by Allan Fish
It bloody had to happen. A tie for Best Picture. You lot are about as decisive as the People’s Front of Judea.
Best Picture Pierrot le Fou, France & Repulsion, UK (5 votes each, TIE)
Best Director Jean-Luc Godard, Pierrot le Fou (6 votes)
Best Actor Richard Burton, The Spy Who Came in from the Cold (6 votes)
Best Actress Catherine Deneuve, Repulsion (11 votes)
Best Supp Actor John Gielgud, Chimes at Midnight (9 votes)
Best Supp Actress Paola Pitagora, Fists in the Pocket & Shelley Winters, A Patch of Blue (5 votes each, TIE)
Best Cinematography Frederick A.Young, Doctor Zhivago (9 votes)
Best Score Vince Guaraldi, A Charlie Brown Christmas (10 votes)
Best Short A Charlie Brown Christmas TV, US, Bill Melendez (7 votes)
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On to 1966…
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1966
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Best Picture/Director
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Abschied von Gestern (West Germany…Alexander Kluge)
Alfie (UK…Lewis Gilbert)
Andrei Rublev: the director’s cut (USSR (2001)…Andrei Tarkovsky)
L’Armata Brancaleone (Italy…Mario Monicelli)
Asya’s Happiness (USSR…Andrei Mikhalkov-Konchalovsky)
Au Hasard, Balthazar (France…Robert Bresson)
The Barrier (Poland…Jerzy Skolimowski)
The Battle of Algiers (Italy/Algeria…Gillo Pontecorvo)
The Big Gundown (Italy…Sergio Sollima)
Blow Up (UK…Michelangelo Antonioni)
Cathy Come Home (UK…Ken Loach)
The Chelsea Girls (US…Paul Morrissey, Andy Warhol)
Closely Observed Trains (Czechoslovakia…Jiri Menzel)
Coach to Vienna (Czechoslovakia…Karel Kachyna)
Come Drink With Me (Hong Kong…King Hu)
Les Créatures (France…Agnès Varda)
Cul de Sac (UK…Roman Polanski)
Daisies (Czechoslovakia…Vera Chytilova)
The Deadly Affair (UK…Sidney Lumet)
Death of a Bureaucrat (Cuba…Tomas Gutierrez Aléa)
Le Deuxième Souffle (France…Jean-Pierre Melville)
Django (Italy…Sergio Corbucci)
Dracula Prince of Darkness (UK…Terence Fisher)
The Embryo Hunts in Secret (Japan…Koji Wakamatsu)
The Face of Another (Japan…Hiroshi Teshigahara)
Fahrenheit 451 (UK…François Truffaut)
Falling Leaves (USSR…Otar Iosseliani)
The Family Way (UK…Roy Boulting)
Fighting Elegy (Japan…Seijun Suzuki)
Freezing Point (Japan…Satsuo Yamamoto)
A Funny Thing Happened on the Way to the Forum (UK…Richard Lester)
Gan (Japan…Kazuo Ikehiro)
The Good, the Bad & the Ugly (Italy…Sergio Leone)
Goodbye, Boys (USSR…Mikhail Kalik)
La Grande Vadrouille (France…Gérard Oury)
The Group (US…Sidney Lumet)
La Guerre est Finie (France…Alain Resnais)
Hawks and Sparrows (Italy…Pier Paolo Pasolini)
Heart of a Mother (USSR…Mark Donskoi)
Here’s Your Life (Sweden…Jan Troell)
Une Homme et une Femme (France…Claude Lelouch)
Hugs and Kisses (Sweden…Jonas Cornell)
Hunger (Denmark…Henning Carlsen)
I (Sweden…Peter Kylberg)
Irezumi (Japan…Yasuzo Masumura)
The Island (Sweden…Alf Sjöberg)
Joe Caligula (France…José Bénazéraf)
Lord Love a Duck (US…George Axelrod)
Lost Sex (Japan…Kaneto Shindo)
Made in USA (France…Jean-Luc Godard)
Mademoiselle (UK/France…Tony Richardson)
A Man for All Seasons (UK…Fred Zinnemann)
Marie Soleil (France…Antoine Bourseiller)
The Marat/Sade (UK…Peter Brook)
Masculin Feminin (France/Sweden…Jean-Luc Godard)
My Sister, My Love (Sweden…Vilgot Sjöman)
Nayak (India…Satyajit Ray)
Never Strike a Woman – Even With a Flower (Czechoslovakia…Zdenek Podskalsky)
Night Games (Sweden…Mai Zetterling)
Once There Was a War (Denmark…Palle Kjaerulff-Schmidt)
Ormen (Sweden…Hans Abramson)
Paris in the Month of August (France…Pierre Granier-Deferre)
The Party and the Guests (Czechoslovakia…Jan Nemec)
Persona (Sweden…Ingmar Bergman)
Pharaoh (Poland…Jerzy Kawalerowicz)
The Plague of the Zombies (UK…John Gilling)
The Pornographers (Japan…Shohei Imamura)
Princess Iron Fan (Hong Kong…Meng-Hwa Ho)
La Prisonnière (France…Henri-Georges Clouzot)
The Professionals (US…Rochard Brooks)
Red Angel (Japan…Yasuzo Masumura)
Le Regard de Picasso (France…Nelly Kaplan)
La Religieuse (France…Jacques Rivette)
The Rise of Louis XIV (France…Roberto Rossellini)
Seconds (US…John Frankenheimer)
Seven Women (US…John Ford)
Skin, Skin (Finland…Mikko Niskanen)
Sword of Doom (Japan…Kihachi Okamoto)
Talking to a Stranger (UK…Christopher Morahan)
This Night I’ll Possess Your Corpse (Brazil…José Mojica Marins)
Three Daughters (Czechoslovakia…Stefan Uher)
Tokyo Drifter (Japan…Seijun Suzuki)
Traces of Stones (East Germany…Frank Beyer)
Trans-Europ Express (France…Alain Robbe-Grillet)
Unsere Afrikareise (Austria…Peter Kubelka)
The Velvet Underground and Nico (US…Andy Warhol)
Violence at High Noon (Japan…Nagisa Oshima)
The Voice of the Water (Netherlands…Bert Haanstra)
Who Would Kill Jessie? (Czechoslovakia…Václav Vorlicek)
Who’s Afraid of Virginia Woolf? (US…Mike Nichols)
The Wild Angels (US…Roger Corman)
Wings (USSR…Larisa Shepitko)
Woman of Darkness (Sweden…Arne Mattson)
Woman of the Lake (Japan…Yoshishige Yoshida)
Young Torless (West Germany…Volker Schlöndorff)
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Best Actor
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Alan Arkin The Russians Are Coming, the Russians Are Coming
Richard Burton Who’s Afraid of Virginia Woolf?
