by Allan Fish
Here we go again, without further a-do.
Best Picture Persona, Sweden (7 votes)
Best Director Ingmar Bergman, Persona (8 votes)
Best Actor Richard Burton, Who’s Afraid of Virginia Woolf? & Per Oscarsson, Hunger (6 votes each, TIE)
Best Actress Bibi Andersson, Persona (13 votes)
Best Supp Actor Robert Shaw, A Man for All Seasons (10 votes)
Best Supp Actress Wendy Hiller, A Man for All Seasons (5 votes)
Best Cinematography Ghislain Cloquet, Au Hasard, Balthazar & Sven Nykvist, Persona (6 votes each, TIE)
Best Score Ennio Morricone, The Good, the Bad & the Ugly (14 votes)
Best Short The Pink Blueprint, US, Friz Freleng & Winnie the Pooh and the Honey Tree, US, Wolfgang Reitherman (2 votes each, TIE)
—
on to 1967…
Best Picture/Director
—
Accident (UK…Joseph Losey)
The Affair (Japan…Yoshishige Yoshida)
Anna Karenina (USSR…Aleksandr Zharki)
Anticipation (France…Jean-Luc Godard)
As Long as You’re Healthy (France…Pierre Etaix)
The Awakening of the Rats (Yugoslavia…Zivojin Pavlovic)
Beach Red (US…Cornel Wilde)
Bedazzled (UK…Stanley Donen)
Belle de Jour (France…Luis Buñuel)
The Birch Tree (Yugoslavia…Ante Babaja)
Bonnie and Clyde (US…Arthur Penn)
Born Losers (US…T.C.Frank)
Branded to Kill (Japan…Seijun Suzuki)
Camelot (US…Joshua Logan)
La Chinoise (France…Jean-Luc Godard)
La Collectioneuse (France…Eric Rohmer)
A Colt is my Passport (Japan…Takashi Nomura)
Confessions of an Actress (South Korea…Kim Soo-yong)
Cool Hand Luke (US…Stuart Rosenberg)
Crucial Years (Czechoslovakia…Juraj Jakubisko)
The Curious Dr Humpp (Argentina…Emilio Vieyra)
Dante’s Inferno (UK…Ken Russell)
Deadly Sweet (Italy…Tinto Brass)
Death Rides a Horse (Italy…Giulio Petroni)
Les Demoiselles de Rochefort (France…Jacques Demy)
Le Départ (France…Jerzy Skolimowski)
Deux ou Trois Choses Que je Sais d’Elle (France…Jean-Luc Godard)
The Dirty Dozen (US…Robert Aldrich)
Divorce American Style (US…Bud Yorkin)
Don’t Look Back (US…D.A.Pennebaker)
Dragon Gate Inn (Hong Kong…King Hu)
El Dorado (US…Howard Hawks)
Elvira Madigan (Sweden…Bo Widerberg)
The End of August at the Hotel Ozone (Czechoslovakia…Jan Schmidt)
Entranced Earth (Brazil…Glauber Rocha)
Epoch of Murder Madness (Japan…Kihachi Okamoto)
Far from the Madding Crowd (UK…John Schlesinger)
The Fearless Vampire Killers, or: Pardon Me, But Your Teeth Are in My Neck (UK/US…Roman Polanski)
Festival (US…Murray Lerner)
The Fireman’s Ball (Czechoslovakia…Milos Forman)
Flame and Woman (Japan…Yoshishige Yoshida)
The Forsyte Saga (UK…David Giles, Simon Cellan Jones)
A Gentle Spirit (Czechoslovakia…Stanislav Barabas)
The Girl of Finland (Finland…Mikko Niskanen)
The Graduate (US…Mike Nichols)
Le Grand Meaulnes (France…Jean-Gabriel Albicocco)
Grand Slam (Italy…Giuliano Montaldo)
Hagbard and Signe (Denmark…Gabriel Axel)
Happy Gypsies (Yugoslavia…Alexandr Petrovic)
Hell’s Angels on Wheels (US…Richard Rush)
Herostratus (UK…Don Levy)
Hombre (US…Martin Ritt)
How to Succeed in Business Without Really Trying (US…David Swift)
I am Curious…Yellow/Blue (Sweden…Vilgot Sjöman)
I’ll Never Forget Whats’Isname (UK…Michael Winner)
In Cold Blood (US…Richard Brooks)
In the Heat of the Night (US…Norman Jewison)
In Two Minds (UK…Ken Loach)
The Incident (US…Larry Peerce)
Japanese Summer – Double Suicide (Japan…Nagisa Oshima)
Japan’s Longest Day (Japan…Kihachi Okamoto)
Jewel Thief (India…Vijay Anand)
The Jokers (UK…Michael Winner)
The Jungle Book (US…Wolfgang Reitherman)
Kojiro (Japan…Hiroshi Inagaki)
Komissar (USSR…Aleksandr Askoldov)
Love for an Idiot (Japan…Yasuzo Masumura)
A Man Vanishes (Japan…Shohei Imamura)
Markéta Lazarová (Czechoslovakia…Frantisek Vlácil)
Martyrs of Love (Czechoslovakia…Jan Nemec)
Miraculous Virgin (Czechoslovakia…Stefan Uher)
Mist (South Korea…Kim Soo-yong)
Morning (Yugoslavia…Purisa Djördjevic)
Mouchette (France…Robert Bresson)
The Nude Restaurant (US…Paul Morrissey)
Oedipus Rex (Italy…Pier Paolo Pasolini)
One-Armed Swordsman (Hong Kong…Chang Cheh)
Our Mother’s House (UK…Jack Clayton)
People Meet and Sweet Music Fills the Heart (Denmark…Henning Carlsen)
Peppermint Frappe (Spain…Carlos Saura)
The Plank (UK…Eric Sykes)
Playtime (France…Jacques Tati)
Point Blank (US…John Boorman)
Portrait of Jason (US…Shirley Clarke)
Privilege (UK…Peter Watkins)
Quatermass and the Pit (UK…Roy Ward Baker)
The Red and the White (Hungary…Miklós Jancsó)
The Red Tied Up Balloon (Bulgaria…Binka Zhelyazkova)
The Return of the Prodigal Son (Czechoslovakia…Evald Schorm)
Romance for Bugle (Czechoslovakia…Otakar Vavra)
Saddled With Five Girls (Czechoslovakia…Evald Schorm)
The St Valentine’s Day Massacre (US…Roger Corman)
Le Samourai (France…Jean-Pierre Melville)
Samurai Rebellion (Japan…Masaki Kobayashi)
Scattered Clouds (Japan…Mikio Naruse)
Separation (UK…Jack Bond)
