by Allan Fish
And straight to it…
Best Picture Citizen Kane, US (17 votes)
Best Director Orson Welles, Citizen Kane (19 votes)
Best Short Superman, US, Dave Fleischer (3 votes)
Best Actor Humphrey Bogart, The Maltese Falcon (9 votes)
Best Actress Barbara Stanwyck, The Lady Eve (11 votes)
Best Supp Actor Sydney Greenstreet, The Maltese Falcon (6 votes)
Best Supp Actress Dorothy Comingore, Citizen Kane (9 votes)
Best Score Bernard Herrmann, Citizen Kane (7 votes)
—
and my choices
Best Picture SULLIVAN’S TRAVELS, US
Best Short CHRISTMAS UNDER FIRE, UK, Harry Watt, Charles Hasse
Best Director Orson Welles, Citizen Kane
Best Actor Walter Huston, All That Money Can Buy
Best Actress Barbara Stanwyck, The Lady Eve
Best Supporting Actor Everett Sloane, Citizen Kane
Best Supporting Actress Dorothy Comingore, Citizen Kane
Best Musical Score Bernard Herrmann, Citizen Kane
—
and on to 1942…
—
Best Picture/Director
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Across the Pacific (US…John Huston)
Afsporet (Denmark…Bodil Ipsen, Lau Lauritzen)
Aniki Bóbó (Portugal…Manoel de Oliveira)
Arabian Nights (US…John Rawlins)
L’Assassin Habite au 21 (France…Henri-Georges Clouzot)
Bambi (US…David Hand)
The Black Swan (US…Henry King)
Caprices (France…Leo Joannon)
Casablanca (US…Michael Curtiz)
Cat People (US…Jacques Tourneur)
Coastal Command (UK…J.B.Holmes)
For Me and My Gal (US…Busby Berkeley)
The Foreman Went to France (UK…Charles Frend)
Four Steps Across the Clouds (Italy…Alessandro Blasetti)
Gentleman Jim (US…Raoul Walsh)
The Glass Key (US…Theodore Heisler)
Here We Go Again (US…Allan Dwan)
Holiday Inn (US…Mark Sandrich)
I Married a Witch (US…René Clair)
In Which We Serve (UK…David Lean, Noël Coward)
Kings Row (US…Sam Wood)
The Land (US…Robert J.Flaherty, Frances Flaherty)
Let the People Sing (UK…John Baxter)
Macao, l’Enfer du Jeu (France (shot 1939)…Jean Delannoy)
The Magnificent Ambersons (US…Orson Welles)
The Major and the Minor (US…Billy Wilder)
The Male Animal (US…Elliot Nugent)
Men on the Mountains (Hungary…István Szöts)
The Moon and Sixpence (US…Albert Lewin)
My Favorite Blonde (US…Sidney Lanfield)
The Next of Kin (UK…Thorold Dickinson)
Now, Voyager (US…Irving Rapper)
La Nuit Fantastique (France…Marcel l’Herbier)
The Palm Beach Story (US…Preston Sturges)
Prelude to War (US…Frank Capra)
The Pride of the Yankees (US…Sam Wood)
Random Harvest (US…Mervyn le Roy)
The Road to Heaven (Sweden…Alf Sjöberg)
Road to Morocco (US…David Butler)
Roxie Hart (US…William A.Wellman)
Saboteur (US…Alfred Hitchcock)
Star Spangled Rhythm (US…George Marshall)
Take a Letter, Darling (US…Mitchell Leisen)
The Talk of the Town (US…George Stevens)
There Was a Father (Japan…Yasujiro Ozu)
This Gun for Hire (US…Frank Tuttle)
Thunder Rock (UK…Roy Boulting)
To Be or Not To Be (US …Ernst Lubitsch)
Tortilla Flat (US…Victor Fleming)
Les Visiteurs du Soir (France…Marcel Carné)
We the Living (Italy…Goffredo Alessandrini)
Went the Day Well? (UK…Alberto Cavalcanti)
Woman of the Year (US…George Stevens)
Yankee Doodle Dandy (US…Michael Curtiz)
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Best Short
—
The Battle of Midway (US…John Ford)
Dover Jones (US…Chuck Jones)
The Early Bird Dood It (US…Tex Avery)
Der Führer’s Face (US…Jack Kinney)
The Hare-Brained Hypnotist (US…Friz Freleng)
Listen to Britain (UK…Humphrey Jennings)
Matri Phony (US…Harry Edwards)
My Favorite Duck (US…Chuck Jones)
Three Smart Saps (US…Jules White)
The Wabbit Who Came to Supper (US…Friz Freleng)
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Best Actor
Jack Benny To be or not to be
Humphrey Bogart Casablanca
James Cagney Yankee Doodle Dandy
Ronald Colman Random Harvest
Ronald Colman The Talk of the Town
Gary Cooper The Pride of the Yankees
Joseph Cotten The Magnificent Ambersons
Noël Coward In Which We Serve
Robert Donat The Young Mr Pitt
Brian Donlevy The Glass Key
Errol Flynn Gentleman Jim
Pierre Fresnay L’Assassin Habite au 21
Cary Grant The Talk of the Town
Alan Ladd This Gun for Hire
Joel McCrea The Palm Beach Story
Walter Pidgeon Mrs Miniver
Tyrone Power The Black Swan
Michael Redgrave Thunder Rock
Chishu Ryu There Was a Father
George Sanders The Moon and Sixpence
Spencer Tracy Woman of the Year
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Best Actress
Jean Arthur The Talk of the Town
Mireille Balin Macao, l’Enfer du Jeu
Ingrid Bergman Casablanca
Claudette Colbert The Palm Beach Story
Dolores Costello The Magnificent Ambersons
Bette Davis Now Voyager
Greer Garson Mrs Miniver
Katharine Hepburn Woman of the Year
Veronica Lake I Married a Witch
Carole Lombard To be or not to be
Ida Lupino The Hard Way
Maureen O’Hara The Black Swan
Ginger Rogers The Major and the Minor
Ann Sheridan Kings Row
Simone Simon Cat People
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Best Supp Actor
Mischa Auer Twin Beds
Leslie Banks Went the Day Well?
William Bendix The Glass Key
Jules Berry Les Visiteurs du Soir
Ward Bond Gentleman Jim
Laird Cregar The Black Swan
Laird Cregar Ten Gentlemen from West Point
Laird Cregar This Gun for Hire
Steve Geray The Moon and Sixpence
Van Heflin Johnny Eager
Tim Holt The Magnificent Ambersons
Walter Huston Yankee Doodle Dandy
Mervyn Johns The Next of Kin
Cecil Kellaway I Married a Witch
Wilfrid Lawson The Night Has Eyes
Norman Lloyd Saboteur
Raymond Lovell Alibi
Adolphe Menjou Roxie Hart
John Mills In Which We Serve
Claude Rains Casablanca
Noël Roquevert L’Assassin Habite au 21
George Sanders The Black Swan
Frederick Valk Thunder Rock
Rudy Vallee The Palm Beach Story
Erich Von Stroheim Macao, l’Enfer du Jeu
—
Best Supp Actress
Anne Baxter The Magnificent Ambersons
Mary Clare The Night Has Eyes
Gladys Cooper Now Voyager
Betty Field King’s Row
Susan Hayward I Married a Witch
Celia Johnson In Which We Serve
Marie Lohr Went the Day Well?