Michael Caine Alfie
David Hemmings Blow-Up
Charlton Heston Khartoum
Rock Hudson Seconds
Uttam Kamar Nayak
Burt Lancaster The Professionals
James Mason The Deadly Affair
Yves Montand La Guerre est Finie
Zero Mostel A Funny Thing Happened on the Way to the Forum
Tatsuya Nakadai The Face of Another
Per Oscarsson Hunger
Donald Pleasence Cul de Sac
Paul Scofield A Man for All Seasons
Anatoly Solonitsin Andrei Rublev
Toto Hawks and Sparrows
David Warner Morgan…a Suitable Case for Treatment
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Best Actress
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Anouk Aimée Un Homme et une Femme
Bibi Andersson My Sister My Love
Bibi Andersson Persona
Maya Bulgakova Wings
Judi Dench Talking to a Stranger TV
Anna Karina La Religieuse
Alexandra Kluge Abschied von Gestern
Virginia McKenna Born Free
Jeanne Moreau Mademoiselle
Mariko Okada Woman of the Lake
Joanne Pettet The Group
Lynn Redgrave Georgy Girl
Vanessa Redgrave Morgan…a Suitable Case for Treatment
Iya Savvina Asya’s Happiness
Christina Schollin Ormen
Sharmila Tagore Nayak
Elizabeth Taylor Who’s Afraid of Virginia Woolf?
Ingrid Thulin Night Games
Liv Ullmann Persona
Ayako Wakao Irezumi
Ayako Wakao Red Angel
Joanne Woodward A Big Hand for the Little Lady
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Best Supp Actor
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Max Adrian The Deadly Affair
Ralph Bellamy The Professionals
Charles Bickford A Big Hand for the Little Lady
Robert Emhardt The Group
Will Geer Seconds
Larry Hagman The Group
Hal Holbrook The Group
Michael Hordern A Funny Thing Happened on the Way to the Forum
John Huston The Bible: In the Beginning
Wolfgang Kieling Torn Curtain
Ivan Lapikov Andrei Rublev
Philip Latham Dracula Prince of Darkness
Leo McKern A Man for All Seasons
James Mason Georgy Girl
Walter Matthau The Fortune Cookie
Victor Mature After the Fox
John Randolph Seconds
George Segal Who’s Afraid of Virginia Woolf?
Robert Shaw A Man for All Seasons
Lionel Stander Cul de Sac
Michael Williams The Marat/Sade
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Best Supp Actress
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Avril Angers The Family Way
Barbara Brylska Pharaoh
Sandy Dennis Who’s Afraid of Virginia Woolf?
Wendy Hiller A Man for All Seasons
Shirley Knight The Group
Machiko Kyo The Face of Another
Jocelyn le Garde Hawaii
Margery Mason Talking to a Stranger TV
Vivien Merchant Alfie
Mary Peach The Three Musketeers TV
Liselotte Pulver La Religieuse
Charlotte Rampling Georgy Girl
Simone Signoret The Deadly Affair
Maggie Smith The Honey Pot
Ingrid Thulin La Guerre est Finie
Jessica Walter The Group
Kathleen Widdoes The Group
Shelley Winters Alfie
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Best Cinematography
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Ghislain Cloquet Au Hasard, Balthazar
Tonino delli Colli The Good, the Bad & the Ugly
Carlo di Palma Blow Up
Marcello Gatti The Battle of Algiers
Russell Harlan Hawaii
Shinsaku Himeda The Pornographers
Setsuo Kobayashi Red Angel
Kazuo Miyagawa Irezumi
Shigeyoshi Mine Tokyo Drifter
Ted Moore A Man for All Seasons
Sven Nykvist Persona
Ted Scaife Khartoum
Hiroshi Segawa The Face of Another
Tatsuo Suzuki Woman of the Lake
Gil Taylor Cul de Sac
Gerry Turpin The Wrong Box
Sacha Vierny La Guerre est Finie
David Watkin Mademoiselle
Jerzy Wojcik Pharaoh
Vadim Yusov Andrei Rublev
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Best Score
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James Bernard Dracula – Prince of Darkness
Elmer Bernstein Hawaii
Georges Delerue A Man for All Seasons
Giovanni Fusco La Guerre est Finie
So Kaburagi Tokyo Drifter
Krzysztof Komeda Cul de Sac
Francis Lai Un Homme et une Femme
Ennio Morricone The Good, the Bad & the Ugly
Ennio Morricone, Gillo Pontecorvo The Battle of Algiers
Alex North Who’s Afraid of Virginia Woolf?
Toru Takemitsu The Face of Another
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Best Short
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1:42.08 (US…George Lucas)
The Devil’s Toy (Canada…Claude Jutra)
Hold Me While I’m Naked (US…George Kuchar)
How the Grinch Stole Christmas (US…Chuck Jones)
It’s the Great Pumpkin, Charlie Brown! (US…Bill Melendez)
Kiev Frescos (USSR…Sergei Paradjanov)
Knud (Denmark…Jorgen Roos)
Lapis (US…Jame Whitney)
No. 4 (UK…Anthony Cox, Yoko Ono)
Patriotism (Japan…Yukio Mishima)
The Pink Blueprint (US…Fritz Freling)
Process Red (US…Hollis Frampton)
Six Figures Getting Sick (US…David Lynch)
Smoking (US…Joe Jones)
Snow (UK…Geoffrey Jones)
Der Stadtstreicher (West Germany…Rainer Werner Fassbinder)
Unsere Afrikareise (Austria…Peter Kubelka)
Winnie the Pooh and the Honey Tree (US…Wolfgang Reitherman)
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Click on names for archives
Writers/Founders
I vote “Au hasard Balthazar” for best film in 1966.
I vote Robert Bresson for best director (“Au hasard Balthazar”) in 1966.
I vote Huah Yeh for best actor in “Come Drink with Me” in 1966.
I vote Mariko Okada for best actress in “Woman in the Lake” in 1966
I vote Philip Latham for best supporting actor in “Dracula: Prince of Darkness” in 1966.
I vote “Au hasard Balthazar” for best cinematography in 1966.
I vote “Dracula: Prince of Darkness” for best score in 1966.
I vote for a triple tie for best short (sorry, my first one ever): “Lapis”, “1:42.08” and “Six Figures Getting Sick” for 1966.
Tough in every category.
Best Picture: The Good, the Bad and the Ugly
Best Director: Leone
Best Actor: Montand, La Guerre est Finie (runner-up: Lino Ventura, Deuxieme Souffle)
Best Actress: Cheng Pei-Pei, Come Drink With Me (runner-up: Wakao, Red Angel)
Supporting Actor: Eli Wallach, The Good, the Bad and the Ugly
Supporting Actress: Thulin, La Guerre est Finie
Cinematography: Gatti, Battle of Algiers
Score: Morricone, The Good, the Bad and the Ugly
Oh wow, where’s Wallach!
