan Lust for Life
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Best Score
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Georges Auric Gervaise
Bebe Barron, Louis Barron Forbidden Planet
Elmer Bernstein The Ten Commandments
Joseph Kosma People of no Importance
Alfred Newman Anastasia
Nino Rota War and Peace
Miklós Rózsa Lust for Life
Ravi Shankar Aparajito
Frank Skinner Written on the Wind
Max Steiner The Searchers
Dimitri Tiomkin Giant
Franz Waxman Miracle in the Rain
Victor Young Around the World in 80 Days
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I voted a Bresson top film a few years back, and wil probably name two other Bressons #1 in the coming years. So I will refrain from naming the greatest prison escape film ever made (A MAN ESCAPED) simply because I don’t want to have that many #1s by the same director, even though he is one of the cinema’s greatest artists and a personal favorite. THE SEACHERS could be the greatest western of all-time, and I came within a hair of naming it too. THE BURMESE HARP is one of my favorite films, and it’s as wrenching a war film as has ever been made. But I will defy logic this year and go this way:
Best Picture: Invasion of the Body Snatchers
Best Director: Douglas Sirk (Written on the Wind)
Best Actor: John Wayne (The Searchers)
Best Actress: Maria Schell (Gervaise)
Best Supporting Actor: Robert Stack (Written on the Wind)
Best Supporting Actress: Patty McCormack (The Bad Seed)
Best Cinematography: Winton C. Hoch (The Searchers)
Best Score: Elmer Bernstein (The Ten Commandments)
Short: Toute le Memoir (Resnais)
Invasion of the Body Snatchers, A Man Escaped, The Burmese Harp, The Searchers, Written on the Wind, Bob le Flambeur, Flowing, The Killing, The King and I, The Ten Commandments, Aparajito, Early Spring…..all great stuff!!!! And Carousel has been growing on me in recent years.
No need to be egalitarian about this, Sammy. Why not vote for Bresson several times if mutliple wins seem justified? Antonioni and Godard will certainly dominate my 60s ballots.
Quite right Mark, I should not impose limitations in any way. But in this case it was so close that to go the way I did was viable.
Ya know Sam, I’m not sure I can vote in these polls much longer. Upcoming polls include ‘The 400 Blows’ and ‘Some Like It Hot’ in the same year (1959). Then the following year we’re asked to chose between ‘Breathless’ and ‘L’Avventura’. No way. In ’63 it’s ’8-1/2′ vs. ‘The Leopard’. 1966 includes ‘Persona’ and ‘Au Hasard Balthazar’, then 1967 ‘Bonnie and Clyde’, ‘Weekend’ and ‘Mouchette’. Impossible.
Mark, please don’t give up the ship! It is difficult to be sure and will continue to be, but that’s what makes it fun and challenging. I love THE 400 BLOWS dearly, but for me BEN-HUR will win in ’59, though Truffaut will take Best Director. Try choosing between THE LAST PICTURE SHOW and A CLOCKWORK ORANGE in ’71 and between BALTHASAR and PERSONA in 1966. And try choosing between RAGING BULL and BERLIN ALEXANDERPLATZ and RAGING BULL in 1980. And many more such instances, not even including others liking more masterworks from the years I just cited. Your weekly vote is much too vital my friend. Please hang in there!
If you’re listing Raging Bull in competition against itself, that could get messy. The one tough one listed is 1966, the others are no brainers.
Allan, I know you dislike Antonioni, ‘L’Avventura’ (#279), a shockingly low, anti-historical ranking, prefer ‘The Leopard’ over ’8-1/2′, don’t have much use for ‘Pierrot le Fou’ or any other Godard from the 60s, or Cassavetes for that matter. I predict you will name ‘Marketa Lazarova’ best of ’67 (obscurity doesn’t equal profundity) and your penchant for stark Eastern European films is depressing (I except ‘Satantango’ and ‘Berlin Alexanderplatz’, but don’t undertand why you rank Jancso so low). You certainly possess a Kael-like certainty when it comes to no-brainers, but despite my disagreements I follow your thoughts on film avidly.
Geez, roasted on a typo.
RAGING BULL vs. BERLIN ALEXANDERPLATZ in 1980.
The first full week of school is tough and I have few chances at the PC.
True though with a “no-brainer” in 1971.
It’s THE LAST PICTURE SHOW, my favorite American film of the last 45 years.
1980 is between The Shining and Raging Bull for me Sam (with Heaven’s Gate a strong third). I’ve always considered Berlin Alexanderplatz a television mini-series instead of a film.
Hey what about your fave Ordinary People??? Didn’t you say it was better than Raging Bull recently…
LPS< Clockwork, McCabe, Klute, Macbeth, Trafic,
Yeah, ‘The Last Picture Show’ in ’71, though I’m a fan of ‘Targets’, too, but think ‘Faces’ is probably the American film of 1968.
Maurizio, it’s true that I do like ORDINARY PEOPLE very much. I suppose it comes within a hair of RAGING BULL, though if we count out Fassbinder’s marathon work because it’s a mini-series (something Allan I know wll refuse to do) we also must reckon with the likes of Malle’s ATLANTIC CITY, Lynch’s THE ELEPHANT MAN and Kurosawa’s KAGEMUSHA, all of which are top-drawer 1980.