Diana Lynn The Major and the Minor
Agnes Moorehead The Magnificent Ambersons
Barbara Mullen Thunder Rock
Maria Ouspenskaya Kings Row
Lilli Palmer Thunder Rock
Susan Peters Random Harvest
Teresa Wright Mrs Miniver
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Best Score
—
Leigh Harline The Pride of the Yankees
Bernard Herrmann The Magnificent Ambersons
Werner Heymann, Miklós Rózsa To Be Or Not To Be
Friedrich Hollander, Morris Stoloff The Talk of the Town
Erich Wolfgang Korngold Kings Row
Hans May Thunder Rock
Alfred Newman The Black Swan
Frank Skinner Arabian Nights
Max Steiner Casablanca
Max Steiner Now, Voyager
I Married a Witch Roy Webb
Victor Young Take a Letter, Darling
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one vote of warning, ANYONE voting for Mrs Miniver in any category but their own raspberry award will be sent the cyber equivalent of ebola through their email for crimes against cinema.
For the first and only time during this year-by-year countdown I am unable to break a tie for Best Picture. Indeed, I would expect and understand if others come upon a year where they will have two films deadlocked for #1. The impasse is ironic as well, since you couldn’t have two films any more different from each other. At least four times today I have changed my mind, so in the end I thought the tie would remain in force. Needless to say both films are masterpieces, and would no doubt win in many others years,. a point R.D. Finch made on the previous thread.
Best Picture: There Was A Father and Casablanca (tie)
Best Director: Yasujiro Ozu (There Was A Father)
Best Actor: Chishu Ryu (There Was A Father)
Best Actress: Bette Davis (Now, Voyager)
Best Supporting Actor: Claude Rains (Casablanca)
Best Supporting Actress: Agnes Moorehead (The Magnificent Ambersons)
Short: Listen to Britain (Jennings)
Score: Erich Wolfgang Korngold (King’s Row)
beyond….
Best Cinematography: Stanley Cortez (The Magnificent Ambersons)
Best Screenplay: Julius J. Epstein, Phillip G. Epstein, Howard Koch (Casablanca)
Best Film Editing: Owen Marks (Casablanca)
Best Art Direction: Albert S. D’Agostino (The Magnificent Ambersons)
Costume Design: Edward Stevenson (The Magnificent Ambersons)
1942 is a weak year when compared to 39, 40 and 41 by quite some distance. Still, even with my deadlock for the top spot, I regret not being able to cast a vote for: The Magnificent Ambersons, Bambi, Kings Row, Went the Day Well?, In Which We Serve, The Palm Beach Story, Now Voyager, Pride of the Yankees, Cat People
The Oscar winner for 1942, ‘Mrs. Miniver’ may well be the worst in their history.
Sam, you did vote for Ambersons! As for worst Oscar pick, Miniver is at least of sociological interest (as most propaganda is) and has some interesting production design. Some of the others don’t even have that. Anyway off the top of my head Ziegfeld, a colossal bore, might be the pits. Though there’s probably worse. Oscar has always had a great nose for mediocrity, one of the best in the business…
And you voted for Now Voyager. Lol…
Oh you meant for Best Picture – the joke’s on me. Thought it was a case of late night confusion. It’s 3 hours earlier here so I have no such excuse haha…
Joel: Be rest assured there is late-night confusion on this coast regularly! How about CIMARRON as the worst?
I know some will say GREATEST SHOW ON EARTH, but I think the fact that it’s so much fun to watch and it’s De Mille make it a joyous film, even with several others better that year.
Nah, it’s a piece of shit.
Well I have a soft spot for any movie that has characters and locations transform over time, a fascination of mine, even if Cimarron is no Platform. I haven’t seen Cavalcade but I’ve heard that’s a dud. Agreed on the DeMille though I haven’t seen it since I was a little kid. Actually I think many of the ones Allan mentions are entertaining in themselves but had no business winning best picture as is the case of Greatest Show in the year of Singin in the Rain and dozens of worthier films…
Crash in 2000 and whatever is pretty awful.
Not to mention My Fair Lady, A Beautiful Mind, The Artist, The Sound Of Music, and The Greatest Show on Earth.
My Fair Lady really doesn’t deserve to be mentioned among those. No one’s finest moment, but it’s still Cukor & Hepburn & Harrison.
Hepburn’s worst hour or three. Terrible film, but even then Oscar have awarded around a dozen worse films. Mrs Miniver, Driving Miss Daisy and The Great Ziegfeld top the rollcall of absolute shame, but Broadway Melody, Cavalcade, Going My Way, Gentleman’s Agreement, Out of Africa, Terms of Endearment, A Beautiful Mind, Chicago, Crash, Cimarron, The Greatest Show on Earth, The Sting, Rocky, Ordinary Movie (sorry, people), Rain Man, Forrest Gump, Shitanic, Million Dollar Baby, all mediocre enough to make me retch.
This is why, for the most part, the Academy honoring a film with Best Picture is pretty much an acknowledgment of the film’s mediocrity. (Ahem….The Artist anyone?) . Obviously there are a few choices that were done well, but I’m having trouble thinking of any at the moment.
Maurizio’s mention of THE ARTIST is a case of him just not liking a film that every one else does. Did it win the Best Picture Oscar? Yes. It also won just about every other award in existence on both sides of the Atlantic.
Sour grapes.
THE ARTIST showed Oscar in one of it’s finest hours, and corroborated awards bestowed on the film by the New York Film Critics, the London Film Critics, the BAFTA’s, the Golden Globes, the Boston Film Critics Circle, the Washington Film Critics, the CESARS, and endless other groups.
The whole world is crazy, I know. Let’s negate everyone and embrace a few unimpressed bloggers. When we mention Oscar’s poor choices, we need to focus in on mediocre films that were exclusively chosen for non-critical reasons, not on personal issues with said films.
Maurizio is one of my best online friends and will always be but we’ll lock horns now and then. Ha!
Peter—
You know I love MY FAIR LADY, though I have taken quite a lot of heat from Allan over the years. Ha!
Of the others that Allan has trashed (and he’s fully entitled to do so of course) I would say the following films are of the top-rank in my book:
Driving Miss Daisy
Ordinary People
Chicago
Terms of Endearment
The Sting
As as I said before De Mille’s film may not have deserved Best Picture, but it’s still a fun re-visit, and GOING MY WAY didn’t deserve Best Picture either, but it’s a lovely little film in sentimental mode.
THE SOUND OF MUSIC wasn’t the Best Film of 1965, Maurizio, but it’s a landmark for all sorts of reasons, and it’s beloved by millions. Oscar has had far worse moments of exclusion. For me, MUSIC is ONE of the best films of 1965.