I like Shaw, but I’m gonna change my vote.(On second thought, I’ll just honor him with the ensemble vote.)Solid year for movies. Tough to whittle down to a top five.
Best Picture: The Good The Bad And The Ugly
Top Five: 1. The Good The Bad And The Ugly 2. Le Deuxieme Souffle 3. Andrei Rublev 4. Au Hasard Balthazar 5. Cul De Sac
Wow, a come-from-behind victory for Pierrot. Initially it looked like it was going to be Alphaville vs. Repulsion. Amazing the Godard won even with a split vote (and I wonder what his combined total was for Best Director).
I course I’m more excited for the split Support vote – hooray for Paola!
Feature: Masculin Feminin (in the running for favorite film of all time)
Short: will watch & return (btw Allan, I thought Hugs & Kisses was a short? Maybe I added it by accident…
Director: Robert Bresson, Au Hasard Balthazar
Actor: Václav Neckář, Closely Watched Trains (I think him and Leaud and Ventura should be added to the ballot; the list now seems kinda weak
Actress: Anna Karina, Made in USA (finally!)
also: I know Bresson performances aren’t generally considered “good” but Wiazemsky is pretty effective in Balthazar, whatever she is – she should probably be added.
Supp. Actor: Robert Shaw, A Man for All Seasons
Supp. Actress: Vanessa Redgrave, Blow-Up
This seems a surprisingly weak year for performances, although I haven’t seen a lot of the American or British films.
Cinematography: Vadim Yusov, Andrei Rublev
Score: The Velvet Underground & Nico, The velvet Underground & Nico – is this cheating? 🙂
Forgot the Morricone was in that category. Ok, I’ll go conventional. Especially since I haven’t seen the VU film and, knowing Warhol’s perverse proclivities, I wanted be surprised if its just footage of them playing without any sound. Slowed down to 2 frames a second or something.
Score: Ennio Morricone, The Good, The Bad, and the Ugly
Persona got frozen off my official ballot but it will get my Screenplay nod when I return later tonight for my imaginary awards.
Joel, I originally voted for Wiazemsky in a write-in, but then realized that Thulin edges her out. I did urge Allan to add her, but he feels she’s more of a “symbol.”
Forgot to do my top 5 under Best Feature.
1. Masculin Feminin
2. Daisies
3. Au Hasard Balthazar
4. Persona
5. Andrei Rublev
And the rest…
Screenplay: Ingmar Bergman, Persona
Editing: Miroslav Hájek, Daisies
Ensemble: Clint Eastwood, Lee Van Cleef, and Eli Wallach, The Good, the Bad, and the Ugly
Scene: Arrival at the circus, Au Hasard Balthazar
Line: “It wasn’t the film we had dreamed, the film we all carried in our hearts, the film we wanted to make… and secretly wanted to live.”, Masculin Feminin
Use of Music: Au Hasard Balthazar
I’ll leave out close calls this week. I’m pretty comfortable with what I chose. Well, all right – Liv Ullman & Bibi Andersson for Actress, and Ingmar Bergman for director. And Battle of Algiers for cinematography.
Here’s the clip of my favorite scene of ’66:
Pure cinema.
Hugs and Kisses is the 1966 Swedish film, definitely not a short.
Oh crap – where are the shorts? Can someone cut & paste the from the WordPress duplicate draft (there should be a draft post of this which only contains the shorts). I emailed Allan to do so but the message was buried in a larger text so he must have missed it.
Thanks to anyone who can do this! I have trouble with WordPress on my phone and won’t be home till late tonight.
Just got in Joel from a second showing of LINCOLN with some friends. I added your shorts to the central scroll here.
Joel, if you can get intop wordpress, why couldn’t you just edit the main post and add them yourself. I’m coinfused. Anyway, removed Hugs and Kisses as that’s a feature.
I can’t usually get into WordPress on my phone, Allan – I’m usually working on long hours on weekends and commenting during breaks (remember I’m on the West Coast and it’s still early evening when these posts go up, and morning when you start preparing the drafts).
Interesting additions to the shorts ballot (Allan, I presume?), the Lucas and the Lynch. I somehow overlooked the first and could’ve sworn the other one was ’68. There will be some interesting Lynch works in this category in the years to come.
Or maybe I’m just hallucinating and I actually added these myself? It’s been a long weekend…
And finally…
Short: Patriotism
Finally, someone got the right short.
Goddamn, I am annoyed with myself. When I took over the short selection, one of the first films I had in mind to vote for was “Meet Marlon Brando” the wonderful verite interview with the Method actor conducted by the Maysles brothers.
And, of course, I bloody forgot to include it, only remembering two weeks later. Sometimes I want to punch myself.
Anyone who wants to can watch it here:
http://www.tudou.com/programs/view/F3-8Kv1WerE/
Argh.
And officially, retroactively changing my vote to:
Short: (tie) Patriotism & Meet Marlon Brando
Please everyone who sees this on the sidebar or stumbles across this thread in the future, watch this & also La Cotta, which I linked on the ’67 thread. This has been a public service message. Thank you.
Be rest assured I will take a look at this Joel.
Best Picture: Au Hasard Balthazar
Best Director: Robert Bresson (Au Hasard Balthazar)
Best Actor: Per Oscarsson (Hunger)
Best Actress: Bibi Andersson (Persona)
Best Supporting Actor: Robert Shaw (A Man For All Seasons)
Best Supporting Actress: Ingrid Thulin (La Guerre est Finie)
Best Cinematography: Ghislain Cloquet (Au Hasard Balthazar)
Best Score: Ennio Morricone (The Good, the Bad and the Ugly)
1966 boasts four of the greatest films of all-time:
Au Hasard Balthazar
Persona
The Battle of Algiers
Andrei Rublev
It also includes some others truly great films: The Face of Another, Daisies, Cathy Came Home, Young Torless, The Good, the Bad and the Ugly, Hunger, A Man For All Seasons, Closely Watched Trains, Who’s Afraid of Virginia Woolf?, La Guerre est Finie, Red Angel. Django, Abschied von Gestern, Asya’s Happiness, Plague of the Zombies.
Note to Allan: A five to five vote for Best Picture does not equate to any kind of indecision by each individual voter. And when you are dealing with the relatively limited number of ballots that are cast you are bound to have instances where the votes are so close that a few ties as end results are inevitable.
Elmer Bernstein’s ravishing score for HAWAII comes within a hair of Morricone.