Short Encounters (USSR…Kira G.Muratova)
The Shuttered Room (UK/US…David Greene)
Sing a Song of Sex (Japan…Nagisa Oshima)
Slave Widow (Japan…Yazuru Watanabe)
Stimulantia (Sweden…Ingmar Bergman, Hans Abramson, Hans Alfredson, Jörn Donner, Gustaf Molander, Vilgot Sjöman, Arne Arnborn, Tage Danielsson, Lars Görling)
The Story of a Discharged Prisoner (Hong Kong…Lung Kong)
The Switchboard Operator (Yugoslavia…Dušan Makavejev)
Ten Thousand Suns (Hungary…Ferenc Kosá)
Théâtre de Monsieur et Madame Kabal (France…Walerian Borowczyk)
Thirst for Love (Japan…Koreyoshi Kurahara)
Titicut Follies (US…Frederick Wiseman)
To Sir With Love (UK…James Clavell)
The Trip (US…Roger Corman)
Two For The Road (UK…Stanley Donen)
The Two of Us (France…Claude Berri)
Two Wives (Japan…Yasuzo Masumura)
The Unforgettable (USSR…Julia Solntseva)
Violated Angels (Japan…Koji Wakamatsu)
Viy (USSR… Georgy Kropachyov, Konstantin Yershov)
Le Voleur (France…Louis Malle)
Vortex (Greece…Nikos Koundouros)
Wait Until Dark (US…Terence Young)
Wavelength (Canada…Michael Snow)
We Still Kill the Old Way (Italy…Elio Petri)
Weekend (France…Jean-Luc Godard)
When I Am Dead and White (Yugoslavia…Zivojin Pavlovic)
The Whisperers (UK…Bryan Forbes)
The White Bus (UK…Lindsay Anderson)
The Wife of Seishu Hanaokai (Japan…Yasuzo Masumura)
The Winter (Hong Kong…Li Han-hsiang)
You Only Live Twice (UK…Lewis Gilbert)
—
Best Actor
—
Alan Arkin Wait Until Dark
Stanley Baker Accident
Warren Beatty Bonnie and Clyde
Robert Blake, In Cold Blood
Dirk Bogarde Accident
Alain Delon Le Samouraï
Albert Finney, Two for the Road
Richard Harris Camelot
Charlton Heston Will Penny
Dustin Hoffman The Graduate
Andrew Keir, Quatermass and the Pit
Oded Kottler Three Days and a Child
José Luiz López Vázquez Peppermint Frappe
Lee Marvin Point Blank
Dudley Moore, Bedazzled
Robert Morse How to Succeed in Business Without Really Trying
Paul Newman Cool Hand Luke
Sidney Poitier In the Heat of the Night
Eric Porter The Forsyte Saga TV
Michel Simon The Two of Us
Rod Steiger In the Heat of the Night
Spencer Tracy Guess Who’s Coming to Dinner
Gian Maria Volonte We Still Kill the Old Way
Eli Wallach The Tiger Makes Out
—
Best Actress
—
Harriet Andersson People Meet and Sweet Music Fills the Heart
Jane Arden Separation
Ruriko Asaoka Thirst for Love
Anne Bancroft The Graduate
Geraldine Chaplin Peppermint Frappe
Julie Christie Far From the Madding Crowd
Anna Cropper In Two Minds TV
Catherine Deneuve Belle de Jour
Sandy Dennis Up the Down Staircase
Faye Dunaway Bonnie and Clyde
Edith Evans The Whisperers
Audrey Hepburn Two for The Road
Audrey Hepburn Wait Until Dark
Katharine Hepburn Guess Who’s Coming to Dinner
Anne Jackson The Tiger Makes Out
Kim Jin-gyu Confessions of an Actress
Krystyna Mikolajewska Dita Saxova
Nonna Mordyukova Komissar
Kira G.Muratova Short Encounters
Nadine Nortier, Mouchette
Mariko Okada The Affair
Nyree Dawn Porter The Forsyte Saga TV
Eva Ras Switchboard Operator
Debbie Reynolds Divorce American Style
Nina Ruslanova Short Encounters
Tatiana Samoilova Anna Karenina
Elizabeth Taylor The Taming of the Shrew
Magda Vasaryova Marketa Lazarova
Carol White Poor Cow
—
Best Supp Actor
—
Richard Attenborough Doctor Dolittle
Alfie Bass The Fearless Vampire Killers
Gunnar Björnstrand Stimulantia
John Cassavetes The Dirty Dozen
Peter Cook, Bedazzled
George A.Cooper In Two Minds TV
Tom Courtenay The Night of the Generals
Peter Finch Far from the Madding Crowd
Gene Hackman Bonnie and Clyde
Cecil Kellaway Guess Who’s Coming to Dinner
George Kennedy Cool Hand Luke
Fredric March Hombre
Strother Martin Cool Hand Luke
Ferdy Mayne The Fearless Vampire Killers
Kenneth More The Forsyte Saga TV
François Perier Le Samourai
Sidney Poitier Guess Who’s Coming to Dinner
Michael J.Pollard Bonnie and Clyde
Rudy Vallee, How To Succeed In Business Without Really Trying
Scott Wilson, In Cold Blood
Keenan Wynn Point Blank
Michael York Accident
—
Best Supp Actress
—
Ingrid Bergman Stimulantia
Helen Booth In Two Minds TV
Eleanor Bron Bedazzled
Michele Carey El Dorado
Carol Channing Thoroughly Modern Millie
Diane Cilento Hombre
Angie Dickinson Point Blank
Lee Grant, In the Heat of the Night
Susan Hampshire The Forsyte Saga TV
Catherine Lacey The Sorcerers
Michele Lee How to Succeed in Business Without Really Trying
Beatrice Lillie Thoroughly Modern Millie
Mildred Natwick Barefoot in the Park
Genevieve Page Belle de Jour
Estelle Parsons Bonnie and Clyde
Prunilla Ransome Far From the Madding Crowd
Beah Richards Guess Who’s Coming to Dinner
Lone Rode People Meet and Sweet Music Fills the Heart
Jean Simmons Divorce American Style
Yoko Tsukasa Samurai Rebellion
Jo Van Fleet, Cool Hand Luke
—
Best Cinematography
—
Quinto Albicocco Le Grand Meaulnes
Nestor Almendros La Collectioneuse