Sam, I haven’t seen Going My Way in forever, but I’ll certainly go to the ropes for The Bells of St. Mary’s. Wonderful film.
Sam, it has to be said, your “top rank” is actually just “rank”.
LOL Allan!
Peter, I do love THE BELLS OF ST. MARY’S as well.
The Sting is pretty bad as well. Cimarron is a totally forgotten non entity. Driving Miss Daisy needs no future scorn, as we’ve already piled on that one endlessly. In fact I’m in almost total agreement with every movie Fish mentions in his stomach turning roll call. The only film I cut some slack for is Ordinary People which I do consider decent (in the **** star range).
THE STING is an utter delight from first scene to last and has richly earned it’s popularity with critics and audiences.
Well there were a few times where they got it absolutely right in the cases of both GODFATHER films. I would also mention ANNIE HALL, CHARIOTS OF FIRE, AMADEUS, SCHINDLERS LIST as far as the more contemporary films go… I don’t think anyone would question stuff like LAWRENCE OF ARABIA, ON THE WATERFRONT and THE APARTMENT as winners from the nominations offered…
I happened to like the choice of AMERICAN BEAUTY alot considering MAGNOLIA wasn’t nominated that year.
Where I get sticky though, are in instances when films that are runawy better being bested by forgotten films. Anyone thinking that HANNAH AND HER SISTERS got the snot kicked out of it for no good reason in lieu of PLATOON?
Kramer vs. KRAMER over APOCALYPSE NOW is one of the real disasters of all time. ONE FLEW OVER THE CUCKOOS NEST is a very good film. However, it’s not anywhere as good as JAWS or the very best of that year, BARRY LYNDON. I’ll never forgive them for ruining my evening when CRASH bested the superior BROKEBACK MOUNTAIN and CAPOTE.
Jon I’d say the last time Oscar genuinely picked a contender for Best Picture was probably No Country. Before that maybe Schindler. I’m find of some other selections but it’s astonishing how many times they not only miss out on the films that will actually become the most lasting classics of the moment (frequently not even nominated) but even better acclaimed films of the moment! Think Shakespeare beating Private Ryan and Social Network losing to King’s Speech. In both cases more adventurous and probably lasting films, favored initially in the race and Oscar STILL found a way to pick the well-made but rather lightweight alternatives. At this point they are kind of the Magoos of the award season haha
Joel, the last time they got it right was a scant four months ago when they agreed with overwhelming worldwide consensus with the crowning of THE ARTIST.
Sure Malick’s TREE OF LIFE deserved so much in every sense, but Oscar couldn’t be faulted for validating what just about everyone else had done, bar a few bloggers at WitD. LOL! When was the last time the Oscars, London, New York, Boston, Paris, Washington D.C., Toronto, the Globes, the BAFTA’s and the Cesars all agreed?
Answer: Never. Not even close to happening.
Prior to that one couldn’t really say that Oscar deviated from the norm by honoring SLUMDOG MILLIONAIRE and THE HURT LOCKER (neither in my own Top Five for their particular years) as both film were huge critic and audience hits that got Best Picture awards from other groups, and were prohibitive favorites.
Before that I fully support the love bestowed on THE RETURN OF THE KING and CHICAGO, again two films that won numerous other awards.
Ironically, in the year of NO COUNTRY my favorite film was ATONEMENT, though yes in 1993 it was SCHINDLER I agree.
I enjoyed The Artist, more than Jon or Maurizio I guess, but really the plot is routine and somewhat drawn out and the execution excellent but not on the level of actual silent masterpieces. Ultimately then I suppose it comes down to whether one considers the cleverness and deft execution of the conceit sufficient to merit the top prize. To me it seems a cute, well-mounted exercise but not a truly great movie. But hey I’m glad it brought a lot of attention to the silent era and was an unconventional hit in the age of visually unsophisticated bombast. That’s certainly something! Not sure what I’d pick for ’11. I was not the biggest Tree of Life booster. Maybe Mark Cousins’ Story of Film though for a million reasons it would never appear within a million miles of an Oscar ballot. I dug Cave of Forgotten Dreams but didn’t see it in 3D whichakes me feel like I almost didn’t see it yet! (Incidentally I’m one of those people who loves the crocodile conclusion – Herzog’s sly way of saying humans once drew animals on their cave walls and now they ‘draw’ on them via chemical mutation, all just steps in the same process.) I suspect I might like Film Socialisme but I haven’t seen it yet lucky for me as I probably already pussed you off enough for one post haha).
Joel, you are a tough guy to please, and your indifference on the Malick film on this very post is proof parcel. I did read something the other day about the French director and star of THE ARTIST having a conversation at some cafe in Paris. They were purportedly gloating over the universal admiration for their film, when their friend the composer Ludovic Bource (who was sitting next to them) said, “don’t forget now, there is a movie blog called “Wonders in the Dark” based in the New York City area where there are a few young bloggers named Maurizio Roca and Jon Warner (and a few others named Joel and Peter) who are being defiant.” Jean Dujardins quipped “We will somehow survive this and rely on the Italian-American teacher to step on those infidels.”
So you see Joel, I am carrying out the request! LOL!!!!!!
@ Joel – I agree sir with No Country and probably Schindler’s List I would think. Overall, it’s about once every 10 years that they get it right. I think the major problem is that everyone in the Academy gets to vote, right? I’m not sure how the voting works for best picture but I would think that’s right. Therefore, most of those voting aren’t the best equipped to evaluate the best film of the year and everyone is probably using their own criteria. As far as The Artist, I’ve piled on it before. I’m probably glad that The Tree of Life didn’t win. I’d rather it stay away from such distinction.
I think in general there are films that have won the Oscar that I do like, but when you think of the BEST film of the year, it’s not often the popular one. Winning the Oscar is a popularity contest. Nothing more.
I knew you were a plant! Ah well, a few million more views & they’ll HAVE to worry… Your days are numbered, Frenchies…
As for me, I’m not so tough to please, just tough to overwhelm perhaps. Many of these movies are quite good but I need, to quote Roxy Music, ‘more than this’…
Yeah Joel, No Country was certainly a great deserving film though there were a few better that year (and Atonement was certainly not one of them… just another English Patient).
Sam if you go around the internet and ignore your beloved critics for half a second you will find there is huge disdain for The Artist. Many people criticized that film and echo the same exact thing me, Jon, and even Joel have said. Its a lightweight novelty that defines the word empty. Expertly executed certainly, but little more than that otherwise. To think that only 5 or 6 bloggers share that sentiment is the height of delusion/denial. Just type “The Artist Overrated” and prepare for the avalanche of material that will greet you with open arms.
Yeah, Jon, and not even long-term popularity, but what’s trending that WEEK. Reminds me of the old ‘hot or not’ columns pop magazines used to run and probably still do.
@Sam- one thing we never quite hashed out was the fact you had Tree of Life as your top film of 2011 right? If so, why were you praising the Critics and Academy for choosing The Artist, if they were overlooking the superior film? I’m not being snotty about it. That would be against my nature. However I am still curious as to why you positioned yourself to side with The Artist under the circumstances.