Well fair enough on 1971, but I’ve stated my case and was thrilled to read that Mark agreed.
The 3,000 was I believe done around 18 months to two years ago but I stand by my assessment of the films. Approximately there are 500 films I’d give top marks (or *****) to, and L’Avventura is an exceptional film, but I happened to think 278 films were better than it when I drew up that list. Would it be higher now? Possibly, but not by much. It just seems too many people are stuck in the rut of ‘canons’ and what’s known and not known.
Yes, there are tough decisions to be made wach year, but what you, Sam or anyone might have as being the competitors I may actually find inferior to others you might dismiss or not have considered or even in some rare instances seen. Come 1967 if Marketa Lazarova wins for me, it won’t be for any other reason than I think ML is a greater film than Bonnie and Clyde, Weekend or Mouchette, or indeed films I also rate higher than either like The Young Girls of Rochefort, Belle de Jour, Playtime and possibly Le Samourai, which to me are its real competition.
Come 1971, Sam will always go for The Last Picture Show, but for me there are several ahead of it, not just Clockwork but Oshima’s masterpiece The Ceremony, Yoshida’s magnificent Confessions Among Actresses, Truffaut’s greatest film Deux Anglaises et le Continent, Rivette’s maddeningly brilliant Out 1 and Russell’s The Devils, while Borowczyk’s Blanche, Jissoji’s Mandara, Altman’s McCabe and Mrs Miller, Peckinpah’s Straw Dogs, Huszarik’s Szindbad, Delvaux’s Rendezvous a Brayand Makk’s Love are also in there and I’m sure I have missed a few off my head.
This is also part of the reason I haven’t and won’t include my votes as part of the calculations and only post my choices when the results are published so as not to sway anyone one way or the other. All you can do, Mark, is keep deliberating and come to honest conclusions. And try to avoid Sam’s beloved ties. I have had a few, but never in the principal picture and acting categories. Hope you keep coming back.
PS: disagree on Kazan, though I don’t see him as an all-conquering master. On the Waterfront may still be his best film, and while it may just about get ***** it may be listed near the bottom of the 500 at that mark.
Not a fan of Atlantic City Sam. The Elephant Man is good, but I prefer Lynch’s more surreal work that came later. EM comes across as too much of a standard bio. Kagemusha would certainly make my top five of 1980.
Regarding TV series, I know others are as opposed to it as I am not. I could be flippant and say “have your own poll and results according to your rules on your own site, no-one is stopping you.” But the fact is that Berlin Alexanderplatz, Dekalog, Fanny and Alexander, Heimat 1-3, Das Boot, The Sorrow and the Pity, Scenes from a Marriage, Red Riding and numerous others would be disqualified as they, too, were made originally for TV. Essentially, where mini-series and TV plays now count to many if they are made by people also associated with cinema (see Fassbinder’s Jail Bait, World on a Wire, If You Could Only Love Me, etc so much of later Bergman), then so can any TV play or mini-series.
It’s certainly a grey area to some extent. I do consider stuff like Carlos, Red Riding, and Mysteries Of Lisbon (though I actually prefer the theatrical cut of the latter overall) as films. Perhaps with Alexanderplatz it’s the extreme length that makes me assume mini-series coupled with the fact it was actually made for TV (like the others).
Come 1971, Sam will always go for The Last Picture Show, but for me there are several ahead of it, not just Clockwork but Oshima’s masterpiece The Ceremony, Yoshida’s magnificent Confessions Among Actresses, Truffaut’s greatest film Deux Anglaises et le Continent, Rivette’s maddeningly brilliant Out 1 and Russell’s The Devils, while Borowczyk’s Blanche, Jissoji’s Mandara, Altman’s McCabe and Mrs Miller, Peckinpah’s Straw Dogs, Huszarik’s Szindbad, Delvaux’s Rendezvous a Brayand Makk’s Love are also in there and I’m sure I have missed a few off my head.
Exactly the response I expected. With you it’s NEVER enough to say you like one or or three films more it’s always dozens of films that are better. It’s mainly an intimidating gesture, but I’ve see every last one of them and not a single one for me places above THE LAST PICTURE SHOW. You could rifle off dozens more and it won’t change a thing, especially since I have seen every one.
But heck, there are probably at least 40 to 50 films BETTER than EROS PLUS MASSACRE in the decade that Allan proclaims it Number 1, so I guess there will be no agreement here. Who makes the determination of what is BETTER pray tell? With everyone on the same plane intellectually it all comes down to TASTE and OPINION. There is no such thing as “better.”
1971:
1. The Last Picture Show
2. A Clockwork Orange
3. The Devils
4. Deux Anglaises et la Cotinent
5. Blanche or Straw Dogs
Fact? No, just my own simple opinion, nothing more. The word “better” has no real place here.
And how many TIES have I posted on this thread? 4 over 33 years? And one for Best Picture. You had a tie in there too as I reall as di severalother people. It’s a sign of REVERENCE and QUALITY not a sign of ball-less indecision as you pose it is.
I was just illustrating how rulionmg it down to between this and that is perhaps not how others see it. And as usual, as The Last Picture Show is your baby, you go apeshit. You wonder why I try to avoid commenting now, this is why.
Hence the silliness of numerically ranking films. But alas, don’t worry boys and kids at home, the countdowns will always continue here. One after another after another after another….