Jean Badal, Andreas Winding Playtime
Bedrich Batka Marketa Lazarova
Ghislain Cloquet Les Demoiselles de Rochefort
Ghislain Cloquet Mouchette
Raoul Coutard Deux ou Trois Choses que Je sais d’elle
Raoul Coutard Weekend
Henri Decaë Le Samourai
Valery Ginsburg Komissar
Burnett Guffey Bonnie and Clyde
Conrad L.Hall Cool Hand Luke
Conrad L.Hall In Cold Blood
James Wong Howe Hombre
Mitsuji Kanau The Affair
Richard H.Kline Camelot
Philip Lathrop Point Blank
Yoshio Mamiya Thirst for Love
Shigeyoshi Mine A Colt is My Passport
Oswald Morris The Taming of the Shrew
Kazue Nagatsuka Branded to Kill
Jorgen Persson Elvira Madigan
Nicolas Roeg Far from the Madding Crowd
Giuseppe Ruzzolini Oedipus Rex
Tamas Samlo The Red and the White
Douglas Slocombe The Fearless Vampire Killers
Robert L. Surtees The Graduate
Sacha Vierny Belle de Jour
Kazuo Yamada Samurai Rebellion
—
Best Score
—
Richard Rodney Bennett Far from the Madding Crowd
Elmer Bernstein Thoroughly Modern Millie
François de Roubaix Le Samourai
Georges Delerue Our Mother’s House
Harumi Ibe A Colt is My Passport
Quincy Jones In Cold Blood
Krzysztof Komeda The Fearless Vampire Killers
Michel Legrand Les Demoiselles de Rochefort
Zdenek Liska Marketa Lazarova
Johnny Mandel Point Blank
Lalo Schifrin Cool Hand Luke
Toru Takemitsu Samurai Rebellion
—
Best Short
—
Anticipation (France…Jean-Luc Godard)
5 Postcards from Capital Cities (UK…Peter Greenaway)
Electronic Labyrinth: THX 1138 4EB (US…George Lucas)
Everything is a Number (Poland…Stefan Schabenbeck)
Eye Myth (US…Stan Brakhage)
Fuses (US…Carolee Schneeman)
God is Dog Spelled Backwards (US…Don MacLaughlin)
The Great Society (US…Fred Mogubgub)
Historia Naturae, Suita (Czechoslovakia…Jan Svankmajer)
The House That Jack Built (Canada…Ron Tunis)
Kusama’s Self-Obliteration (US…Jud Yalkut)
The Liberation of the Mannique Mechanique (US…Steven Arnold)
A Life in a Tin (Italy…Bruno Baretto)
The Love Life of an Octopus (France…Jean Painleve)
Marvin Digs (US…Ralph Bakshi)
Nine Variations on a Dance Theme (US…Hilary Harris)
Oz: The Tin Woodman’s Dreams (US…Harry Smith)
The Perfect Human (Denmark…Jorgen Leth)
Rail (UK…Geoffrey Jones)
Railroad (West Germany…Lutz Mommartz)
Report (US…Bruce Conner)
Revolution (UK…Peter Greenaway)
Rosalie (France…Walerian Borowczyk)
Samadhi (US…Jordan Belson)
Shadow of an Apple (France…Robert Lapoujade)
The Sufferings of a Ravaged Egg (Belgium…Roland Lethem)
What On Earth (Canada…Les Drew and Kaj Pindal)
You’re in Love, Charlie Brown (US…Bill Melendez)
Click on names for archives
Writers/Founders
Best Picture: Marketa Lazarova
Best Director: Frantisek Vlacil (Marketa Lazarova)
Best Actor: Alain Delon (Le Samourai)
Best Actress: Catherine Deneuvre (Belle de Jour)
Best Supporting Actor: Gene Hackman (Bonnie & Clyde)
Best Supporting Actress: Estelle Parsons (Bonnie & Clyde)
Best Cinematography: Jorgen Persson (Elvira Madigan)
Best Score: Zdenck Liska (Marketa Lazarova)
Though 1967 lags behind 1966 taking the respective outputs into consideration, the year does include three of the greatest films of all-time, MARKETA LAZAROVA, PLAYTIME and MOUCHETTE
In addition to the iconic three, I’d add that the following films are very great: Belle de Jour; The Fireman’s Ball, Le Samourai, In Cold Blood, Weekend, The Red and the White, The Switchboard Operator; The Graduate; Bonnie & Clyde; Quatermass and the Pit, Elvira Madigan.
Right behind Liska in score is George Delarue for Our Mother’s House; Quincy Jones for In Cold Blood; Kris Komeda for The Fearless Vampire Killers and Elmer Bernstein for Thoroughly Modern Millie.
Addition:
Best Short: Revolution (Greenaway)
Funny, I just realized this can’t be a ’67 film as the Beatles song wasn’t even recorded until the spring of ’68! And the cutting does look like its to the music so this is probably the original ski soundtrack (it doesn’t seem like Greenaway to do such a straightforward montage, but this was early in his career…)
Gotta see Lazarova sometime. Until then, I often think of this as a French year above all — arguably the country’s “1939” — but the competition is strong all around the world in ’67. At the tip top it boils down to a choice between two kinds of perfection. Here goes:
Best Picture: Playtime (Runner-up: Le Samourai)
Best Director: Tati (Runner-up: Melville)
[Godard deserves an honorable mention for an awesome trifecta]
Best Actor: Delon (Runner-up: Heston in his best performance)
Best Actress: Mordyukova, Kommisar
Supporting Actor: Perier
Supporting Actress: Parsons
Cinematography: Cloquet, Mouchette
Score: Mandel, Point Blank
Have to change my vote for Best Score after remembering Leo Brouwer’s music for The Adventures of Juan Quin Quin, a Cuban score in high Sixties style for a rousing revolutionary comedy.