Jon, I fully realize you are not being snotty even remotely, and it’s a fair enough question. I did indeed place Malick’s film on top, but in the end it was just a razor-thin advantage over THE ARTIST, which was solid No. 2. Point is that today I’d rate them pretty much even, and even when I made my final list I was prepared to go to the mat for either THE TREE OF LIFE or THE ARTIST. When the latter became the predominant critics darling worldwide (not just in the USA) I fully supported the great enthusiasm. Had THE TREE OF LIFE been the overwhelming favorite based on numerous pre-Oscar awards I would have similarly stepped to the plate. I love BOTH films massively and continue to stand by them.
Sam thanks for elaborating. I guess I didn’t quite realize you felt The Artist and The Tree of Life were on such equal footing. Your reactions to it over time have indicated as such. The Tree of Life is still hands down my favorite of 2011. I still haven’t seen A Separation, though.
Oh ok this comment reminds me of a movie I forgot. I would be very comfortable calling This is Not a Film the best picture of 2011.
THIS IS NOT A FILM is a very very great film Joel, I quite agree.
“Sam if you go around the internet and ignore your beloved critics for half a second you will find there is huge disdain for The Artist. Many people criticized that film and echo the same.”
No my friend it is YOU who are deluded, and have been since you first saw the film, when you wishfully predicted it would be forgotten because you didn’t connect with it. Type in TRUE GRIT (Coens) and numerous other film, in fact type in CITIZEN KANE OVERRATED and THE GODFATHER overrrated and you will see stuff there. You have been around long enough to know that when a film achieves the kind of overwhelming critical success that THE ARTIST has, there will always be an envious backlash and a desire for some to stand out. The “beloved” critics you link me with are actually just “more” opinions used to counter WitD smugness. Keep searching though, eventually someone will believe you. “Huge disdain for THE ARTIST.”
Right. Keep dreaming. I’ll take the 98-99% embrace of the film in worldwide critical circles, thank you and let the relatively few dissenters continue to stew.
In any event, I just went back to update this comment with an addition. As I have stated in the past I continue to believe that a negative opinion on a film or any work of art tells us far more about the taste and values of the person making the judgement than it does about the actual work. A little humility goes a long way in these discussions. You are agreat guy who I have delighted spending time with during past social gatherings, but you are blunt in making dismissals.
How about something like for the future?
“Sam, I see so many people and critics are in love with THE ARTIST, and I can certainly say I wish I could agree with them. I’m envious in fact.”
That goes so much further than saying something that aims directly at the person who likes the film, implying with a shrewd undercurrent that said persons have no taste and have missed the boat.
I don’t know. IN THE HEAT OF THE NIGHT immediately comes into my mind when you think that it beat out BONNIE AND CLYDE, THE GRADUATE and COOL HAND LUKE for BEST PICTURE OF THE YEAR (my choice would have been BONNIE AND CLYDE).
Then again,
1968 was no bargain either (and although I have a weak spot for OLIVER!!!!!), I cannot get over the fact that films like PLANET OF THE APES and ROSEMARY’S BABY (all better than OLIVER!) weren’t even nominated. But, where 1968 is bad enough when you think of that competition, it really goes off the hook into sickeneing territory when you think that the Academy, in their wisdom, didn’t even give 2001 A SPACE ODYSSEY a chance for the gold (and it was the best film of that year in a juggernauting landslide).
I don’t really know if I can agree that MRS. MINIVER’s win at the Oscars was the ABSOLUTE worst. 1968 might take the cake.
Oh, wait….
I forgot about RAIN MAN and TITANIC…
My bad…
Heh-heh
😉
To be honest 1967 belongs to foreign films like Le Samourai, Belle De Jour, Playtime, etc etc, which are much stronger than any American movies from that year. But I agree that In The Heat Of The Night was a bad choice when something like The Graduate or Bonnie And Clyde are easily superior.
Oliver in 1968 was another bad winner, but Planet Of The Apes is not a good alternative lol. That movie is extremely silly, regardless of its message. Let’s stick with 2001 or Rosemary’s Baby (maybe Once Upon A Time In The West since it was dubbed in English and thus would gain Academy attention) as the worthiest choices in English/American cinema of 1968.
Completely agree with Maurizio on 1967 being a foreign-language year without a shadow of a doubt, and also agree that IN THE HEAT was a poor choice with those other landmarks. Two other foreign language choices from that year reign supreme: MARKETA LAZAROVA (my top choice for 1967 in fact) and THE FIREMAN’S BALL.
However I do not agree that the buffo sci-fi genre piece PLANET OF THE APES is “silly” (it’s no more sillier than any other film predicated on a fantastic premise) but is in fact as Dennis notes one of 1968’s best films by just about any barometer of measurement.
OLIVER!’s Best Picture win has divided critics and audiences. For me it is in the top 3 of that year (2001 is #1) and even the cynic of cynics Pauline Kael was a huge OLIVER! fan. Just trying to gage the general and specific reactions here, not trying to shove Kael down anyone’s throat as I’ve disagreed with her as much as I’ve agreed.
Mauricio, those films are great and maybe better than the US pictures (I’ve never been the biggest B&C partisan and though it was once one of my all time favorites I’ve blownore hot and cold on it recently) but those 2 movies deserve credit for representing and in some ways initiating one if the most radical transitions in both form and content Hollywood has ever seen. They ended a pretty dismal 5 year period of American irrelevance and about 20 years in which the industry struggled, albeit often creating masterpieces in the process, adapt to the era of color, location shooting, widescreen, more adult content, competition from TV, and a less centralized production system. That book from a few years back, Pictures at the Revolution, covers the watershed year really well. My own pick for ’67, favorite anyway, would probably be La Chinoise, Don’t Look Back or Le Samouri. As for Oscar winners it’s pretty much a foregone conclusion that foreign winners are out anyway except ironically for your and Jon’s favorite last year ;). I guess when they don’t actually speak the foreign language in the film and it takes place in the U.S. (Hollywood no less!) it’s ok…
Sorry, attempting to learn how to comment from an iPhone. Should read, “I’ve blown hot and cold on The Graduate in recent years”. And obviously I know how to spell Maurizio’s name… 😉
“I guess when they don’t actually speak the foreign language in the film and it takes place in the U.S. (Hollywood no less!) it’s ok…”
Exactly. To think of all the great French Films ever made…
Final proof that the Academy is a bad joke not worth repeating.
“Exactly. To think of all the great French Films ever made…
Final proof that the Academy is a bad joke not worth repeating.”