Don’t know at all what you mean by “apeshit.”
Translation: polite disagreement. Your response to me is more of the “apeshit variety.”
Jamie: As I’ve explained in the past the numbers game at this site (always very popular and a real attraction for new readers) is mainly a conversation starter and is never meant to be taken so seriously that it obsfigates the main conversation. Allan’s book is predicated on numbers and ratings and the countdowns here have fueled some of our most spectacular comment threads. Without them we’d be practically nowhere.
And the threat to bail out from commenting every time there is slight disagreement, Allan, (which by your style is quite easy to instigate) well, you know what……….I won’t even go there.
I am here folks, and will remain no matter what heat emanates from the radiator.
And Jamie, why would you think that I would scrap numerical rankings when every single other person who coms to this site aside from yourself likes them to frame “extent” and “degree”? And why deprive ourselves of all the fun to adhere to some rigid and judicial philosophical position? You know how much I like you and value everything you say and do, but on this matter I am not in agreement.
Sam, I can certainly see this point, but than it wouldn’t produce, as Allan says, “ape shit” reactions when some disagree. It seems to me, and this is a position I’ve always held, if you want to talk about cinema, you just do it. You don’t need the numbers game, and if you do, “ape shit” conversations are often going to be the exact outcome you’ll get (which obviously aren’t ever fruitful as you’d probably agree).
I’ve always maintained that at this point we have a large enough collection of film fans here that rankings are no longer the a necessary pull…
As for people being drawn to comment due to countdowns, well I disagree. People comment under a piece because they like the piece, or the film(s) the piece is covering, not the little number that appears before the period preceding the film’s title. But again, agree to disagree, just don’t be surprised when a reductive means leads to reductive conversing.
Jamie, if rankings are scrapped, well then you know what?
Allan has no book and will never have one. Rankings and ratings are the best comparative conversation starters we have, in fact that any other site has too.
I never suggested anything was “ape shit.” I just responded politely.
But hell, just imagine how many more followers my (slowly dying) Beatles Series could have had had I thrown a ranking measurement into it. Here I thought the day specific regularity was key; come back every ________ and you get what you have come to expect, when in reality I was always missing the medal platform ranking component.
/lesson learned. What’s an appropriate prize for 128th place?
Rankings and ratings are the best comparative conversation starters we have, in fact that any other site has too.
Cough, cough, huge pile of steaming bull-shit, cough cough.
Rankings and ratings are the best comparative conversation starters we have, in fact that any other site has too.
Cough, cough, huge pile of steaming bull-shit, cough cough.
**cough cough*** ***cough cough***
YOUR OPINION, not the opinion of the large contingent of people who come to Allan’s weekly voting thread to cast ballots.
I guess they all like to do this week after week, no? Dozens of voters looking ahead every week, maybe even preparing for it and watching movies they’ve never seen, as they’ve attested to in comments. That’s not a good thing?
And I’ll take the reasoned opinions and conversations on this thread any day myself. But aside from this impassioned weekly voting thread the site’s countdown threads are the highest attended by way of page views and comments, and for my money the most intelligent by way of dicourse.
You have your position and while I respect it I don’t agree with it. It’s not going to have us dueling just shrugging our shoulders.
Fair enough, by all means continue the rank ranking. But please just don’t confuse its success with what builds successful blogs or fruitful discussion.
Jamie: To be honest the site’s most intellctually challenging threads have come from non-countdown and ranking initiators too. I’d say it’s 50-50, but the rankings allow for some to get all worked up. There are plusses and minusses, I’ll be the first to admit it.
I recognize the numbers things isn’t your cup of tea, and there are others who would agree with you.
Ah Sam, always the politician.
As I’ve said before, ‘a chacun son gout”, to each his own taste, but if ‘L’Avventura’ doesn’t draw one of the lines of radical demarcation in the history of cinema, then neither does ‘Kane’ or ‘Breathless’. And if your preferences are for the anti-canonical there’s nothing to debate. ‘Don Quixote’ and ‘L’Avventura’, both firmly entrenched in their respective canons, are great works of art that nobody can deny, unless you throw artistic hierarchy to the wind and start over with ‘Naked Lunch’ or ‘Salo: the 120 Days of Sodom’.
‘Eros + Massacre’ and ‘Blanche’ won’t play on my DVD player, alas, but ‘The Devils’ turns my stomach and ‘Two English Girls’ is just a pale echo of another adaptation of a Henri-Pierre Roche novel, ‘Jules and Jim’. But there I go again. You’re a great critic, Allan, but your tastes are challenging to say the least.
Sam, as for 1971, I forgot (it must be the drugs) about Barbara Loden’s ‘Wanda’, which I may have to place above the Bogdanovich. We’ll see. ‘Two-Lane Blacktop’ ain’t chopped liver, either.
Jamie, an appropriate prize for #128 is ‘Acid Eaters’ by the Ramones. Tee-hee.
I’m not alone in placing Deus Anglaises above Jules et Jim, but you MUST see the full version, not the US version. The full version is on Region 2 UK as Anne and Muriel.
Re Wanda, that was first shown in 1970, though didn’t see the light of day nationally until 1971.
And again, there’s nothing wrong with L’Avventura, Mark. It’s a magnificent film, but nothing it set in stone. Everything’s fluid. If someone asked me to watch an Antonioni and gave me the choice, however, I would probably go with L’Eclisse while The Passenger grows on me with each viewing.