For this go-round, I could not ignore Monsieur Tati, who bet it all and won, albeit belatedly. The following six films were quick on his heels, though. I still think THE GRADUATE might be the most important US film of this year, but IN COLD BLOOD and, especially, TITICUT FOLLIES bests it in emotional impact. It was a terrific year for UK film, with THE FORSYTE SAGA, QUATERMASS AND THE PIT, FAR FROM THE MADDING CROWD, US director Stanley Donen’s BEDAZZLED and TWO FOR THE ROAD, ACCIDENT, THE WHISPERERS, and OUR MOTHER’S HOUSE. Ditto for the French, with Tati, MOUCHETTE, Godard’s output spearheaded by WEEKEND and LE SAMOURAI. In a bejeweled race for the acting categories, I finally had to give Paul Newman his due, as I did Audrey Hepburn, while the Supporting Actor race was filled with delightful villains (and the Supporting Actress race was, for me, a no-brainer). This time, I took it upon myself to add some nominees to Allan’s list (seeing as how he was reluctant to add them for me, and I couldn’t see how it would hurt). Also, this is the first year that I (like the Academy) reduced the technical categories into a combination of B&W and Color considerations (given that B&W was clearly on its way out). Seeing as I had more time, I added runners up for the directors and screenplay categories. Anyway, here are my choices:
PICTURE: PLAYTIME (followed by, in descending order: Weekend, Mouchette, Titicut Follies, In Cold Blood, Belle de Jour, The Graduate, The Forsyte Saga, Bonnie and Clyde, Bedazzled, Quatermass and the Pit, Cool Hand Luke, Don’t Look Back, Point Blank, Far from the Madding Crowd, Le Samourai, The Fireman’s Ball, The Red and The White, Grand Slam, The Jungle Book, Two For The Road, The Dirty Dozen, Festival, Accident, In The Heat of the Night, The Incident, Hell‘s Angels on Wheels, The Whisperers, The Fearless Vampire Killers, Or: Pardon Me But Your Teeth are in My Neck, How to Succeed in Business Without Really Trying, Hombre, Our Mother‘s House, Beach Red, I’ll Never Forget Whats’Is Name, In Like Flint, You Only Live Twice, Elvira Madigan, To Sir With Love, The Trip)
DIRECTOR: Jacques Tati, PLAYTIME (2nd: Jean Luc Godard, Weekend, followed by Frederick Wiseman, Titicut Follies; Luis Bunuel, Belle de Jour; Robert Bresson, Mouchette; Mike Nichols, The Graduate)
ACTOR: Paul Newman, COOL HAND LUKE (2nd: Dustin Hoffman, The Graduate followed by Robert Blake, In Cold Blood; Andrew Keir, Quatermass and the Pit; Alain Delon, Le Samourai; Lee Marvin, Point Blank)
ACTRESS: Audrey Hepburn, TWO FOR THE ROAD (2nd: Nadine Nortier, Mouchette, followed by Anne Bancroft, The Graduate; Catherine Deneuve, Belle Du Jour; Edith Evans, The Whisperers; Faye Dunaway, Bonnie and Clyde)
SUPPORTING ACTOR: Peter Cook, BEDAZZLED (2nd: Alan Arkin, Wait Until Dark, followed by Scott Wilson, In Cold Blood; Gene Hackman, Bonnie and Clyde; Strother Martin, Cool Hand Luke; Peter Finch, Far from the Madding Crowd)
SUPPORTING ACTRESS: Katherine Ross, THE GRADUATE (2nd: Estelle Parsons, Bonnie and Clyde, followed by Jo Van Fleet, Cool Hand Luke; Lee Grant, In The Heat of the Night; Prunella Ransome, Far from the Madding Crowd; Susan Hampshire, The Forsyte Saga)
CINEMATOGRAPHY: Robert Surtees, THE GRADUATE (2nd: Conrad Hall, In Cold Blood)
SCORE: Lalo Schifrin, COOL HAND LUKE (2nd: Quincy Jones, In Cold Blood)
SHORT: WAVELENGTH (Michael Snow) (2nd: Samhadi (Jordan Belson))
FURTHER:
ORIGINAL SCREENPLAY: Nigel Kneale, QUATERMASS AND THE PIT (2nd: Frederic Raphael, Two for the Road, followed by Bonnie and Clyde, Playtime, The Fireman’s Ball)
ADAPTED SCREENPLAY: Richard Brooks, IN COLD BLOOD (2nd: Robert Bresson, Mouchette, followed by The Graduate, Cool Hand Luke, The Forsyte Saga, Belle de Jour)
DOCUMENTARY FEATURE: TITICUT FOLLIES (Frederick Wiseman) (2nd: Don’t Look Back (D.A. Pennebaker))
ART DIRECTION: PLAYTIME
COSTUME DESIGN: BONNIE AND CLYDE
FILM EDITING: BONNIE AND CLYDE
SOUND: PLAYTIME
SCORING OF A MUSICAL: THE YOUNG GIRLS OF ROCHEFORT (Michel Legrand)
ORIGINAL SONG: “The Look of Love” from CASINO ROYALE (Music by Burt Bacharach, lyrics by Hal David) (2nd: “You Only Live Twice” from You Only Live Twice, Music by John Barry, lyrics by Leslie Bricusse)
SPECIAL EFFECTS: YOU ONLY LIVE TWICE
MAKEUP: QUATERMASS AND THE PIT
ANIMATED FEATURE: THE JUNGLE BOOK
I also love the harrowing TITTICUT FOLLIES Dean! Wow, this is SOME presentation here!!!!
Thank you, Sam!
Yeah, I really need to see that (I’ve seen clips). High School too.
Just linked up the shorts. I know people are voting for what they’ve seen, but the links are there to encourage you to discover something new! (Says the guy who hasn’t found time to watch much he’s posted in the past few weeks :(. But that will be changing soon I promise…)
Among other notable short highlights this year: the Danish film which, thirty-five years later, was remade 5 times in trying conditions under Lars von Trier’s perverse rules in The Five Obstructions; the notorious found-footage avant-garde film Report by Bruce Conner; George Lucas’ student magnum opus, later remade as his first feature; and The Love Life of an Octopus, maybe Jean Painleve’s more charming underwater film, a highlight of the recent Criterion Collection featuring the aqueous auteur’s output.
Watch ’em all!
Feature: Miraculous Virgin
followed by:
2. La Chinoise
3. Don’t Look Back
4. Le Samourai
5. The Red and the White
Short: I’m gonna watch & return (I swear)
Director: Jacques Tati, Playtime (almost gave it to Jancso, for a kind of fascinating mirror image of what Tati was doing)
Actor: Dustin Hoffman, The Graduate
Actress: Anne Bancroft, The Graduate
Supp. Actor: Gene Hackman, Bonnie and Clyde
Supp. Actress: Haydée Politoff, La Collectionneuse (ridiculous, as she’d almost certainly be in the Lead category if nominated, but since she’s not, I’m cheating – there simply isn’t anyone else who compells me to vote for them in this category, especially since I haven’t seen a lot of the American films)
Cinematography: Kazuo Yamada, Samurai Rebellion
Score: Francois de Roubaix, Le Samourai (I would’ve said Bonnie and Clyde, but I guess that’s pre-existing music?)
Screenplay: Eric Rohmer, La Collectionneuse
Editing: Dede Allen, Bonnie and Clyde
Ensemble: Lee Marvin, Ernest Borgnine, Charles Bronson, Jim Brown, John Cassavetes, Richard Jaeckel, George Kennedy, Trini López, Ralph Meeker, Robert Ryan, Telly Savalas, Donald Sutherland, Clint Walker, Robert Webber, Tom Busby, The Dirty Dozen
Scene: Death in the road, Bonnie and Clyde
Line: “What we have here…is a failure…to communicate!”, Cool Hand Luke
Use of Music: The Graduate, it’s gotta be. Though the mad Mao pop music of La Chinoise & the proto-music video of Don’t Look Back come close.