Right. The joke must have also affected the following:
The London Film Critics Circle
The New York Film Critics Circle
The Boston Film Critics Circle
The Golden Globes
The BAFTA’s
The Paris Film Critics
The Caesars
The Washington D.C. Film Critics Circle
The Critics Choice Awards
St. Louis Film Critics
The Vancouver Film Critics Awards
The San Diego Film Critics Society
Phoenix Film Critics
Las Vegas Film Critics Society Awards
Indiana Film Critics Awards
and many others…..
http://www.guardian.co.uk/film/2012/jan/20/the-artist-oscars-london-film-critics
http://www.washingtonpost.com/blogs/celebritology/post/the-artist-named-best-picture-by-new-york-film-critics-circle/2011/11/29/gIQAxnyF9N_blog.html
http://www.hollywoodreporter.com/race/cesar-awards-the-artist-michel-hazanavicius-294893
http://latimesblogs.latimes.com/movies/2012/02/bafta-awards-artist-spencer-plummer-dujardin.html
http://articles.boston.com/2011-12-12/ae/30507752_1_boston-film-critics-nonfiction-film-documentary
http://www.cbsnews.com/8301-31749_162-57359499-10391698/golden-globes-the-artist-the-descendants-win-top-awards/
http://sdfcs.org/2011-awards/
http://www.filmmisery.com/2011-washington-d-c-film-critics-awards-give-the-artist-another-boost/
http://www.stlfilmcritics.org/2011-st-louis-film-critics-award-winners/
http://www.imdb.com/event/ev0001104/
http://www.imdb.com/event/ev0000392/
http://www.indiewire.com/article/indiana-film-critics-pick-the-artist-giamatti-olsen
So it’s the “Academy’s fault” eh? The Academy did nothing more but to validate and confirm what was already established by everyone else.
The only “joke” would seem to be on the tiny minority. This is a very great French film, one that will pass the test of time, methinks.
I’m rather decent in math and 11 critics groups does not equal everyone else or the opposite of a tiny minority. I doubt these respective circles even reaches 500. The Artist barely went into wide release in the US and was only loved by older film insiders who appreciated the gimmicky nod to an artform (silents) they’ve basically made obsolete since 1929. General (younger than 50) film fans were mostly lukewarm on The Artist as can easily be found by doing a simple internet search. I don’t subscribe to the opinions of these critics circles because they only reflect a small demographic group of people. If you ask a bunch of teenage kids than Harry Potter should have won. Middle Aged women probably would nominate The Help. The Artist just catered to the proper demographic (older white men) that critics reside in… the same one that constantly nominates certain films every year at the expense of others. It was the perfect storm of content/gimmick fitting the establishment that decides these redundant awards every year.
I’m not asking you to subscribe to these opinions (you’ve already stood up many times to decry any kind of adherence to the opinions of others) I am simply responding to your short-sightedness in decrying the Oscar’s choice as contrary to critical and popular opinion, as you would say a ‘bad joke’ exclusive to their own membership. You can stand behind that ‘proper demographic’ argument all you want, but it applies to these awards in previous years and will do so in the future. And you can bemoan it’s appeal too with older voters as a kind of general framing, but the membership of most of these groups includes a majority of voters between the ages of 30 to 40, as does the membership of the sites that bring together reviews.
I do get a laugh though that you bring in the lack of widespread release for the film, when in fact this would normally by your way of thinking (and rightfully so) be something to artistically boost and validate the film further on. Point is it seemed to have attracted those with the very best taste, I must say. The point is these people’s opinions are as significant as yours or mine, and I must say they have come in with an unprecedented consensus this past year, a consensus that Oscar has simply confirmed. Blame the world, don’t blame Oscar, that’s the point I am making.
Oscar takes enough annual hits (rightfully so methinks) without being attacked for validating what everyone else has done. If they DIDN’T go with THE ARTIST, they would have been suspect as it turns out.
And what do you mean Maurizio, that you are “decent” in math? I count 15 groups there, not 11!
LOL!!!!!!!!!!!!!!!!!!!!
I think you edited a few more critic’s groups from the initial comment lol. I clearly remember counting 11 when you first posted.
I only bring up the widespread release issue because you said the whole world considers The Artist a masterpiece. I’m not sure how that is even possible when it mostly got a limited release across this country and many people still haven’t seen it. I’m not in any way criticizing the film for this, just that the movie was no blockbuster with scores of admires everywhere. It’s basically a niche film for a specific demographic.
There is NO film ever made that the “whole world” considers a masterpiece. There will always be contrarians and dissenters for all sorts of reasons.
As a huge fan of THE ARTIST I think I can live with a few nay-sayers in the overwhelming concensus.
Yay for “Citizen Kane” snabbing best picture, best director (for Orson Wells) and best score.
I vote “Cat People” as the best film in 1942.
I vote Jacques Tourneur as best director (“Cat People”) in 1942.
I vote Humphrey Bogart as best actor in “Casablanca” in 1942.
I vote Simone Simon as best actress in “Cat People” in 1942.
I vote Claude Rains as best supporting actor in “Casablanca” in 1942.
I vote Priscilla Lane as best supporting actress in “Saboteur” in 1942.
I vote “Der Fuehrer’s Face” as best short in 1942.
I vote “Casablanca” for best score in 1942.
wow, you really hate “Mrs Miniver” – no latitude for it being a crude quickie propaganda bit to sway the masses for the war effort?
I’ll give it a bit Bobby in that noble regard, certainly more than Allan will. He positively abhors the film.
No, none whatsoever, it’s irredeemable shit.
Now I’m curious to see if anyone will vote Miniver just to be contrary, but that won’t be me.
Best Picture: The Magnificent Ambersons. This isn’t hard even knowing Ambersons to be mutilated and even with Casablanca counting as a ’42 film. I wouldn’t have picked that one for ’43, either.
Best Director: Welles.
Best Actor: I was expecting Tim Holt in this category, and I can’t quite go for Cotten here with Bogart in the running — so Bogart it is.
Best Actress: Rogers, with Simon a close runner up.
Supporting Actor: I was planning to go with Bendix but with Holt present I go with Holt, whose career is a rough with at least a couple of diamonds in it.
Supporting Actress: Moorehead.
Score: Steiner, Now Voyager.
Short: Battle of Midway
I think part of the problem, Samuel, is that we go by credits and Cotten and Costello were the leads, though in terms of what we have left Holt and Baxter have more screen time. The original cut may have balanced that.
Wow didn’t realize Superman was up last week…
Feature: Casablanca
Director: Orson Welles (Magnificent Ambersons)
Actor: Bogie
Actress: Veronica Lake (I Married a Witch)
Supp. Actor: Clade Rains (Casablanca) though I like Lloyd too
Supp. Actress: Agnes Moorehead (Magnificent Ambersons)
Score: Casablanca
Most Painstakingly Authentic and Accurate Depiction of British Society: Mrs Miniver
Screenplay: The Palm Beach Story
Cinematography: The Magnificent Anderson’s
Editing:Bambi
Honorable Mention: Road to Morocco (yes, really)
As for short while I like Der Fuhrer I’m going to try to find Listen to Britain online first.