Blanche and Eros wouldn’t play on your DVD player? Who sent you the copies? They’re both region free DVDRs. If you can’t play them you need a new DVD player. There’s no excuse for not having multi region in 2012 in any case. Multi region players can be got for under $50.
And Sam I have two ties in total over 92 years. And none of them in a major (picture or acting) category. There is a bit of a difference. But enough, no more arguments, no film is worth that.
And if you like Antonioni, you should check out Yoshida. Antonioni is a master, but Yoshdia is better. Farewell to the Summer Light is a piece to put Antonioni to shame, and yet it’s one that’s grown on me as I watched it more. If I did the 3,000 again, the order would not be the same.
Sadly, no-one in the west – outside of France, where they revere him rightly – is interested in Yoshida. He belongs in the same breath as Ozu and Mizoguchi.
Do it. Make the decision. Forge ahead. Life is all about self-discovery, and as a film lover, you owe this to yourself.
Yay for Sal Mineo winning best supporting actor in 1955 for “Rebel without a Cause”.
Yay for “Pather Panchali” winning best score in 1955.
I vote “The Searchers” for best film in 1956.
I vote John Ford for best director (“The Searchers”) in 1956.
I vote “Peepshow” for best short in 1956 (directed by Ken Russell)
I vote Kevin McCarthy for best actor in “Invasion of the Body Snatchers” in 1956.
I vote Hank Worden for best supporting actor in “The Searchers” in 1956.
I vote Dana Wynter for best supporting actress in “Invasion of the Body Snatchers” in 1956.
I vote “The Searchers” for best cinematography.
I vote “The Searchers” for best score.
Allan, it’s a grand gesture to include Plan 9 among the nominees. It is certainly one of the most entertaining films of the year. For the value he contributes, I’d almost want to name Dudley Manlove Best Supporting Actor. But let’s work with what we have.
Best Picture: The Searchers
Best Director: Ford
Best Actor: Wayne, though Brynner, Duchesne and Letterier come close and the unmentioned Gregory Peck remains badly underrated in Moby Dick.
Best Actress: Machiko Kyo — I’d go with Kerr except that’s not her singing voice.
Supporting Actor: arguably a lead, but Dean.
Supporting Actress: Windsor
Cinematography: Morris
Score: Tough to say no to Bernstein but I go with Steiner.
Short: pass
I always thought that Plan 9 was 1959.
It is actually, Jaime. Using an outdaed source, it was largely shot in 1956. Doh. Will remove. Sorry, Samuel.
can’t wonder why it was delayed so much e.e
Maybe it’ll have a better chance that year!
Picture: The Burmese Harp
Director: Robert Bresson, A Man Escaped
Actor: Kirk Douglas, Lust for Life
Actress: Maria Schell, Gervaise
Sup. Actor: Elisha Cook, The Killing
Sup. Actress: Marie Windsor, The Killing
Cinematography: Frederick Young, Russell Harlan, Lust for Life
Feature: The Searchers
Director: Robert Bresson (A Man Escaped)
Actor: John Wayne (The Searchers)
Actress: Michiko Kyo (Street of Shame)
Supp.Actor: Elisha Cook, Jr. (The Killing)
Supp. Actress: Marie Windsor (The Killing)
Cinematography: The Searchers
Score: The Searchers
Screenplay: The Killing
Editing: A Man Escaped
honorable mention: Aparijito
Best Picture: A Man Escaped
Top Five: 1. A Man Escaped 2. The Killing 3. Invasion Of The Body Snatchers 4. Seven Men From Now 5. Bob Le Flambeur
So many films to choose from and not nearly enough categories to give them all their due…
Slightly easier than last year where there were even more to consider.
Right to it:
PICTURE: EARLY SPRING
(My top 5: 1. Early Spring 2. The Searchers 3. The Killing 4. A Man Escaped 5. The Burmese Harp)
SHORT: TOUTE LE MEMOIR (Renais)
DIRECTOR: John FORD (THE SEARCHERS)
LEAD ACTOR: John WAYNE (THE SEARCHERS)-Sorry, but the more I think about this performance and it’s complexity, and that I think no other actor in history would have handled it as right as Wayne does, the more that I think it’s, easily, the best of this year.
LEAD ACTRESS: Deborah KERR (TEA AND SYMPATHY)
SUPP. ACTOR: Robert STACK (WRITTEN ON THE WIND)-Taking ham to another dimension, the camp attitude rings true and perfect and just edges out guys like Quinn, Wynter and a few others.
SUPP. ACTRESS: Patty McCORMACK (THE BAD SEED)-at times, so bad that it’s brilliant.