For lead actor, Paul Scofield would be right behind Oscarsson and for lead actress, Liv Ullmann and Elizabeth Taylor would follow Andersson.
I advised you to weigh the votes on a numerical scale to help avoid ties. Three pts. for 1st choice, 2 for 2nd and 1 for 3rd.
You kidding, there’d probably be just as many ties.
It isn’t such a bad idea by Mark to be honest. There would probably be less ties. But the decision is yours and your are certainly welcome to stay the course.
Uhler needs to return to these pages. I’m almost certain ‘Pierrot’ and Pitagora would have won outright if he’d voted.
Mark, Jamie only cast a ballot a single time even when he was at the site (he avoided this weekly post like the plague and is militantly against rankings of any kind). Only in 1939 when a tie was looming between THE WIZARD OF OZ and THE RULES OF THE GAME did he cast his single vote for Renoir’s film. he contributed to many posts for sure, but never this one.
In the case of a tie just give Fish the tiebreaker decision. Let him choose between Repulsion and Pierrot for the ultimate winner.
Maurizio, I doubt Allan will bite on that as he feels his own vote appears on his annual appraisals. Normally I would say this would be a smart way to negotiate it. In the end though it is up to Allan, and your suggestion may resonate with him.
I made a commitment Maurizio, which is why my vote only now appears on the topbar and only on the day the results are announced. I don’t want my vote being influential or otherwise to the vote.
Picture: Persona
Director: Ingmar Bergman, Persona
Actor: Per Oscarsson, Hunger
Actress: Bibi Andersson, Persona
Sup. Actor: Robert Shaw, A Man for All Seasons
Sup. Actress: Vivien Merchant, Alfie
Cinematography: Sven Nyquist, Persona
Picture – The Rise of Louis XIV
Director – Teshigahara (The Face of Another)
Actor – Roddy McDowall (Lord Love a Duck)
Actress – Anne Bancroft (Seven Women)
Supporting Actress – Margaret Leighton (Seven Women)
Cinematography – Yusov (Andrei Rublev)
Well, I can see that not enough people have seen Red Angel from initial voting. It didn’t quite win for me, but it’s top 3 of the year which places it ahead of Algiers and Rublev. People should see it.
I have seen the film of course and think it is indeed great. I do NOT however, place it above ALGIERS and RUBLEV. No way.
But ‘Red Angel’ is from Japan, Sam. Ha!
ha! Indeed Mark!!!!!!!!!!!!!!
The greatest cinematic nation of them all in terms of quality and there are literally dozens of masterpieces that I can’t even see.
France???
France pushes closest, for sure, and for up to 1939 comes tops, but France has had a pretty ordinary last 40 years post nouvelle vague while Japan still produces the goods on a regular basis. Plus, I’d say there are probably no more than 30 French masterpieces I’m yet to see subtitled, whereas the number could be as high as a hundred from Japan.
Are we talking greatest nation in pure number of masterpieces, or proportionately?
Good question Joel, I’ll let Allan respond. Actually in history the top cinematic country by a wide margin in none other than the USA. But this is not to discount India, a country that for many worldwide is still at or near the top annually. I am not well enough versed with Indian cinema to offer much of an opinion there.
If we judge the entire run of the cinema from 1920’s till the present it would be:
1. USA
2. France
3. Japan
4. United Kingdom
5. Italy
In terms of most great films, Sam, yes, but in terms of great cinema proportionately and otherwise, Japan has a richer variety and more masters. Remember many masters in American film were emigres. Plus, with Japan like I said, there are dozens of masterpieces we can’t see because the Japanese have never put English subs on the prints. There are even directors who entire careers, or nearly their entire careersm, lay untapped.
In terms of book entries…
1 USA 700 (incl.23 TV)
2 UK 292 (incl.107 TV)
3 France 259 (incl.4 TV)
4 Japan 149 (incl.1 TV)
5 Germany (incl.West G) 74 (incl.7 TV)
6 Italy 66 (incl.2 TV)
7 Russia/USSR 54
8 Sweden 42 (incl.2 TV)
9 Czech Republic/Czechoslovakia 22
10=China 19
10=Denmark 19 (incl.1 TV)
10=Spain 19
Without TV France would be clear of UK, and with all its hidden masterpieces Japan would surely rise above UK, too.
I need to do a post about the Japanese problem one day.
I’m so sick with the flu that I haven’t the strength to give my reasons for my choices this week…
Here they are:
PICTURE: ANDREI RUBLEV
Top 5: 1. Andrei Rublev 2. Persona 3. Au Hasard Balthazar 4. Cul de Sac 5. A Man for All Seasons
DIRECTOR: Ingmar BERGMAN (PERSONA)
Runner Up: Robert Bresson (Au Hasard Balthazar)
LEAD ACTOR: Paul SCOFIELD (A MAN FOR ALL SEASONS)
Runner Up: Per OSCARSSON (HUNGER)
LEAD ACTRESS: Bibi ANDERSSON (PERSONA)
Runner Up: Liv Ullmann (Persona)
SUPP. ACTOR: Robert SHAW (A MAN FOR ALL SEASONS)
Runner Up: Lionel Stander (Cul de Sac)
SUPP. ACTRESS: Wendy HILLER (A MAN FOR ALL SEASONS)
Runner Up: Ingrid THULIN (La Guerre Est Finie)
PHOTO: Ghislain CLOQUET (AU HASARD BALTHAZAR)
Runner Up: Sven Nykvist (Persona)
MUSIC: Georges DeLerue (A MAN FOR ALL SEASONS)
Runner Up: Ennio Morricone (The Good, The Bad and The Ugly)
Best Picture: Persona
Best Director: Ingmar Bergman (Persona)
Best Actor: Richard Burton (Who’s Afraid of Virginia Woolf?)
Best Actress: Bibi Andersson (Persona)
Best Supporting Actor: Robert Shaw (A Man for All Seasons)
Best Supporting Actress: Sandy Dennis (Who’s Afraid of Virginia Woolf?)
Best Cinematography: Ghislain Cloquet (Au Hasard Balthazar)
Best Score: Ennio Morricone (The Good, the Bad and the Ugly)
But I have to say Fahrenheit 451 as a special role in my passion for cinema!
Best Picture: Alfie
Best Director: Fred Zinemann (A Man For All Seasons)
Best Actor: Richard Burton (Who’s Afraid of Virginia Woolf?)