SHORT: Listen to Britain -though Battle of Midway is very impressive too
Picture: The Magnificent Ambersons
Director: Orson Welles, The Magnificent Ambersons
Actor: Humphrey Bogart, Casablanca
Actress: Claudette Colbert, The Palm Beach Story
Sup. Actor: Claude Rains, Casablance
Sup. Actress: Agnes Moorehead, The Magnificent Ambersons
Best Picture: Cat People
Best Director: Orson Welles
Best Actor: Pierre Fresney
Best Actress: Simone Simon
Best Supp Actor: Tim Holt
Best Supp Actress: Agnes Moorehead (anyone not picking Moorehead for this category should have their head examined lol)
Top 5: 1. Cat People 2. The Magnificent Ambersons 3. Casablanca 4. The Murderer Lives At Number 21 5. Thunder Rock
It’s really a dead heat between Ambersons and Cat People for me. I just went with the latter because the Welles film is only a butchered remnant in its current form. The fact that it’s still a classic makes you wonder if RKO perhaps destroyed the greatest American movie ever. Every time I watch it along with The Lady From Shanghai I wonder what could of been. Such an incalculable shame.
American talkie cinema’s greatest ‘what if?’, only silent losses strike with more misery.
Still, “Ambersons” is the best of the year and in even in its extant form a great film. It, “Kane,” and “Touch of Evil” (especially in its re-edited version) are the cornerstone of Welles’s reputation, the three unequivocal masterworks. “Ambersons” might have been even better if Welles had been able (or willing) to see it through to completion. But it still clearly reflects his vision and style. Just compare it to the television remake of a few years ago!
R.D., I agree that even in it’s truncated form it is a masterpiece, and though I would still rate it narrowly behind CASABLANCA for this year for a few reasons, I completely agree with just about every point you make here.
Out of curiosity what are your reasons for chiosing Casablanca, Sam? I could go with either but chose the Bogie because on a recent viewing I found a new in to the film, fascinated by it’s place in Hollywood’s and pop culture’s political history. Since I treat the Feature category more subjectively than the Director that’s enough of a boost for me. But really I could go either way. Even in its massacred form Ambersons fascinates since in their ignorance the execs’ edits and reshoots coincide with the characters’ decline onscreen – it’s a dramatic fall in both form and content. Doesn’t make up for what Welles would have done but a fascinating coincidence nonetheless.
Not enough is said about the butchering of The Lady From Shanghai which was also cut dramatically (at least 40 minutes). I think both films still survive as great films because in original form they were probably out of this world brilliant.
Joel—
I chose CASABLANCA as my co Number 1 because I have considered it through my life as the perfectly-written film, and a film for entertainment value that’s about as good as it gets. I did see it on the big screen yet again just weeks ago during that anniversary run nationwide, and it confirmed everything I’ve known for decades. It has everything, in fear of exploiting the term, and it’s romantic element brings it an emotion context that makes one’s adoration consummate. It’s as great an American film as one can possibly bring to the table, and it never loses it’s luster.
I’ve always felt that the rather standard noir plot of “Lady from Shanghai” was too slight to support the flashy pyrotechnics Welles laid on it, as if he could make the film more important by inflating it with stylistic flourishes. In “Ambersons” and “Kane” the substance comes from the concept and theme, which the showy style then emphasizes. The Hall of Mirrors finale, though, is one of the great set pieces of cinema.
I don’t agree with JD on The Lady from Shanghai. It is a fractured kaleidoscope of a film with layers of complexity that reveal themselves only after multiple viewings – like the infinity of images in the shards of the shattered mirrors. That scene is bigger than Kane and bigger than Ambersons – the essence of cinema.
I am with Sam on Casablanca, it is a timeless synecdoche of the value of popular film and of the times, and the sin-qua-non of film-making as a collaborative craft.
Welles had also himself to blame in his studio relations. He was like a precocious child never mature enough to understand that Hollywood is a business run by suits.
As for insulting the dead. If Wise had not stepped up, the whole of Ambersons may have ended up on the cutting-room floor. Recall also that Wise edited Kane.
Must be my cold medication…
PS: This is a must read (short) essay by Umberto Eco on the semiotics of Casablanca: http://www.themodernword.com/eco/eco_casablanca.html
Tony, Eco’s essay is fascinating! I particularly like his proposition that CASABLANCA is a number of films.
Finch —
RE ‘The Lady from Shanghai’ — I completely agree with you, Welles can be a big show-off, it’s just that his cinematic showboating is always so scintillating, even when he’s conflating Kafka and the baroque-rococo in a mess like ‘The Trial’.
I have to say it.
Maurizio may have come up with the greatest line about the insanity of cinema with his take on AMBERSONS that I’ve heard in a long while. Looking over the statement again, it boggles my mind to think that there may have been a film to best Welles own CITIZEN KANE in AMBERSONS had it’s complete form been preserved.
It really COULD HAVE BEEN the greatest American movie of all.
That statement floored me.
Welles said it was better, Herrmann insisted his score credit was dropped for RKO’s butchery and Robert Wise will burn in hell, Judas that he was.
Nice to see a vote for Fresnay, if only to prove someone has seen L’Assassin.
The Magnificent Ambersons, no matter if mutilated is an astonishing masterpiece, but I just not able to put it above Casablanca.
Best Picture: Casablanca
Best Director: Orson Welles (The Magnificent Ambersons)
Best Actor: Humphrey Bogart (Casablanca)
Best Actress: Simone Simon (Cat People)
Best Supp Actor: Peter Lorre (Casablanca)
Best Supp Actress: Agnes Moorehead (The Magnificent Ambersons)
Best Score: Max Steiner (Casablanca)
Tough year, particularly with AMBERSONS running in the heat. I take nothing away from the power of CASABLANCA by not casting a vote for it. Seen recently on the BIG screen, it’s still one of the great entertainments ever afforded celluloid. However, and I MUST side with SCHMULEE on this, I have recently found (and by recently I mean I only saw this film for the first time a few months back when I was borrowing DVD’s from Sam) the true masterpiece of the bunch…
That in mind, there really was no other way I could go as it seemed so obvious (SAM-and you thought I’d never watch all of the films I borrowed…)…
Here goes…
PICTURE: THERE WAS A FATHER (Sorry, once you see it you cannot get it out of your mind. Although, AMBERSONS DID come close)
SHORT: THE BATTLE OF MIDWAY (d. John Ford)
DIRECTOR: Yasujiro Ozu (THERE WAS A FATHER) I have to thank Allan and Sam for really turning me on to the work of this guy late in my life…
LEAD ACTOR: Chishu Ryu (THERE WAS A FATHER)-This performance will break your heart so bad by the time you finish it there is no need to think of any other actor worthy of sharing the category with him.
LEAD ACTRES: Bette Davis (NOW, VOYAGER)-Frankly, along with ALL ABOUT EVE, I think this is Davis’ BEST turn. If not the best, then certainly the trickiest of her career. If I could sum up how I feel about her perfoprmance in this film with one word… BREATHLESS.
SUPPORTING ACTOR: Tim Holt (THE MAGNIFICENT AMBERSONS)-In actuality, I felt Holt’s performance held all of the acting together in the film (Not an easy thing to do considering most of the cast bring there finest work to this picture). His assured turn is the devining rod of the movie.