PHOTO: Lucien BALLARD (or shall I say, Stanley KUBRICK-we all know he was the real cinematographer on his own films. Guys like Ballard and Alcott were just hired to do the physical labor and give out orders to the photography crew) (THE KILLING)
MUSIC: Bebe and Louis BARRON (FORBIDDEN PLANET)
Picture : The Searchers
Director : John Ford
Actor : John Wayne
Actress : Machiko Kyo
Supporting Actress : Ayako Wakao
Cinematography : Leonce-Henri Burel
Music : Ravi Shankar (Aparajito)
Best Picture: The Killing (Stanley Kubrick)
Best Director: John Ford (The Searchers)
Best Actor: John Wayne (The Searchers)
Best Actress: Brigitte Bardot (Et Dieu Créa la Femme)
Best Supporting Actor: Elisha Cook Jr (The Killing)
Best Supporting Actress: Patty McCormack (The Bad Seed)
Best Cinematography: Lucien Ballard (The Killing)
Best Score: Max Steiner (The Searchers)
Best Picture – The Searchers
Best Director – John Ford, “The Searchers”
Best Actor – John Wayne The Searchers
Best Actress – Deborah Kerr The King and I
Best Supp Actor – Robert Stack Written on the Wind
Best Supp Actress – Dorothy Malone Written on the Wind
Best Score – Max Steiner The Searchers
Watched ‘Smiles of a Summer Night’ again last night and I’m glad I voted for it .(the sole vote, I believe). Bergman’s period roundelay is exquisite.
Onward…
Film: ‘The Searchers’ with fierce competition fom ‘Aparajito’ and ‘A Man Escaped’
Director: John Ford
Actor: John Wayne (‘The Searchers’)
Actress: Karuna Banerjee (“Aparajito’)
S. Actor: Sterling Hayden (‘The Killing’)
S. Actress: Windsor vs. Malone, and one of those rare instances where the Academy got it right (Malone — ‘Written on the Wind’)
Photography: Russell Metty (‘Written on the Wind’) I thought I was tripping.
A few notes first:
1) Another tough year. My best picture choice is a little surprising, even to me. I originally had THE SEARCHERS down in that column. But as I came around to the other categories, I had to come to the conclusion that, as great as Ford’s film is, there were four other 1956 movies that were just closer to my heart. GIANT has long been a favorite of mine, and now, even after Stevens’ direction has fallen somewhat out of favor, I still find the film epic, moving and peerlessly crafted. Hell, the movie even made an actor out of Rock Hudson! Plus I think it’s James Dean’s most electrifying performance, and a great turn for Elizabeth Taylor as well (how strong both of those characters are!) It’s a quintessentially American movie, and I have to salute it for that.
2) Allen always does a superb job of listing eligible films (kudos for including Fielder Cook’s little seen PATTERNS, scripted by Rod Serling), but I wanted to point out a few notable omissions. First, Mark Robson’s terrific boxing expose, THE HARDER THEY FALL, written by Budd Schulberg and featuring a fantastic late career turn by Humphrey Bogart; second, Hitchcock’s fun remake of THE MAN WHO KNEW TOO MUCH, with James Stewart and Doris Day (who both should be listed in the acting categories); THE RAINMAKER, a wonderfully romantic stage adaptation with superb leads in both Katherine Hepburn and Burt Lancaster; and Robert Wise’s SOMEBODY UP THERE LIKES ME, with an Ernest Lehman script and one of the first big showings for Paul Newman.
3) Also wanted to point out the two shorts that I cited. First my winner is an adaptation of sorts, called THE HONEY MOUSERS, with the cast of Jackie Gleason’s THE HONEYMOONERS recast as mice (directed by the most underrated of the WB animators, Robert McKimson). Hilarious stuff. Also a big fan of A STAR IS BORED, a fourth-wall breaking Bugs Bunny/Daffy Duck cartoon by Friz Freling.
4) Finally, I wanted to add that we’re getting into a great age for feature documentaries, and I was curious how WITD is going to handle this. If I want to eventually vote for SALESMAN for Best Picture, are they going to be listed alongside the narrative movies or are they going to be given a slot for themselves? I recommend the latter, and so I’m starting to list my favorite Documentary Feature of the year, right after my choices for the screenplay spots).
PICTURE: Giant (followed by Bigger Than Life, The Wrong Man, The Killing, The Searchers, A Man Escaped, The Harder They Fall, Invasion of the Body Snatchers, Early Spring, The Girl Can’t Help It, Patterns, There’s Always Tomorrow, The Man Who Knew Too Much, Written on the Wind, Seven Men From Now, Baby Doll, Attack!, The Rainmaker, Somebody Up There Likes Me, Forbidden Planet, Bus Stop, The Kind And I)
DIRECTOR: George Stevens, Giant (2nd: Nicholas Ray, Bigger Than Life)
ACTOR: James Mason, Bigger Than Life (2nd: Henry Fonda, The Wrong Man)
ACTRESS: Elizabeth Taylor, Giant (2nd: Katherine Hepburn, The Rainmaker)
SUPPORTING ACTOR: James Dean, Giant (2nd: Elisha Cook Jr, The Killing)
SUPPORTING ACTRESS: Marie Windsor, The Killing (2nd: Patty McCormack, The Bad Seed)
CINEMATOGRAPHY: Joseph P. MacDonald, Bigger Than Life (2nd (color): Leon Shamroy, The Girl Can’t Help It)
ORIGINAL SCORE: Dimitri Tiomkin, Giant (2nd: Bebe and Louis Barron, Forbidden Planet )
SHORT: The Honey Mousers (Robert McKimson) (followed by A Star is Bored (Friz Freling)
FURTHER:
ORIGINAL SCREENPLAY: Maxwell Anderson and Angus McPhail, The Wrong Man (2nd: Rod Serling, Patterns)
ADAPTED SCREENPLAY: Stanley Kubrick and Jim Thompson, The Killing (2nd: Cyril Hume and Richard Maibaum, Bigger Than Life)
DOCUMENTARY FEATURE: The Silent World (Jacques Yves Cousteau and Louis Malle)
B&W CINEMATOGRAPHY: Lucien Ballard, The Killing (2nd: Boris Kaufman, Baby Doll)
B&W ART DIRECTION: Baby Doll
COLOR ART DIRECTION: Giant
B&W COSTUME DESIGN: There’s Always Tomorrow