Best Actress: Liv Ullmann (Persona)
Best Supporting Actor: Leo McKern (A Man For All Seasons)
Best Supporting Actress: Marjorie Rhodes (The Family Way)
Best Cinematography: Ghislain Cloquet (Au Hasard Balthazar)
Best Score: Ennio Morricone (The Good, the Bad and the Ugly)
PICTURE: The Pornographers
DIRECTOR: Shohei Imamura
LEAD ACTOR: Eli Wallach, The Good, the Bad and the Ugly
LEAD ACTRESS: Anna Karina, La Religieuse
SUPPORTING ACTOR: Jack Nicholson, The Shooting
SUPPORTING ACTRESS: Charlotte Rampling, Georgy Girl
SHORT: I might change this if I look at what’s nominated, if links go up, but for now – Hold Me While I’m Naked would get my vote
SCORE: Ennio Morricone, The Good, the Bad and the Ugly (though it’s tempting to load up on the Pornographers even more with another great Mayazumi score.)
CINEMATOGRAPHY: Shinsaku Himeda, The Pornographers
Plus bonus picks:
Script: Luc Moullet, for Bridgitte and Bridgitte
Music/Sound: a good spot to note the Velvet Underground movie…
I’m with you this year Sam…
Best Film: Au Hasard Balthazar
Best Director: Robert Bresson (Au Hasard Balthazar)
Best Actor: Per Oscarsson (Hunger)
Best Actress: Liv Ullman (Persona)
Best Supporting Actor: Ralph Bellamy (The Professionals)
Best Supporting Actress: Marjorie Rhodes (The Family Way)
Best Cinematography: Sven Nykvist (Persona)
Best Score: Ennio Morricone (The Good, the Bad and the Ugly)
Stupendous year for international film.
Film: ‘Persona’ RU: ‘Au Hasard Balthazar’
Director: Bergman RU: Bresson
Actor: Per Oscarsson (‘Hunger’) RU: Burton (‘Virginia Woolf?’)
Actress: Bibi Andersson (‘Persona’) With special mention to Anne Wiazemsky’s exquisite, symbolic ‘modeling’, and Lola Albright (‘Lord Love a Duck’)
S. Actor: Jean Martin (‘The Battle of Algiers’) RU: Shaw
S. Actress: Glenda Jackson (‘Marat/Sade’) RU: Merchant
Screenplay: Bergman RU: Edward Bond, Tonino Guerra and Michelangelo Antonioni (‘Blow-Up’)
Photography: Sven Nykvist (‘Persona’) RU: Cloquet (‘Balthazar’) and di Palma (‘Blow-Up’)
Cheeky!
Film: Andrei Rublev
Director: Tarkovsky, Andrei Rublev
Actor: Oscarsson, Hunger
Actress: Andersson, Persona
Supporting Actor: Lapikov, Andrei Rublev
Supporting Actress: Rambling, Georgy Girl
Short: The Pink Blueprint
Cinematography: Yusov, Andrei Rublev
Score: Morricone, The Good, the Bad and the Ugly
This, the year of my birth, proved to be a bear. Any one of the top seven could have emerged victorious, were it not for the fact that Mike Nichols’ debut film of Edward Albee’s play had such an immense impact on me as a child. It really clued me in to the notes that cinema—American cinema, at least–could hit, and I still regard it as a breakthrough for cinema, and the single best adaptation of a stage play to film. Still, I had to give the director’s award to Antonioni–this stunning, thrilling exercise is my favorite of his movies. I should say here that it kills me that PERSONA couldn’t land one of my top votes (though Bibi came quite close to doing so). And, as always, I have highlighted in all caps those potential nominees that Allan has chosen, for whatever reason, to leave off the list.
PICTURE: WHO’S AFRAID OF VIRGINIA WOOLF? (followed by in descending order: Persona, Blow Up, A Man for All Seasons, The Good The Bad and The Ugly, Masculin Feminin, Au hasard Balthazar, Closely Watched Trains, Seconds, Andrei Rublev, The Battle of Algiers, Cul de Sac, Marat/Sade, Lord Love a Duck, Daisies, THE SHOOTING, HARPER, The Pornographers, Tokyo Drifter, Fahrenheit 451, Morgan–A Suitable Case for Treatment, Young Torless, The Professionals, THE NAKED PREY, THE ENDLESS SUMMER, A Man and A Woman, IS PARIS BURNING?, This Night I Will Possess Your Corpse, FANTASTIC VOYAGE, THE FORTUNE COOKIE, The Plague of the Zombies)
DIRECTOR: Michelangelo Antonioni, BLOW-UP (2nd: Mike Nichols, Who‘s Afraid of Virginia Woolf?)
ACTOR: Richard Burton, WHO’S AFRAID OF VIRGINIA WOOLF? (2nd: Paul Scofield, A Man for All Seasons, followed by ELI WALLACH, THE GOOD THE BAD AND THE UGLY; Rock Hudson, Seconds; JEAN-PIERRE LEAUD, MASCULIN FEMININ, David Hemmings, Blow Up)
ACTRESS: Elizabeth Taylor, WHO’S AFRAID OF VIRGINIA WOOLF? (2nd: Bibi Andersson, Persona, followed by CHANTAL GOYA, MASCULIN FEMININ; Vanessa Redgrave, Morgan–A Suitable Case for Treatment; Lynn Redgrave, Georgy Girl; Liv Ullmann, Persona)
SUPPORTING ACTOR: Robert Shaw, A MAN FOR ALL SEASONS (2nd: Lionel Stander, Cul de Sac, followed by John Randolph, Seconds; George Segal, Who’s Afraid of Virginia Woolf?; Michael Williams, Marat/Sade; LEE VAN CLEEF, THE GOOD THE BAD AND THE UGLY)
SUPPORTING ACTRESS: Wendy Hiller, A MAN FOR ALL SEASONS (2nd: Sandy Dennis, Who’s Afraid of Virginia Woolf?, followed by Vanessa Redgrave, Blow Up; Jocelyn LaGarde, Hawaii; Vivien Merchant, Alfie; BEE DUFFELL, FAHRENHEIT 451)
CINEMATOGRAPHY: HASKELL WEXLER, WHO’S AFRAID OF VIRGINIA WOOLF? (why is this not in the running?) (2nd (B&W): JAMES WONG HOWE, SECONDS (Where is he, also?)
SCORE: Ennio Morricone, THE GOOD THE BAD AND THE UGLY (2nd: Alex North, Who’s Afraid of Virginia Woolf?)
SHORT: WINNIE THE POOH AND THE HONEY TREE (Wolfgang Reitherman) (2nd: It’s The Great Pumpkin, Charlie Brown (Bill Melendez))
FURTHER:
ORIGINAL SCREENPLAY: AU HAZARD BALTHAZAR (Robert Bresson) (2nd: Michelangelo Antonioni, Tonino Guarra and Edward Bond, Blow Up)
ADAPTED SCREENPLAY: Ernest Lehman, WHO’S AFRAID OF VIRGINIA WOOLF? (2nd: Robert Bolt, A Man for All Seasons)
DOCUMENTARY FEATURE: THE ENDLESS SUMMER (Bruce Brown)
COLOR CINEMATOGRAPHY: Carlo Di Palma, BLOW UP (2nd: NICHOLAS ROEG, FAHRENHEIT 451)
B&W ART DIRECTION: WHO’S AFRAID OF VIRGINIA WOOLF?