Close calls: DIRECTOR – Miklos Jancso for the Red and the White, ACTRESS – Nadine Nortier in Mouchette, SUPP. ACTOR – Michael J. Pollard in Bonnie & Clyde, CINEMATOGRAPHY – Henri Dacae for Le Samourai, Burnett Guffey for Bonnie & Clyde, Tamas Samlo for The Red and the White.
And yes, I too need to see Marketa Lazarova.
http://www.stickam.com/viewMedia.do?mId=192157747
Sad thing is Lazarova is only available east of the pond and while in the UK newarly everyone has multi region players, in the US hardly anyone does. Shame.
Well I do have multi region so laziness is my only excuse.
Yeah, and I only just got a computer after 6 mos without one (lost TV access around the same time) & my DVDs are all back east still so…probably will be a while. :/. I should have a list ready though when I do succumb…
Of course by the same token Miraculous Virgin isn’t exactly widely available either, and I managed to see that haha. Where there’s a will, there’s a way…
You need a will in the right direction
I envy the availability of so many non-english films around the world. Here, in America, we have problems with supression, I think, so bear with us.
Well, now it’s working, and I just watched it. Others should too – it’s a fascinating fusion of experimental technique and 60s documentary reportage.
But Dean, multi region players are cheap. It shouldn’t be an issue any more.
Allan, I think the point is to watch R1′s you can rent the DVD or even stream. At one a day that’s like 20 cents per movie. Whereas with R2s or even R0′s you pretty much have to buy the movie to see it. So the cost of the individual discs remains even if one can afford a multiregion player (and for a lot of people in this economy, costs beyond food and bills are out of the question – or should be; I just indulged in the Criterion sale but given mounting credit bills, money I owe, and the precarious nature of my present work I probably shouldn’t have!).
Really I think you are blaming the victim here – the real culprit is the way U.S. corporations rig the media game, with Congressional help, so that their products have an unfair advantage. Something which has ramifications way past multiregion capability.
Joel, I am curious as to the love for Jansco here (don’t get me wrong, THE RED AND THE WHITE is a great film) but why was there complete silence from the group on THE ROUND-UP in 1965, which is not only Jansco’s masterpiece, but one of the greatest films ever made in Hungary.
The Red and the White is on DVD in the States, The Round Up is not.
Yes true enough. But I suspect that a good number of the group here may still have seen it, though again only speculation.
I saw both movies through a site called stagevu.com. I don’t have an all-region player, nor do I have much disposable income to rent movies from Netflix or the only local video show in town. Plus I don’t have a credit card (and won’t ever have one, as I despise them). So all these factors make seeing a lot of the obscure films listed every week well nigh impossible for me, at least at this time. I do love THE ROUND-UP and agree it’s a masterpiece. I had it in my top twenty last week, and gave it my B&W cinematography nod.
Aye Dean you did indeed have THE ROUND-UP there. Ah, credit cards. They are a blight on our society and the mode to self-destruction. Abused it again yesterday with the $150.00 (half price though from $300) blu-ray Hitchcock Universal set of 15 films. It never ends! Ha!
Well, Red and White I’ve only seen in a theater, and I haven’t seen Round-Up or Red Psalm which (along with Marketa Lazarova) made a holy grail list of mine a few years back, so I should summon some Arthurian determination an plunge into torrent land or something. Although truthfully by any standard – theatrical, DVD, or online – this has been the slightest viewing year in recent memory for me.
I have no idea how that Rodriguez clip ended up in my comment, btw. At least that’s what shows up on my browser…
I was wondering about that!
/fixed. The Lucas video was part of a larger playlist featuring famous directors’ early shorts, and for some reason it would only show the first video on the playlist (the Rodriguez one). I replaced the link.
Well, damn. It appears that Report no longer will play, despite seeming to work several days ago, when I posted the link. Should have struck while the iron was hot – this movie’s too damn hard to see.
Short: Everything is a Number
honorable mention: Historia Naturae – Suita, A Life in a Tin, The Love Life of an Octopus, Nine Variations on a Dance Theme, The Perfect Human, Report
Revision…
Supporting Actress: Giovanna Claudia Mongino, La Cotta
I posted it below as well but hell, here it is again. Love this maybe even more than the great Il Posto, whose disc it appears on as a supplement. Everyone who stumbles across it seems to have the same impression. I almost forgot it came out this year.
I am changing my vote for short to break a tie, since I was on the fence anyway. I join Jaime in supporting the Conner, thus delivering it a clear victory.
Short: Report
Like Samuel I have also failed to see Lazarova at this late date. I doubt it could snatch my Best Picture since the selection is probably one of my ten favorite movies ever, but it certainly could alter the surrounding landscape.
Best Picture: Playtime
Top Five: 1. Playtime 2. Le Samourai 3. Belle Du Jour 4. The Graduate 5. Mouchette
The year of my birth, 1967…
BEST PICTURE: BELLE DE JOUR
Top 5: 1. Belle Du Jour 2. The Graduate 3. Mouchette 4. Bonnie and Clyde 5. Le Samourai
Tough decisions abound when choosing a best from this group of five finalists. I have a deep rooted love for THE GRADUATE and the film stands as one of my 10 personal favorite of all time (along with: Vertigo, King Kong, Jaws, Fantasia, 2001, The Wizard of Oz, Apocalypse Now, City Lights and Superman). The film is probably the single most important in terms of social theme and topic considering the time it was released. However, BELLE DE JOUR take the top slot as every frame of the film is a work of art when all the elements come together. It may not have the best photography, music, direction or performances. However, when all of these things come together to tell that story… Well, it becomes a miracle.
DIRECTOR: Mike NICHOLS (THE GRADUATE)
Runner Up: Arthur Penn (BONNIE AND CLYDE)
Penn almost had me with dreamlike sequences that find BONNIE AND CLYDE at the beach having the final and fateful goodbye picnic with Bonnie’s mother. However, Nichols bizarre nudging of the camera seems to be in the choicest spots to signify Benjamins claustrophobic reaction to tenderness and seduction. One scene says it all and that’s Mrs. Robinsons leg up on the bar-stool as Hoffman stands in the back, looking on at the viper that will ruin his life: “Mrs. Robinson, you’re trying to seduce me.”