SUPPORTING ACTRESS: Agnes Moorhead (THE MAGNIFICENT AMBERSONS)-It takes her character a while to warm up but, in the last half, she’s the fire of the story. Her hysteria in the moments before Georgie gets sent to the hospital is so potent that it could tie your intestine in knots. And, to think she’ll only ever be remembered by the average asshole for playing Endora on the TV series BEWITCHED.
SCORE: Erich Korngold (KINGS ROW)-In my mind this one wasn’t even close, the others had nothing on this rousing work by one of the masters of the form. Almost a no-brainer…
Film: Casablanca
Director: Michael Curtiz
Actor: James Cagney
Actress: Bette Davis
Supp. Actor: Claude Rains
Supp. Actress: Agnes Moorehead
Score: Casablanca
PICTURE: Palm Beach Story
DIRECTOR: Ozu, There Was a Father
LEAD ACTOR: Chishu Ryu, There Was a Father
LEAD ACTRESS: Claudette Colbert, Palm Beach Story
SUPPORTING ACTOR: Laird Cregar, Black Swan
SUPPORTING ACTRESS: Marie Lohr, Went the Day Well? (This may be due to not seeing a lot of these films since the 90s – though it’s also due to wanting to vote for something from the film, which is a nifty little thing.)
SHORT: Der Fuhrer’s Face, I suppose, is a hard one to deny.
SCORE:Steiner, Casablanca (much aided, of course, by the songs…)
Plus bonus picks:
Cinematography: Stanley Cortez, Magnificent Ambersons (that’s easier to check than the quality of the performances – this being one of the films I haven’t seen in 15 years or so…)
Script: Palm Beach Story
Editing/Sound: Cat People – superbly building atmosphere out of the most minimal resources. A feature of all those Lewton films…
And finally – I don’t really understand the hatred for Mrs. Miniver. I admit, it’s a tedious prestige picture for most of its length, which offers many opportunities for the rolling of the eyes… but contains many lovely shots, and comes alive, 2 or 3 times, nifty little bits of filmmaking, here and there – usually the moments that seem most obviously underbudgeted – the Dunkirk expedition’s assembly, say, with its rumbling accumulation of model boats, or the bombing scenes, shown in tight quarters with sound and the actors’ reactions…
Weepingsam—
That’s an absolutely brilliant point about the sound and editing in CAT PEOPLE. My own Lewton favorite is next year’s I WALKED WITH A ZOMBIE, but I adore all the works in this low-budget series.
I would have lost my shirt if I had wagered what you would have picked for Best Picture, but having it for Best Director and Actor is certainly a strong enough statement.
Der Fuhrer’s Face is a terrific choice for short, as for me it comes in a close second behind the Jennings.
I find There Was A Father a bit of a disappointment (in Ozu terms anyway.) There’s just a whiff of propaganda about it, which sours its undeniable formal brilliance. All that talk about doing your duty comes across a little too straightforward, without Ozu’s usual irony and ambiguity. But put together in breath-taking fashion…
WS—
Fair enough, and thanks very much for responding to me. For me there are three supreme Ozu masterworks, TOKYO STORY, LATE SPRING and THERE WAS A FATHER, though at least five others would rate ***** with me. I have rarely been as moved by a film as the very end, when the boy states that he doesn’t have a father anymore, and it’s a scene that reaches the essence of humanist cinema in it’s most wrenching and profound incarnation. It’s really a film about paternal love, couched in the general perceptions of duty, and while I agree with you that it is put together in the manner of high art, it achieves that rare epiphany of familial bonding.
Our scholarly friend in Tokyo, Murderous Ink, examined the film frame by frame in 10 fascinating posts beginning with a prologue last year at VERMILLION AND ONE NIGHTS:
http://vermillionandonenights.blogspot.com/2010/12/analysis-of-there-was-father-prologue.html
In any case, I completely understand how and why some films will affect some more than others, and have been on both ends.
Best Picture: Casablanca
Best Director: Miichael Curtiz (Casablanca)
Best Actor: James Cagney (Yankee Doodle Dandy)
Best Actress: Ingrid Bergman (Casablanca)
Best Supporting Actor: Claude Rains (Casablanca)
Best Supporting Actress: Maria Ouspenskaya (King’s Row)
Best Score: Leigh Harline (The Pride of the Yankees)
Despite the poor depth of 1942 (I agree with you Sam), I am having a difficult time making picks this year. I watched There Was a Father two weeks ago. Unfortunately, I was coming off a 14 hour bakery trial and on a plane when I watched it so I didn’t do it justice. Will have to see it again someday. Might as well have not watched it at all. This year is hard as it’s marked by the best film that almost was (Ambersons), a brilliant horror noir (Cat People), one of my favorite comedies of all time (To Be or Not to Be), a timeless classic (Casablanca), one of Disney’s best (Bambi), and a personal favorite from when I was age 6 (Pride of the Yankees). I’m going to spread my votes around for better or worse.
Pic- The Magnificent Ambersons
Director- Tourneur (Cat People)
Actor- Gary Cooper (The Pride of the Yankees)
Actress- Carole Lombard (To Be or Not to Be)
Supp Actor- Claude Rains (Casablanca)
Supp Actress- Agnes Moorehead (Ambersons)
Score- Steiner (Casablanca)
Even in its lacerated version ‘Ambersons’ reigns supreme and I’m also going with Aggie in the Best Actress category (is this WiTD heresy?).
Film: “The Magnificent Ambersons’
Director: Welles
Actor. Ryu (‘There Was a Father’)
Actress: Moorehead (‘The Magnificent Ambersons’)
S. Actor: Mills (‘In Which We Serve’)
S. Actress: Cooper (‘Now Voyager’) I guess Gladys is one of my lost causes.
Photography: Cortez (‘Ambersons’)
The Oscars will matter only when the foreign language category is dropped and all films, foreign and domestic, compete on an equal footing, but we all know that will never happen in chauvinistic T-town — ‘Persona’ and ‘Blow-Up’ vs. ‘A Man for All Seasons’; ‘Breathless’ vs. ‘Ben-Hur’; ‘Satantango’ vs. ‘Forrest Gump’; “Yi-Yi’ vs. ‘A Beautiful Mind’.
Even the suits have no taste. Jack Warner HATED ‘Bonnie and Clyde’ and dumped it on the summer drive-in heavy-petters, and wunderkind (my ass) Irving Thalberg sliced and diced ‘Greed’ down to two hours even after Stroheim submitted a 4-hr. version, approx. the same length as ‘GWTW’ (I prefer the Carol Burnett parody ‘Went With the Wind’). Do I even need to mention the way Universal mishandled ‘Touch of Evil’? Or 20th Century’s disastrous dubbing of Visconti’s ‘The Leopard’ on its initial release?
Worst recent Oscar winner for me? ‘Million Dollar Baby’ hands, or gloves, down.
Christ, ‘Blow-Up’ IS in English, you dumb dolt!