COLOR ART DIRECTION: BLOW UP
B&W COSTUME DESIGN: WHO’S AFRAID OF VIRGINIA WOOLF?
COLOR COSTUME DESIGN: A MAN FOR ALL SEASONS
FILM EDITING: WHO’S AFRAID OF VIRGINIA WOOLF?
SOUND: GRAND PRIX
SCORING OF A MUSICAL: Ken Thorne, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
ORIGINAL SONG: “Darling Be Home Soon” from YOU’RE A BIG BOY NOW (Music and lyrics by John Sebastian) (2nd: “Alfie” from Alfie, Music by Burt Bacharach, lyrics by Hal David)
SPECIAL EFFECTS: FANTASTIC VOYAGE
MAKEUP: MARAT/SADE
I’m probably breaking all the rules here but I agree with Sam Juliano that 1966 produced 4 of the greatest films ever made, However, my 4 are – and this is where I break the rules as I tie all 4 for Best Picture: ANDREI RUBLEV, THE BATTLE OF ALGIERS, BLOW-UP and PERSONA
Best Director: Michaelangelo Antonioni for BLOW-UP
Best Actor: Richard Burton in WHO’S AFRAID OF VIRGINIA WOOLF?
Best Actress: Elizabeth Taylor in WHO’S AFRAID OF VIRGINIA? (Ridiculous that no-one other than Dean seems to agree)
Best Supporting Actor: John Randolph in SECONDS
Best Supporting Actress: Sandy Dennis in WHO’S AFRAID OF VIRGINIA WOOLF?
Best Cinematography: Carlo Di Palma for BLOW-UP
Best Score: Alex North for WHO’S AFRAID OF VIRGINIA WOOLF?
Best Short: N/A as none seen.
I ruled out CATHY COME HOME (among the greatest films ever made for television simply because it first aired on television)
I will probably have a two way tie for 1970. I can’t decide over two of my favorites that year either. Still a four way tie is pretty insane lol. What is even more insane though is that you substitute Blow Up for Balthazar?!!?!? That particular Antonioni film stinks to high heaven. Two similarly themed movies The Conversation and Blow Out (that came later) are miles better IMO. But to each his own i will admit….
I thank Martin for the acknowledgement, and appreciate his audacious four-tier vote here. It will be a tabulation nightmare for Allan though, and understandably. However, I agree with Maurizio that BLOW-UP is one of Antonioni’s worst films, and that the substitution for BALTHAZAR is disheartening. BALTHAZAR for me views with SANSHO as the greatest film of all-time, if such a declaration can even be made.
A great film Sam. I choke up every time I see a donkey.
I think a four-way tie is right out, Martin. We all have to make difficult choices, and there is just no such thing in the annals of award-dom as a quadruple tie. I urge you to come back and pick one or the other. As Sam’s comment about BLOW UP being Antonioni’s worst film, this I don’t get. Please explain…
Dean, I don’t begrudge you on BLOW-UP, and be rest assured that I do love the director (L’Eclisse and La Notte are my absolute favorites but L’Aventura, Red Desert and The Passenger are all great) but I saw BLOW-UP as trendy and gimmicky. I know there are fans, and one day I will move to watch it again taking this strong regard into account. Still there are aspects of the film I do like, including the performances.
Maurizio, I quite agree with what you say about the appearance of a donkey never being the same after watching this film.
Hmmmm…well, I think I like it BECAUSE it’s trendy and gimmicky. I love its capture of that time and place, and I like its bleak outlook. I also sonsider it quite thrilling and mysterious. I love THE CONVERSATION and BLOW OUT, too. But they are stylistically very different movies–one’s a character study, and the other is an out-and-out thriller. BLOW UP, I feel, asks some very cogent philosophical questions that I find invigorating. Could it be that the presence of vapid models, rock music, and dreamy hipsters turn you off? I mean, they can’t hold a candle to the simple, saintly suffering of a donkey. By the way, I do like BALTHAZAR, of course. But do you think it strengthens one’s love of the movie if the viewer has some trace of Christian faith? Because I have no faith at all in anything, and so I’m wondering if I’m missing something.
Yeah, but Maurizio, but would ‘The Conversation’ and ‘Blow-Out’ even exist without Antonioni’s antecedent? Clearly, Coppola and de Palma were influenced by ‘Blow-Up’.
Now ‘Zabriskie Point’ is another matter entirely, a film barely recognizable as Antonioni’s, a great, sad disappointment.
I’m with you Maurizio…Blow Up is garbage. It retreads over similar ground as his previous films, and does things much worse……give me Monica Vitti. Blow Up is one of the most overrated films of all time.
‘Blow-Up’ is stinking garbage only to those who fail to see beyond the film’s mod appurtenances into the different levels of reality depicted in the film, the shrinking man in the age of technolgy.
Dean, fair enough, you have entered an impassioned defense for BLOW-UP.
I am not particularly religious, that I am of course raising my kids as Catholics, much as I was. The spiritual essence of BALTHAZAR is irrefutable, and one could write volumes on that theme (in fact volumes have been written, ha!) but the film explores human nature just as profoundly. None other than Jean-Luc Godard, who worships this film and in the antithesis of organized religion, declared the film “the entire world in an hour and a half.” Godard considers Bresson to “French cinema, what Mozart is to German music and Dostoyevsky is to Russian literature.” But the confluence of religious themes do give BALTHAZAR a spirituality that makes in the end for a kind of emotional catharsis, I won’t deny it.
I don’t really care which film came first Mark. Only a Antonioni homer with blinders would even suggest Blow Up is in the same league as The Conversation/Balthazar (or even a good movie that deserves mentioning with the best of 1966). Blow Up is an Ed Wood-style unintentional comedy that is hard to sit through without vomiting your lunch/popcorn in exasperation IMO. I could argue that Antonioni was in a artistic slide… but less then ten years later (1975) he unleashed his greatest film ever. Let’s just chalk it up to a guy striking out badly at the camera.
And as Jon mentioned earlier, Blow Up is mining territory already explored in other Antonioni films past and future. Cinematic style thus becomes a legitimate barometer for criticism. I can get similar “philosophical questions” in Red Desert and The Passenger without the horrendous and downright silly execution.
No Mark…I am not missing something. Blow Up retreads over the same ground you are discussing….but he did it far better in Red Desert, which for me was the ultimate expression of what he was trying to say…man’s/woman’s alienation etc. Blow-up is not only stylistically and thematically redundant, it is a complete and utter self-parody of his own work.