LEAD ACTOR: Dustin HOFFMAN (THE GRADUATE)
Runner Up: Alain Delon (LE SAMOURAI)
Delon finds his best role in LE SAMOURAI and in any other year he’d have taken the top position for me. BUT… Hoffman’s tender and touching, funny and paranoid turn as Benjamin Braddock not only reminded every male on the face of the planet what it was like to be seduced by that bad girl for the very first time and the confusion we all went through during our sexual awakening, but delivered the finest debut performance by an American actor since Orson Welles walked in front of the camera as Charles Foster Kane. Pity that Hoffman pretty much fizzled out after only about ten years. His turn in THE GRADUATE and 1969’s MIDNIGHT COWBOY hinted at a titanic career ahead of him.
LEAD ACTRESS: Anne BANCROFT (THE GRADUATE)
Runner Up: Catherine Denueve (BELLE DE JOUR)
No contest in my book. I have written extensively on the levels of despair, self gratification and the “lost child” that resides in Bancroft’s turn in THE GRADUATE. Mrs. Robinson is one of the most complex and moving portrayals of regret and reverse adult maturation ever done on the screen. Some call her turn a villianous one, but it’s far deeper than that quick analysis. Bancroft made history with this one and she NEVER turned in a better performance before or since. Christ, SHE WAS SO SEXY TOO!!!!!!
SUPP. ACTOR: George KENNEDY (COOL HAND LUKE)
Runner Up: Gene Hackman (BONNIE AND CLYDE)
Tough call, but I, ultimately go with Kennedy’s big bear of a performance as he’s the eyes of innocence that sees a deity destroyed in COOL HAND LUKE. Christ went to the cross with his deciples before him and Kennedy’s turn as the witness to a crucifixion is one of adulation and home spun Southern devotion. His final moments in the film are so moving that they can bring you to tears of despair.
SUPP. ACTRESS: Katharine ROSS (THE GRADUATE)
Runner Up: Genevieve Paige (BELLE DE JOUR)
How was ROSS overlooked in the listing? Probably as good as Hoffman is in THE GRADUATE, her debut turn is one of frightening innocence disguised as pre-adult maturity. At once she is the stern figure of resolve, the next she’s a frightened kitten hoping for a prince to whisk her away. The moment that sees her figure out just who it was that seduced Benjamin is a mini tour-de-force of hysterical confusion and betrayal. I fell in love with Katharine Ross in this film and, for the life of me, can never understand why she never became the huge star she was supposed to be after this film.
PHOTO: Conrad HALL (IN COLD BLOOD)
No brainer. The final moments that see Perry in the holding cell, spilling his guts about his father and how he never had the chance to really talk to him, as the rain patters the window and casts a reflection on the actor (Robert Blake) that makes it all look like tears is one of the text-book examples as to why Hall was one of the greatest masters in the art of cinematography.
MUSIC: Quincy JONES (IN COLD BLOOD)
The pseudo jazzy turned stoccato cold score for this one lends the film a perverse feeling of impending dread over the entire movie and, although the movie was never able to capture the beauty of Capote’s poetic prose, at least pontificated the chilling confusion and inevitability of the authors work through the music and photography. Jones was perfect for bringing out the feel of Capote’s writing through music.
Re: Ross, yeah I wonder now why I dismissed her so easily from the runnings (picking instead an actress who wasn’t even a support). Great description of her discovery about her mom & Ben. I feel like she gets written off a lot because she’s not as dynamic as Mrs. Robinson, though of course that’s part of the point…just another confused kid like Ben (which either makes them a great match, or a match made in incommunicative post-adolescent hell). And also honestly the character is not as well-written as the others; we’re never quite sure who she is the way we know Ben & Mrs. Robinson, almost like she’s more someone who gets everything projected on her (by lovelorn Ben or over-protective Mama R). She plays the part well though.
NO. It’s a truly GREAT performance, Joel. She’s perfectly playing the split confusion of knowing what is right and protecting what is familiar to her. She never once lets us feel as if she doesn’t know what her mother was capable of and it’s “loner” actions she takes on when she’s back at Berkley that signify her disdain for the fucked up childhood she’s obviously hiding from and trying to seperate away from. Her moments at the drive-in, when she and Ben talk about all the things they are about, the stuff they never dreamed they had in common with ANYONE, are some of the greatest moments of adolescent discovery ever caught on film. You can actually feel the attraction between them. That, and the reactions she has on her face after she and Ben settle down in the bus in the final moment of the film is an expert portrayal of dawning miscalculation and young adult defiance that, we can tell, will slam them into the brick wall of harsh and quick real world reality.
You can always change your vote, Joel!
Nah, I do that enough already haha. And I’d like to give the recognition to Haydee, who plays callow youth with charm and verve, even if she’s not quite a support.
(I.e. see Jaime below…)
It was such a pain choosing between Hall’s photography for IN COLD BLOOD and Surtees’ work on THE GRADUATE. But THE GRADUATE continues to astound me with its photography. Surtees is incredibly adventurous, lensing in a variety of circumstances and lighting choices, in service of a very playful director (I love his lens pulling during Ross’ realization of the true nature of Ben and Mrs. Robinson’s relationship). I think it’s this legendary photographer’s best work, while Hall’s best is still to come.
I vote “Branded to Kill” for best film in 1967.
I vote Seijun Suzuki for best director (“Branded to Kill”) in 1967.
I vote Robert Blake for best actor in “In Cold Blood” in 1967.
I vote Haydee Pollitof for best actress in “La collectionneuse” in 1967.
I vote Scott Wilson for best supporting actor in “In Cold Blood” in 1967.
I vote Yoko Tsukata for best supporting actress in “Samurai Rebellion” in 1967.
I vote “Branded to Kill” for best cinematography in 1967.
I vote “A Colt is my Passport” for best score in 1967.
I vote “Wavelenght” for best short in 1967.
Jaime, by Allan’s criterion, 40 min+, Wavelength is not a short. In fact it’s on his feature list…
I saw someone else voting for it, so I just took the point.
I think it should still be considered a short. I wouldn’t pay happily for a 45 min film without expecting other shorts to fill out the program. That’s my criteria for a short.
But then a short would depend on what each individual thought wasn’t sufficient. 40 minutes is the industry standard, has been since the silent era.
I change my vote for best short to “Report” in 1967.