COLOR COSTUME DESIGN: The Girl Can’t Help It
FILM EDITING: The Killing
SOUND: Giant
SCORING OF A MUSICAL: Alfred Newman and Ken Darby, The King and I
ORIGINAL SONG: “The Girl Can’t Help It” from The Girl Can’t Help It, Music and lyrics by Bobby Troup (2nd: “Whatever Will Be (Que Sera, Sera)” from The Man Who Knew Too Much)
VISUAL EFFECTS: The Ten Commandments
MAKEUP: The Ten Commandments
Dean’s comment opens up something that needed to be debated. And also seems the time to talk about another subject that we already do. We’ll deal with the latter first. The Best Short category is a category that, I’m sure most of you would agree, was of most interest from 1920-1960, when we had the very best shorts, cartoons, avant garde pieces and, in the silent and early talkie era, one and two reel comedies. Two reel comedies died by the time of World War II when the traditional cinema programme of feature, 2nd feature, cartoon and newsreel took over. Cartoons died around 1960 as they moved on to TV but for a few exceptions, and they generally were not remotely up to the higlights of the previous decades. The avant garde had been replaced by the underground by 1960 and many of those works were not made according to strict lengths, but just let run to their natural conclusion. Hence an Andy Warhol piece like Eat could technically count as a short because it’s under 40 minutes, another such as Kiss running over 40m feels little different.
Therefore I have decided that from 1960 onwards I will not be giving nominations for best short. People are still at liberty to vote for a short if they feel there is a special work from that year that deserves an honour and so long as there’s 3 or more votes for a film, or a winner from more than 5 votes cast in total, I will give a winner each weekend. I myself will continue to list a short winner up until 1969 on my Fish’s Amended Oscars topbar link but it’s down to the individual whether he or she wants to continue with this.
Regarding documentaries, Dean raises a valid point. We should really be thinking of a separate nomination list for these. I could do a documentary nomination list, but it would probably be largly a case of listing those documentaries that I have on my year by year timeline master and adding in several perhaps from Academy Award nominations list, or you may wish to just vote for a documentary separately without a list. It’s up to you. Please bear in mind it already takes me upwards of an hour to do each weekly nominations piece and that’s with the films and shorts and many of the acting categories being a paste job from library files (without me having these, it would probably take an entire day). Going through and selecting cinematography and score nominations is already time consuming, so anything that keeps my workload down will be appreciated.
I would urge you not to abandon the Shorts listing until 1970 at the earliest. We still have Warhol, Hubley, Brakhage, more Chuck Jones, Jim Henson and so many others. I would also say that shorts could continue into the present with the recognition of videos like THRILLER and such, and the current resurgence of shorts via the Academy screenings of the nominees. Of course, this may be too much for you to list out, Allen, so I totally understand your leaving it up to voters to do their own research. At which point I would say: VOTERS: DON’T FORGET YOUR SHORTS! After all, it ain’t kosher to put your pants on without ‘em. .
Those who still want to vote for shorts, Dean, will not need my prompting of nominations to do it. The years of depth of competition and influence in this field are passing once we reach 1960.
Woah, I just caught this now but I REALLY object to letting short film nominations go after 1960!
Many of my favorite short films of all time are from the post-1960 era: The House is Black, the Quay Brothers shorts, Michel Gondry’s music videos, etc. If there’s no short category, some of these films will actually get my nod for “Best Picture full-stop” in their given year, but they’re bound to be drowned out.
Please reconsider, Fish! If nothing else, listing short films for those years might get a few people to check them out online which is certainly a good thing and back the unfair trend in cinephilia which is willing to humor the 20s avant-garde, the Three Stooges and Bugs Bunny but turns a blind eye all the cool but less infamous goings-on in later years, when the unfortunate idea that film = narrative feature became more dogmatic than ever.
*buck, not back the unfair trend.
No votes for Boris Kaufman (photography for Baby Doll)? Ouch.
http://leclisse.files.wordpress.com/2010/07/baby010.jpg
I know, my winner ignored.
Oh Christ, Kazan. The worst, caterwauling ‘big’ director in American film. I thought if Malden bellowed ‘Baby Doll!!!’ one more time I’d put my foot through the TV.
If you have problems with the repetition of dialog in Baby Doll than your issues reside with Tennessee Williams, not Elia Kazan.
No, my problem is with Kazan, who never stops shoving his camera right into the contorted faces of his hysterical actors. He does the same thing in ‘A Face in the Crowd’ which was written by Budd Schulberg.
Oh, then surely ‘caterwauling’ and the ‘bellows’ of an actor shouldn’t be cited! I gotcha, but I’ve always seen FACE IN THE CROWD as a pretty restrained picture (stylistically I mean), all things considered. Fair though, agree to disagree… Kazan is one of my favorite American directors but can admit ON THE WATERFRONT never really moving me, so there is perhaps something about his aesthetic that doesn’t always work for me.