All I’m hearing is that it’s bad (and some over-the-top descriptions of that as well–I don’t ever think I’ve thrown up in my popcorn box, or anywhere else, over the poor quality of a film). I’m also hearing that it’s “silly,” that it’s “self-parody” and that it’s a retread of other Antonioni films. Oh well, gosh, that would make him the VERY first director to go back to the well again and again. I’ve yet to hear a convincing argument against the quality of BLOW UP–nothing beyond a sort of elitist, hep love of the director’s lesser-seen works. At any rate, I don’t find the film silly. It’s fun, yes, but it’s not silly. In fact, that’s another thing I like about it: it’s a playful movie, colorful and bawdy. It’s not a movie with some hot blonde chick standing around and frowning for ten minutes.
Wow, amazed to see the level of vitriol aimed at Blow Up. I wonder what Allan thinks of it? When I first saw it I thought it was extremely dated, and years later I liked it precisely because it was dated and I was fascinated with that time/place. I guess I’d need to see it again to really judge it as a work of art.
Dean,
The main problem for me is it came after Antonioni’s great films from his alienation trilogy, AND his best film Red Desert. In those, there was an increasing examination of human’s and our spiritual/emotional disconnection with the world and with others. I think it reached it’s perfection in Red Desert. Therefore watching Blow Up, which came after Red Desert, is thematically too similar and in fact boring compared to the previous films, not to mention there is a strained quality to the whole thing, like Antonioni has run out of things to say on this matter. How much more do you want me to spell it out? Yes of course other directors are redundant too, and I would complain about them in those cases as well.
I would argue that The Passenger actually goes further and is even more effective than Red Desert Jon (with a real stripped down cinematic clarity to boot). Those happen to be my two favorite Antonioni’s regardless. But lets forget that momentarily distraction and continue to throw darts at Blow Up instead lol.
If I had to name one single Antonioni favorite it would be L’Eclisse.
Yeah Maurizio I also just prefer the ones with Monica Vitti, which I think was Antonioni’s greatest muse. Jack Nicholson is a bit distracting for me personally in this type of film, but I do well know how The Passenger has its strong defenders. Blow Up though….David Hemmings is honestly just awful as a leading man. I cannot stand him in the least and even if Antonioni was trying to pick the most god-awful lead actor to portray this type of vapid role on purpose, it does nothing for me to peak my interest. I’m literally zoning out on him and this film from the get go. At least with Monica Vitti in those previous films, there is a feeling of pain apparent, as if this examination of emptiness MATTERS, because it’s about this individual as a microcosm. Women are better at bringing an innate ability to convey emotion, even though they may not be trying per se. Hemmings brings nothing and adds nothing to a film that is already empty and a retread to begin with. Give me a reason to care…..
Well, you have to understand that I love RED DESERT. But I find BLOW UP to be better because not only is it a movie about alienation, it’s a movie about seeing, and discovery, and it’s a stupifying mystery, and a wild tour of Swinging London at its most outrageous. I find it quite strange that I’m having to defend one of cinema’s greatest movies. Jon, I don’t see where someone could be bored with the film; it’s got great visuals, a fascinating lead performance, that excellent Herbie Hancock score. And, I swear, this is the absolutely first place in literature, the web, ANYWHERE, where I’ve seen a bad word lobbed at the film. And no one’s still said anything of import, except that it’s not as good as Antonioni’s other films–which is still a subjective statement and not a real argument against liking ANYTHING. Shit, you guys need to seriously sit down and watch some REAL fucking bad movies like SHAKEDOWN and THE CONCORDE–AIRPORT 79 in order to get your perspective back.
Okay, FINALLY. A real reason. You don’t like looking at David Hemmings’ mug, because you’re missing on you some Monica Vitti (whom I suspect you like for more reasons than just her ability to embody “pain”). I get it now. My reply: I don’t care about Monica Vitti, and don’t miss her. Hemmings is just fine in the movie, and there’s nothing that anyone can say here to convince me otherwise. End of missive.
Re Blow-Up: A book could probably be written — a dissertation at least — about the image of Britain in Italian cinema. It’d encompass not just Blow-Up but the British episode of Antonioni’s I Vinti as well as Monicelli’s Girl with a Pistol, countless gialli and who knows what else. Such a study might explain the apparently problematic nature of Blow-Up more than dismissing it as a directorial do-over of old themes. I remember liking the picture when I saw it a long time ago, but it wouldn’t be a top-five film for me for this year.
Dean I already told you, it’s thematically redundant and says nothing new cinematically or from Antonioni’s perspective! Hemmings is the icing on the cake. My reason for not liking the film is that it’s thematically redundant….so I’m alienated….big deal, so were the characters in the other films. We’re not going to see eye to eye on this, but don’t go telling me why I like or do NOT like something. I’m not as big on L’Eclisse as others are, and that one HAS Vitti in it. It’s not just Vitti, it’s the freshness of cinema and his presentation and his themes, which is not apparent in Blow Up but which was there in Red Desert and L’aaventura. Blow-up is a vapid cinematic exercise with nothing NEW to say that wasn’t already said in the other films. It was just a mainstream stab at the idea….Antonioni pandering his ideals on the masses and dumbing things down.
Samuel, could you expand on your thoughts on Britain/Italy & Blow Up in that context? I’m intrigued.
Okay, Jon. I’ll just leave it at that.
Why thank you Mr. Dean. Nothing against anyone personally, but I will bash that film to high heaven. The fact that it’s gotten so much cred over the years as was mentioned, irks me even more for some reason.
Jesus fucking Christ on the cross, will you leave it alone already? Last word fucking freak…
Dean, Allan has not yet appeared on this sub thread but he did admit to me that BLOW-UP rates a strong 4. 5 of 5 rating, and is in his book.
Gee thanks Dean. Real nice. I never said a bad word to anyone…only about the film.
Thank you for that, Sam. And, Jon, I said what I said only because I was hoping that the ambiguous phrase “I will leave it at that” would put a stop to the whole thread. But you had to keep going, saying not only that you would bash the film until your last breath, but again giving it another parting jab. So, as far as I’m concerned, you had it coming. Anxiously awaiting your reply. so we can keep this thread going until eternity ends…
Roca, ‘The Good, the Bad and the Ugly’? To each his own, indeed. lol
Yeah Dean you obviously know me well. I will duel to the death…only Jamie can last as long as I can. There’s nothing left to say on this topic however since this has now moved beyond the film.
You win…an empty victory.
Very difficult to choose between Bresson and Bergman this year. I’ll split my top two awards.