And from now on, I shall post a top 5 for each year:
1. Branded to Kill
2. In Cold Blood
3. Samurai Rebellion
4. This Night I’ll Possess Your Corpse
5. A Colt is my Passport
Plenty of good films, but a pretty easy choice at the top…
PICTURE: Playtime
DIRECTOR: Tati
LEAD ACTOR: Lee Marvin, Point Blank
LEAD ACTRESS: Catherine Deneuve, Belle du Jour
SUPPORTING ACTOR: Gene Hackman, Bonnie and Clyde
SUPPORTING ACTRESS: Katharine Ross, The Graduate
SHORT: not yet…
SCORE: Toru Takemitsu, Samurai Rebellion
CINEMATOGRAPHY: Tamas Samlo, The Red and the White
Plus bonus picks:
Script: Pinter, Accident
Music/Sound: Don’t Look Back – but not documentary
Documentary: A Man Vanishes – one of the great docs ever, if it is, in fact, a documentary. With Don’t Look Back and Titicut Follies dating from 67, this is a spectacular year for them…
Picture: Bonnie and Clyde
Director: Arthur Penn, Bonnie and Clyde
Actor: Dustin Hoffman, The Graduate
Actress: Anne Bancroft, The Graduate
Sup. Actor: Gene Hackman, Bonnie and Clyde
Sup. Actress: Estelle Parsons, Bonnie and Clyde
Photography: Burnett Guffey, Bonnie and Clyde
Film: ‘Bonnie and Clyde’; ‘Weekend’; ‘The Case of the Missing Switchboard Operator’
Director: Jean-Luc Godard (‘Weekend’, ‘La Chinoise’, Two or Three Things I Know About Her’) RU: Dusan Makavejev (‘The Case of the Missing Switchboard Operator’); Penn (‘Bonnie and Clyde’)
Actor: Paul Newman (‘Cool Hand Luke’ and ‘Hombre’) RU: Thommy Berggren (‘Elvira Madigan’); Jean-Pierre Leaud (‘La Chinoise’)
Actress: Catherine Deneuve (“Belle de Jour’); Anne Wiazemsky (‘La Chinoise’); Edith Evans (‘The Whisperers’)
S. Actor: Gene Hackman (‘Bonnie and Clyde’); no 2nd or 3rd choice
S. Actress: Genevieve Page (‘Belle de Jour’); Diane Cilento (‘Hombre’); no 3rd choice
Screenplay: David Newman and Robert Benton (‘Bonnie and Clyde’); Dusan Makavejev and Branko Vucicevic (‘The Case of the Missing Switchboard Operator’); Jean-Luc Godard (‘Weekend’)
Photography: Burnett Guffey (‘Bonnie and Clyde’); Raoul Coutard (for the Godard trio); Tamas Samlo (‘The Red and the White’)
Not a huge Tati fan, can’t find ‘Marketa Lazarova’ anywhere, and am probably derelict in not mentioning Bresson and his superlative ‘Mouchette’. Ditto Jancso and ‘The Red and the White’.
Best scene: The death of Buck Barrow in ‘B&C’ — “Daddy, don’t die!”
Mark, let me say this. You will soon have MARKETA LAZAROVA in your possession and this is a certainty, not temporary hot air.
You can’t copy Region 2s.
I have three “free” changeovers with the current burner. I might as well use one of them! This is a noble cause in my view!
But you lose two of them in setting it back again AND copying doesn’t remove the region code. So Mark still won’t be able to see it.
Yes I would lose two, and frankly I can afford to. However, the other point you make is true is very depressing news.
So why bother? What’s the point of losing two changes when the copy won’t be playable by Mark anyway. Pointless.
Please, don’t tell me you’re a Region 1 only, Mark. I’m surrounded by isolationists.
We can’t help it. All-region players aren’t available in stores, and some of us can’t get them on line.
Quite right Dean. They are not at all easy to find, and they can be a real difficulty in navigating, especially the all-region blu-ray players. I’ve owned them for years, and while I don’t regret this remotely and have amassed a big collection of Region 2 DVDs and blus, it is admittedly an endurance test.
Yes, indeedy. A Region 1 isolationist, I’m afraid.
On Amazon, a region free dvd player can be purchased for less than $100. It would make sense to Mark, Dean, etc that whenever your present dvd player breaks (or your flush with some extra cash) to buy one that plays everything. The only way one can presently enjoy stuff like Franju’s Judex, Reed’s Odd Man Out (at a respectable price), a clutch of Bresson’s, and a million other titles deemed unnecessary and unworthy for the US market.
Region 1 isolationists, damn you all to hell. Only in America, in Europe everyone has multi region. US DVDs and Blus get reviews in Sight & Sound. Any American magazine doing that for UK DVDs or Blus would probably be shot for being unAmerican.
Just checked Marketa, it’s Region 0 and less than $15 – Mark can get his own, as can anyone else. No excuse for anyone not to see this film.
http://www.amazon.co.uk/Marketa-Lazarov%C3%A1-DVD-Frantisek-Vlacil/dp/B000WOTTSS/ref=sr_1_1?ie=UTF8&qid=1353880593&sr=8-1
I’ll cm check this out. Just used the B&N discount to purchase a couple personal favorites which I’ve already seen multiple times, so I feel effectively guilt-tripped haha (though its kinda apples/oranges, scratching different itches). I’ll check out this option – thanks for the heads-up!
What’s with the ice-skating cats in that Amazon pic though?!
Ideally, people need to see the brand new restoration from the Czech Republic which I have on Blu but this will do.
Well, as you know I ordered that blu-ray of it this week.
$15 is three days of food for me.
Indeed Dean. If this is Region “o” I can copy quite easily. No need for anyone here to spend $15.
Why spend money when there are handouts.
Interesting that you would put it that way when you have done much the same for a number of bloggers.
I do indeed, but normally of stuff that isn’t on DVD anywhere. But in this case I wasn’t meaning it in any bad way, it was just as said, why spend money when you can get for free.
15 bucks? That’s a fortune!
Pic- Play Time
Dir- Tati
Actor- Alain Delon – Le Samourai
Actress- Nadine Nortier – Mouchette
Supp. Actor – Hackman – Bonnie and Clyde
Supp. Actress- Katherine Ross – The Graduate
Cinematography- Conrad Hall – In Cold Blood
Score- Quincy Jones – In Cold Blood
Pic – Le Samourai (France…Jean-Pierre Melville)
Director – Bonnie and Clyde (US…Arthur Penn)
Actor – Albert Finney, Two for the Road
Actress – Audrey Hepburn Two for The Road
Sup Actor – George Kennedy Cool Hand Luke
Sup Actress – Genevieve Page Belle de Jour
Can I say how much I love this process every week? Thank you, Allan and Sam, for all that you teach me.
Ditto, I have a weird double sensation when I fill out the ballot each week, on the one hand delighting in finally getting to figure out where I’m gonna come down on each category after a week’s anticipation, and on the other ripping through the process impatient to see the final result of my votes, like a kid opening presents on Christmas morning.
That’s a perfect analogy, Joel. With this feature on WONDERS IN THE DARK, I feel the rush of awards season every week. I really come back to it again and again to check on it. It’s just incredibly fun. And I love seeing Allan’s distillation of each year’s achievements, even if I think he sometimes leaves some things out. Geez, though, how could he not? He’s only human. I often want to help (though not so much that I impede or misunderstand his standards).