See Natalie Woods’ excesses in ‘Splendor in the Grass’. Kazan usually seems to be driving his actors toward nervous breakdowns (Blanche, Deanie in ‘Splendor’) and he’s usually drawn to playwrights like Williams and Inge because they’re both good at working their scenarios into an emotional lather that borders on madness. And Kazan loves to film these palsied reactions. Luckily, Kazan also had a taste for good actors and worked with some of the finest (Brando, Leigh, Steiger, Beatty, Neal, Wood) who knew when to pull back. Karl Malden and Andy Griffith never learned.
I’m with you on Malden Mark. The f..king worst….
I’d argue that 2 or 3 of your examples are due to Tennessee Williams rampant hysteria (a confined homosexuals urge to show heterosexuality in all it’s sweaty transgressions) and not Kazan. Another, Andy Griffith in FACE IN THE CROWD needs the verbosity of explosion to accurately depict just what is going on in the world due to characters like him. In simpler terms: when painting a mural the size of small building you don’t approach it with delicate brushes generally reserved for painstakingly pin-striping the sides of hot rods. Besides, in the quiet moments of all his films Kazan brings the subtly and nuance with the best of ‘em.
Either way, your concerns seem to be with the emotions being displayed, not really how they’re being displayed. Either way, agree to disagree. Kazan’s standing is rightly assured.
Yes Maurizio if only Kazan could be the restrained technician as shown on Seven Men From Now, your forth best film for this year.
Funny, Jamie, I can’t recall a quiet, subtle moment in a Kazan film, and his collaborations with the increasingly unbalanced poetry of Williams — cannibalism, dementia, lobotomy (‘Suddenly, Last Summer’ directed by J. Mank), incest, rape, nymphomania, Brando committing suicide by walking into a burning building in ‘The Fugitive Kind’ only helped to de-legitimize or tarnish Willliams’ deservedly lofty reputation — he wanted Jessica Tandy to play Blanche in the film version of ‘Streetcar’. Williams had been a poet who later crossed over to the hothouse and he wasn’t helped by Kazan’s incendiary film direction.
Not a one?!
The longings between Monty Clift and Lee Remick throughout the virtual entirety of Wild River, Patricia Neal leaning slowing into her room alone with a despondent Andy Griffith, then later, Neal drinking alone while watching TV in a desolate bar (later joined by Walter Matheau) in A Face in the Crowd, James Dean sitting atop a moving train alone as he wraps the arms of his sweater repeatedly around his face (East of Eden), Marlon Brando twirling and nervously fidgeting with that single black women’s glove in On the Waterfront, many of the passages in America, America have, especially the ones showing the chasing of love as religious act, then watching out over the cold Ocean as the wave breaks kiss his face as he solitarily stands over the ships bow, and ‘epic smallness’. Kirk Douglas slowly contemplating chucking it and driving his little white European sports car under the semi in the tunnel in The Arrangement, one could go on, and on, and on…
Hope that dislodges one or two.
Thank you, Jamie, for reminding me of ‘Wild River’ (1960). I had never expected to forget Jo Van Fleet refusing to leave her home after it’s been condemned by the Tennessee Valley Authority. But I’m afraid I did forget.
With the exception of ‘Streetcar’ (a great play traduced by Kazan and the Legion of Decency. No mention of why Blanche’s beau shoots himself. He’s homosexual). Still not a Kazan fan, though, as he became mired in the grotesqueries of a declining Williams and William Inge (the poor man’s Tennessee). Mankiewicz (‘Suddenly, Last Summer’), Brooks (‘Sweet Bird of Youth’) and Lumet (‘The Fugitive Kind’) certainly did not make their best films working with Williams’ overheated stabs at the poetry of Hades.. Maybe Kazan, who comes from the theater where larger than life emotions and gestures must be conveyed beyond the footlights, therefore thinks that his screen dramas should be played fortissimo, too.
Anyway, thanks for bringing up ‘Wild River’: I had completely forgotten it.
And I’ve never seen ‘The Arrangement’, based on a novel written by Kazan himself, which gives me pause.
If I had to watch a Kazan I’d watch Wild River over the rest, then probably Baby Doll, because it’s like a film on heat, and not just sexual heat. On the Waterfront I watched again the other week. It’s another of those milestone films, like Shane, expertly done but lacking vitality half a century on and very much of their day. Ironically, if I had to watch a Tennessee Williams film, though Streetcar and Baby are the best, I’d probably put on The Night of the Iguana. OK, it needed to be Liz not Ava Gardner, but all in all it’s a little underrated treat.
Best Picture: The Searchers (John Ford)
Best Director: John Ford (The Searchers)
Best. Actor: John Wayne (The Searchers)
Best Actress: Elizabeth Taylor (Giant)
Best Supporting Actor: Marie Windsor (The Killing)
Best Cinematography: Winton C. Hoch (The Searchers)
Best Score: Max Steiner (The Searchers)
Looking at my awards, yo would think that The Searchers is head and shoulders above everything else in this year…and although it is my favorite of the year, there ton of other great, great films. It’s hard not to find a place for The Burmese Harp or A Man Escaped or more recognition for The Killing.
I’ll take Windsor as Supp Actress Dave and leave Actor blank.