Best Picture: Au Hasard Balthazar
Best Director: Ingmar Bergman (Persona)
Best Actor: Per Oscarsson (Hunger)
Best Actress: Bibi Andersson (Persona)
Best Supporting Actor: Robert Shaw (A Man for All Seasons)
Best Supporting Actress: Vanessa Redgrave (Blow-Up)
Best Short:: Kiev Frescos
Best Cinematography: Sven Nykvist (Persona)
Best Score: Ennio Morricone (The Good, the Bad and the Ugly)
Best Film: Masculine Feminin
Best Director: Andrei Tarkovsky (Andrei Rublev)
Best Actor: Yves Montand (La Guerre est Finie)
Best Actress: Bibi Andersson (Persona)
Best Supporting Actor: Ivan lapikov (Andrei Rublev)
Best Supporting Actress: Hiroshi Shigara (The Face of Another)
Best Cinematography: Andrei Rublev
Best Score: The Battle of Algiers
Well, nice to see another vote for M/F. Obviously I knew it had a lot of rivals this year but I find it to be one of Godard’s richest, sharpest movies, really a perfect lead-in to the explosive final third of the cinematic (and world-historical) final third of the sixties. Severely underrated, I’m coming to believe. Pauline Kael’s great review of the film really nails it I think.
Wow this is difficult to pick among two of my favorites…going to split them.
Pic- Persona
Dir- Bresson…Balthazar
Actor- Richard Burton- Who’s Afraid of….
Actress- Bibi Andersson – Persona (Liv Ullman is great here, but her finest hours were elsewhere and this was Bibi’s hour to shine).
Supp. Actor- Robert Shaw- A Man for….
Supp. Actress- Wendy Hiller – A Man for….
Score- So Kaburagi – Tokyo Drifter
Cinematography – Nykvist – Persona
I also see the difficulty this year having to do with choosing between Mr. Bergman and Mr. Bresson. Like Jon and others, I would say sharing the wealth is the way to go.
Au Hasard Balthazar
Ingmar Bergman
Michael Caine
Bibbi Andersson
Robert Shaw
Vivien Merchant
Gislain Cloquet
pass on score
wow, Bobby McCartney picked ‘Alfie’ as #1. I love the film too, but I don’t think I’d have the courage to go that far.
I just received an e mail from Frank Aida, who cast a ballot for the comedy countdown, but up until now has never voted for the yearly appraisals.
Here are Frank’s choices:
Best Picture: Persona
Best Director: Ingmar Bergman (Persona)
Best Actor: Zero Mostel (A Funny Thing Happened….)
Best Actress: Bibi Andersson (Persona)
Best Supporting Actor: Robert Shaw (A Man For All Seasons)
Best Supporting Actress: Wendy Hiller (A Man For All Seasons)
Best Score: Ennio Morricone (The Good, the Bad and the Ugly)
Best Cinematography: Marcello Gatti (The Battle of Algiers)
Best Short: The Pink Bluprint
Pic – The Good, the Bad & the Ugly (Italy…Sergio Leone)
Director – The Battle of Algiers (Italy/Algeria…Gillo Pontecorvo)
Actor – Paul Scofield A Man for All Seasons
Actress – Bibi Andersson Persona
Sup Actor – Walter Matthau The Fortune Cookie
Sup Actress – Wendy Hiller A Man For All Seasons
Score – Ennio Morricone The Good, the Bad & the Ugly
Short – Winnie the Pooh and the Honey Tree (US…Wolfgang Reitherman)
Ughh, once again an exceedingly difficult year – an array of incredible films (nay, masterpieces) released this year. Apologies in advance for the ties in a number of categories – a terribly tough year indeed.
Its really heartbreaking that Andrei Rublev didn’t get a single vote in my ballot. Its also heartbreaking to note that Imamura’s The Pornographers, which I personally consider an absolutely fabulous film, has hardly found any representation so far.
Anyway, here are my choices:
Best Picture: Closely Watched Trains
Best Director: Shohei Imamura (The Pornographers)
Best Actor: Uttam Kumar (Nayak), Shoichi Ozawa (The Pornographers)
Best Actress: Bibi Andersson (Persona)
Best Supporting Actor: Eli Wallach (The Good, the Bad & the Ugly)
Best Supporting Actress: Venessa Redgrave (Blow-Up)
Best Cinematography: Shinsaku Himeda (The Pornographers), Gil Taylor (Cul de Sac)
Best Score: Toshiro Mayuzumi (The Pornographers), Ennio Moricone (The Good, the Bad & the Ugly)
Top 10:
1. Closely Watched Trains
2. Andrei Rublev
3. The Pornographers
4. Nayak (The Hero)
5. The Good, the Bad & the Ugly
6. Cul-de-Sac
7. The Party & the Guests
8. Galpo Holeo Satyi (dir. Tapan Sinha)
9. Persona
10. Masculin Feminin, Blow-Up, Au Hasard Balthazar, Daisies
Top Five for 1966:
Persona – Ingmar Bergman
Au hasard Balthazar – Robert Bresson
Andrei Rublev – Andrei Tarkovsky
Blow Up – Michelangelo Antonioni
Daisies – Vera Chytilova
Best Picture: Persona
Best Director: Ingmar Bergman
Best Actor: Richard Burton (Who’s Afraid of Virginia Woolf?)
Best Actress: Elizabeth Taylor (Who’s Afraid of Virginia Woolf?)
Best supporting actor: Eli Wallach (The Good, the Bad and the Ugly)
Best supporting actress: Vanessa Redgrave (Blow Up)
Best Cinematography: Sven Nykvist (Persona)
Best Score: Ennio Morriconi (The Good, the Bad and the Ugly)
Morriconi is a lock to win the score, but every last person on this thread has the wrong film.
If you disagree just listen from 0:45 to about 1:15 (especially at 0:55). Silly rabbits.
Steve, I must say I disagree with you. I just a few months ago watched 21 of the 26 films shown at the Film Forum’s celebrated ‘Spaghetti Western’ Festival, which included about 14 Morricone-scored films. I certainly love THE BIG GUNDOWN (LA RESA DEI CONTI) and promptly odered the recently released CD of the score from Intermezzo, which includes 25 tracks and runs for 54 minutes. While it is a great score from the master, I do not at all buy into your suggestion that the voters here went with the wrong film. Of Morricone’s western output, I’d rank THE BIG GUNDOWN fourth behind:
Once Upon A Time in the West
The Good, the Bad and the Ugly
Giu La Testa (Duck You Sucker)
It all comes down to taste of course, but I believe the group here is right on the money as far as I’m concerned. Thanks very much for contribution, and including the excellent excerpt.
As another famed Christmas Special star would say, Good Grief!
I can’t believe I forgot to include this film in the line-up until now…maybe the Grinch himself stole it from my memory!
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