Thanks very much for saying that Dean, though we definitely learn from each other.
A really difficult toss-up between 3 masterpieces I admire immensely – Playtime, Mouchette & The Firemen’s Ball. It was really painful to choose one over the others. Surely on another day I would choose differently.
Best Picture: The Firemen’s Ball
Best Director: Jacques Tati (Playtime)
Best Actor: Dustin Hoffman (The Graduate)
Best Actress: Nadine Nortier (Mouchette) & Catherine Deneuve (Belle De Jour)
Best Supporting Actor: Gene Hackman (Bonnie & Clyde)
Best Supporting Actress: Katharine Ross (The Graduate)
Best Cinematography: Sacha Vierny (In Cold Blood)
Best Score: Quincy Jones (In Cold Blood)
Top 10:
1. The Firemen’s Ball
2. Playtime
3. Mouchette
4. The Graduate
5. Belle De Jour
6. Who’s That Knocking at My Door?
7. In Cold Blood
8. Bonnie & Clyde
9. Le Samourai
10. Chiriyakhana (Satyajit Ray)
Do you mean Conrad Hall for IN COLD BLOOD or Sacha Vierny for BELLE DE JOUR?
Sorry for the bad mix-up. My vote is for Conrad Hall (In Cold Blood).
Alas, I also have not yet been able to see Marketa Lazarova. Therefore, my tentative top five for 1967:
Bonnie and Clyde – Arthur Penn
Belle de Jour – Luis Bunuel
2 or 3 Things I Know About Her – Jean-Luc Godard
Mouchette – Robert Bresson
Weekend – Jean-Luc Godard
Best Picture: Bonnie and Clyde (still as exhilarating as it was in 1967)
Best Director: Luis Bunuel (Belle de Jour)
Best Actor: Lee Marvin (Point Blank)
Best Actress: Catherine Deneuve (Belle de Jour)
Best supporting actor: Gene Hackman (Bonnie and Clyde)
Best supporting actress: Katherine Ross (The Graduate)
Best Cinematography: Raoul Coutard (Weekend)
Best Score: Michel Legrand (Les Demoiselles de Rochefort)
Best Picture: BONNIE AND CLYDE
Best Director: Mike Nichols – THE GRADUATE
Best Actor: Rod Stieger in IN THE HEAT OF THE NIGHT
Best Actress: Audrey Hepburn in TWO FOR THE ROAD
Best Supporting Actor: Gene Hackman in BONNIE AND CLYDE
Best Supporting Actress: Estelle Parsons in BONNIE AND CLYDE
Best Cinematography: Burnett Guffey for BONNIE AND CLYDE
Best Score: Michel Legrand for LES DEMOISELLES DE ROCHEFORT
Best Short: none
Best Film: Mouchette
Best Director: Bresson
Best Actor: A. Delon, lLe Samourai
Best Actress: Edith Evans, The Whisperers
Best Supporting Actor: Gene Hackman, Bonnie & Clyde
Best Supporting Actress: Estelle Parsons, Bonnie & Clyde
Best Cinematography: Cloquet, Mouchette
Best Score: Mandel, Point Blank
will return for short.
Interesting that I just watched ‘Playtime’ again two weeks ago at carol’s request!
Best Picture: Playtime
Best Director: Jacques Tati (Playtime)
Best Actor: Alain Delon (Le samurai)
Best Actress: Audrey Hepburn (Two for the Road)
Best Sup. Actor: George Kennedy (Cool Hand Luke)
Best Sup. Actress: Estelle Parsons (Bonnie and Clyde)
Best Score: Playtime
Best Cinematography: Mouchette
Best Picture: In Cold Blood
Best Director: Mike Nichols (The Graduate)
Best Actor: Dustin Hoffman (The Graduate)
Best Actress: Edith Evans (The Whisperers)
Best Supporting Actor: Gene Hackman (Bonnie & Clyde)
Best Supporting Actress: Estelle Parsons (Bonnie & Clyde)
Best Cinematography: Conrad L. Hall (In Cold Blood)
Best Score: Quincy Jones (In Cold Blood)
Best Short: You’re in Love Charlie Brown
Ok, it’s not a short film (by the <40 standard Allan uses), but I really encourage everyone to watch this marvelous little movie, which I discovered on the Criterion DVD for Il Posto. And encourage Allan to add it as a late addition to the ballot!
I am changing my vote for Supporting Actress and would also note that the film would place #2 on my list were I to re-do the runners-up.
(And #1 on the short film list if it qualified.)
Best Picture: Mouchette
Best Director: Jean-Pierre Melville (Le Samourai)
Best Actor: Alain Delon (Le Samourai)
Best Actress: Nadine Nortier (Mouchette)
Best Short: The Love Life of an Octupus
Best Supporting Actor: Peter Finch (Far From the Madding Crowd)
Best Supporting Actress: Mildred Natwick (Barefoot in the Park)
Best Cinematography: Jorgen Persson (Elvira Madigan)
Best Score: Richard Rodney Bennett (Far From the Madding Crowd)
Tomorrow Marketa Lazarova will be on screen in my living room!
Perhaps the expectations are a little bit too high, but I’m anxious to check Allan and Sam’s recommendation.
Best Picture: Belle de Jour
Best Director: Jacques Tati (Playtime)
Best Actor: Alain Delon (Le Samourai)
Best Actress: Catherine Deneuvre (Belle de Jour)
Best Supporting Actor: Gene Hackman (Bonnie & Clyde)
Best Supporting Actress: Genevieve Page (Belle de Jour)
Best Cinematography: Conrad L.Hall (In Cold Blood)
Best Score: Quincy Jones (In Cold Blood)
God, a last minute vote. At least not a last minute vote for Katharine plank of wood Ross.
Pedro, I am really eager to get your resonse my friend!!!!
“Don’t call God. He’ll hear you!”
Vlácil is virtuous with the camera. His camera movements, astonishing images and editing, are enough to make Marketa a wonderful piece of work.
Through my eyes I found some flaws, cutting some unnecessary events and dialogs the film could breath more naturally, and allow us to deliver ourselves more to the pleasures of the images.
Being a hard portrait of medieval ages, a battle between cruelty and love, the plot gets is way into a rewarding ending.
In my voting Vlácil would take the place of Tati, and after a new screening Marketa most likely will turn out to be my choice to best picture of the year, but for the moment I’m still not able to give up my longtime favorites of the decade to find a spot for this one.
Thank you, Allan and Sam, to help me find this wonderful surprise. (Loved that moment when the narrator starts talking to the wandering monk!!)