Something else might have won the big one, but this is a Douglas Sirk kind of year…
PICTURE: The Searchers
DIRECTOR: Sirk, There’s Always Tomorrow
LEAD ACTOR: James Mason, Bigger than Life
LEAD ACTRESS: Barbara Stanwyck, There’s Always Tomorrow
SUPPORTING ACTOR: Lee Marvin. Seven Men From Now (my taste for hamming comes out, I admit it)
SUPPORTING ACTRESS: Dorothy Malone, Written on the Wind
SHORT: I’m going off ballot for The Phantom Ship, a glorious cut-out animation from Japan I managed to see somehow…
SCORE: Steiner, The Searchers
CINEMATOGRAPHY: Russell Metty, Written on the Wind
Plus bonus pick:
Script: A Man Escaped
Best Film : The King and I
Best Actor : Peter Finch (A Town Like Alice)
Best Actress : Deborah Kerr (The King and I;Tea and Sympathy; The Proud and Profane) (2nd : Virginia McKenna – A Town Like Alice)
Best Supporting Actor : John Kerr (Tea and Sympathy)
Best Supporting Actress : Dorothy Malone (Written on the Wind)
Best Director : John Ford (The Searchers)
I really wanted to vote for Bigger Than Life…but The Searchers is just too big, too epic to be overcome.
Picture- The Searchers
Dir- John Ford – The Searchers
Actor- James Mason – Bigger Than Life
Actress- Machiko Kyo – Street of Shame
Supp. Actor – James Dean – Giant
Supp. Actress – Dorothy Malone – Written on the Wind
Score – Max Steiner – The Searchers
Cinematography – Joseph MacDonald – Bigger Than Life (Love that scope framing)
Pic – The Searchers (US…John Ford)
Director – The Burmese Harp (Japan…Kon Ichikawa)
Actor – John Wayne The Searchers
Actress – Elizabeth Taylor Giant
Sup Actor – James Dean Giant
Sup Actress – Ayako Wakao Street of Shame
Cinematography – Winton C.Hoch The Searchers
Best Picture: The Ten Commandments
Best Director: Don Siegel (Invasion of the Body Snatchers)
Best Actor: Kevin McCarthy (Invasion of the Body Snatchers)
Best Actress: Maria Schell (Gervaise)
Best Sup. Actor: Robert Stack (Written on the Wind)
Best Sup. Actress: Dorothy Malone (Written on the Wind)
Best Score: Elmer Bernstein (The Ten Commandments)
Best Cinematography: Boris Kaufman (Baby Doll)
Best Picture: Aparajito
Best Director: Satyajit Ray (Aparajito)
Best Actor: John Wayne (The Searchers)
Best Actress: Karuna Banerjee (Aparajito)
Best Supporting Actor: Elisha Cook, Jr. (The Killing)
Best Supporting Actress: Marie Windsor (The Killing)
Best Cinematography: Winton C. Hoch (The Searchers)
Best Score: Ravi Shankar (Aparajito)
Top 5:
1. Aparajito
2. The Searchers
3. The Killing
4. A Man Escaped
5. Man on the Tracks
Just Missed: Bob le Flambeur
Best Picture: The Ten Commandments. Is it the best film of the year? Of course not. Is it the best movie of the year? Yes, and one of the most spectacular, ambitious productions ever conceived, especially by a director in his 70s. You can point out everything wrong with it, and I would agree with you, but when I come down to it, it’s kind of an entire summation of what movies are all about. I almost always give my choice for Best Director to whoever directed by Best Picture selection, but like everything in life, there are always exceptions.
Best Director: John Ford, The Searchers
Best Actor: John Wayne, The Searchers
Best Actress: Deborah Kerr, Tea and Sympathy. I almost picked her for “The King and I”, her radiant presence and goodness suffuses the entire movie, but the fact she was dubbed in her singing, throws the vote to her performance in “Tea and Sympathy” which actually turns out to be an exceptional choice.
Best Supporting Actor: Robert Stack. Written on the Wind
Best Supporting Actress: Dana Wynter, Invasion of the Body Snatchers
Best Cinematography: Young and Russell for Lust for Life.
Best Score: Elmer Bernstein, The Ten Commandments.
I couldn’t agree with you more Kevin! Pound for pound TTC is the most ENTERTAINING film of the year.
For me, three films stand out this year: The Searchers, A Man Escaped, and The Killing.
Best Picture: The Searchers
Best Director: John Ford (The Searchers)
Best Actor: John Wayne (The Searchers)
Best Actress: Carroll Baker (Baby Doll)
Best Supporting Actor: Elisha Cook, Jr. (The Killing)
Best Supporting Actress: Marie Windsor (The Killing)
Best Cinematography: Lucien Ballard (The Killing)
Best Score: Max Steiner (The Searchers)
Bold choice Sam….I’m almost with you.
Best Picture: The Burmese Harp
Best Director: Kon Ichikawa (The Burmese Harp)
Best Actor: John Wayne (The Searchers)
Best Actress: Maria Schell (Gervaise)
Best S. Actor: Elisha Cook Jr. (The Killing)
Best S. Actress: Dorothy Malone (Written on the Wind)
Best Score: Elmer Bernstein (The Ten Commandments)
Best Cinematography: Boris Kaufman (Baby Doll)