Pic: Casablanca (US…Michael Curtiz)
Director: There Was a Father (Japan…Yasujiro Ozu)
Short: Der Führer’s Face (US…Jack Kinney)
Actor: James Cagney Yankee Doodle Dandy
Actress: Bette Davis Now Voyager
Sup Actor: Claude Rains Casablanca
Sup Actress: Gladys Cooper Now Voyager
Score: Max Steiner Casablanca
picture: Cat People
director: Jacques Tourneur
actor: Errol Flynn (Gentleman Jim)
actress: Claudette Colbert (Palm Beach Story)
supporting actor: Ward Bond (Gentleman Jim)
supporting actress: Agnes Moorehead (Ambersons)
short – The Battle of Midway
Much as a I love AMBERSONS, the year belongs to Tourneur for me. One of my favorite directors, and the one-two punch of CAT PEOPLE and ZOMBIE is just so formidable. GENTLEMAN JIM is far from my favorite Walsh but the acting is outstanding, easily the greatest performance I’ve seen from Flynn and the last scene between he and Bond (who I also don’t think was ever better) is so moving.
re: THE BATTLE OF MIDWAY, just holy shit that this thing was ever made, on multiple levels.
Best Picture: Casablanca
Best Director: Michael Curtiz (Casablanca)
Best Actor: James Cagney, Yankee Doodle Dandy
Best Actress: Bette Davis, Now Voyager
Best Supporting Actor: Claude Rains, Casablanca
Best Supporting Actress: Agnes Moorhead, The Magnificent Ambersons
Best Score: Max Steiner Casablanca
Best Pic: Ambersons
Runner-ups: Casablanca, There Was a Father, To Be Or Not To Be, Yankee Doodle Dandy
Best Dir: Welles
Best Actors: Cagney-Yankee Doodle/Bergman-Casablanca
Best Scr:Welles-Ambersons
Esco was beginning to think he was expected to vote for the worst movie that ever won an oscar. So, ever the compulsive, Esco has compiled his choices for the ten worst films chosen by the Academy. Beginning in reverse chronological order, Esco leads with Crash (I never finished watching this movie–I walked out halfway thru), Gladiator, Titanic, English Patient, Braveheart (I am amazed no one mentioned this blunderbuss) Forest Gump, Dances With Wolves, Out of Africa, Chariots of Fire, Rocky,…I have to stop here as this task is making me quite sleepy, and as you see , I haven’t even got past the 70’s.
Esco, I’m almost ashamed to admit that I’ve never seen ‘Rocky’ even to this day.
Best Pic: Casablanca
Best Dir: Michael Curtiz
Best Actor: James Cagney
Best Actress: Claudette Colbert
Best Sup Actor: Claude Rains
Best Sup Actress: Agnes Moorhead
Best Score: Max Steiner, Casablanca
Sam, this is such a tough call.
In the end, I’ll go with-
Casablanca
Tourneur
Cagney
Fontaine
Rains
Moorehead (I concur with what Mr. Roca said)
Korngold
Listen to Britain
Fontaine? I didn’t list her and can’t believe you mean This Above All? Suspicion was 41, Jane Eyre 43.
sorry about that. Not sure why I listed Fontaine. My choice is Colbert.
Touch choice from among The Magnificent Ambersons, Casablanca, Cat People and The Palm Beach Story…
Best Film: Casablanca
Best Director: Preston Sturges, The Palm Beach Story
Best Actor: Jimmy Cagney, Yankee Doodle Dandy
Best Actress: Simone Simon, Cat People
Best Supporting Actor: Claude Rains, Casablanca
Best Supporting Actress: Agnes Moorehead, Ambersons
Best Score: The Magnificent Ambersons, Bernard Herrmann
Best Short: Der Fuerer’s Face
PICTURE: The Magnificent Ambersons (2nd: The Pride of the Yankees)
DIRECTOR: Orson Welles, The Magnificent Ambersons (2nd: Preston Sturges, The Palm Beach Story
ACTOR: James Cagney, Yankee Doodle Dandy (2nd: Gary Cooper, The Pride of the Yankees)
ACTRESS: Ginger Rogers, The Major and the Minor (2nd: Bette Davis, Now Voyager)
SUPPORTING ACTOR: Tim Holt, The Magnificent Ambersons (2nd: Robert Dudley, The Palm Beach Story)
SUPPORTING ACTRESS: Agnes Moorehead, The Magnificent Ambersons (2nd: Gladys Cooper, Now Voyager)
SHORT: Der Fuerer’s Face (2nd: The Battle of Midway)
SCORE: Leigh Harline, The Pride of the Yankees (2nd: Bernard Herrmann, The Magnificent Ambersons)
By the way, I don’t get why CASABLANCA is being touted for this year. Despite what freaking IMDB has to say about it, just because a movie is premiered in one year DOES NOT make that same year the year of release. When a movie (especiall a Hollywood movie) is released in LA and NYC, THAT is the year of release. CASABLANCA was premiered in late November 42 in NYC. It didn’t get play in LA until late January 43. It’s a 1943 movie, and I’m voting as such.
Anyway, Welles goes up against Sturges for the second year in a row, but the results are very much the same. Further:
ORIGINAL SCREENPLAY: Preston Sturges, The Palm Beach Story
ADAPTED SCREENPLAY: Orson Welles, The Magnificent Ambersons
B&W CINEMATOGRAPHY: Stanley Cortez, The Magnificent Ambersons
COLOR CINEMATOGRAPHY: Leon Shamroy, The Black Swan
B&W ART DIRECTION: The Magnificent Ambersons
COLOR ART DIRECTION: Arabian Nights
B&W COSTUME DESIGN: Yankee Doodle Dandy
COLOR COSTUME DESIGN: Arabian Nights
FILM EDITING: The Pride of the Yankees
SOUND: The Pride of the Yankees
VISUAL EFFECTS: The Black Swan
MAKEUP: The Ghost of Frankenstein
SCORE FOR A MUSICAL: Ray Heindorf, Heinz Roemheld, Yankee Doodle Dandy
SONG: “White Christmas” from Holiday Inn (2nd: “Little April Showers” from Bambi)
ANIMATED FEATURE: Bambi
Dean, I just want to let you know that I completely agree, and that CASABLANCA is considered a 1943 film by just about every reference and publication. I do understand that Allan’s own reference is the IMDB, so he’s comnsistant. I stayed the course though, but can fully understand the reason why you’d vote the way you have here.
It’s 1942, it’s on IMDB and every film guide as 1942 and premiered in New York in 1942. Sam, this isn’t close. ONly the critical groups outside of NY and the academy saw it as 1943.
OK, Fair enough.
Sorry to be very late in voting, but I have only just managed to see Ambersons… totally understand if my vote can’t be included, but I thought I’d post it anyway!
Picture: Casablanca
Director: Michael Curtiz
Actor: Jack Benny (To Be or Not To Be) (though I’m very tempted to vote for both Bogart and Cagney)
Actress: Claudette Colbert (The Palm Beach Story) (I also like Bergman and Lombard)
Supporting actor: Tim Holt (The Magnificent Ambersons) (very hard to vote against Claude Rains)
Supporting actress: Gladys Cooper (Now, Voyager)