skimpole
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Posts posted by skimpole
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Consul Phil Putnam: Well, I guess that's your privilege.
Ed Horman: No, that's my right! I just thank God we live in a country where we can still put people like you in jail.
Missing
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ASGHAR FARHADI: A Separation
RAINER WERNER FASSBINDER: Ali: Fear Eats the Soul
MU FEI: Spring in a Small Town
PAL FEJOS: Lonesome
FEDERICO FELLINI: Nights of Cabiria
ABEL FERRARA: Bad Lieutenant
LOUIS FEUILLADE: Les Vampires
MIKE FIGGIS: Leaving Las Vegas
DAVID FINCHER: Se7en
RICHARD FLEISCHER: Tora, Tora, Tora
VICTOR FLEMING: The Wizard of Oz
JAMES FOLEY: Glengarry Glen Ross
JOHN FORD: The Grapes of Wrath
MILOS FORMAN: One Flew Over the Cuckoo's Nest
MARC FORSTER: No preference
BILL FORSYTH: Local Hero
BOB FOSSE: Cabaret
GEORGES FRANJU: Eyes Without a Face
JOHN FRANKENHEIMER: The Manchurian Candidate
CARL FRANKLIN:
STEPHEN FREARS: High Fidelity
WILLIAM FRIEDKIN: To live and die in LA
KINJI FUKUSAKU:Tora, Tora Tora
SAMUEL FULLER: Pickup on South Street
JOIRGE FURTADO: -
May I jump the starter's gun for 1961 ...
1. The Hustler
2. Through a Glass Darkly
3. Judgment at Nuremberg
4. The Mark
5. Jules and Jim
6. The Misfits
7. West Side Story
8. One, Two, Three
9. Il Posto
10. La Notte
I thought Jules et Jim was a 1962 movie. That's what imdb.com and Wikipedia say.
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JOHN DAHL: N/A
JOE DANTE:Gremlins 2: The New Batch
JEAN-PIERRE AND LUC DARDENNE: The Child
JULES DASSIN: Rififi
DELMER DAVES: Dark Passage
TERENCE DAVIES: Distant Voices, Still Lives
CECIL B. DE MILLE: The Ten Commandments
MANOEL DE OLIVEIRA: Doomed Love
BRIAN DE PALMA: Femme Fatale
VITTORIO DE SICA: Umberto D
GUILLERMO DEL TORO: Pan's Labyrinth
ANDRE DE TOTH: N/A
JONATHAN DEMME: Stop Making Sense
JACQUES DEMY: The Umbrellas of Cherbourg
CLAIRE DENIS: Beau Travail
ARNAUD DESPLECHIN: A Christmas Tale
MICHEL DEVILLE: N/A
LAV DIAZ: N/A
EDWARD DMYTRYK: Crossfire
ROGER DONALDSON: No Way Out
STANLEY DONEN: Singin' in the Rain
RICHARD DONNER: Superman
ALEKSANDR DOVZHENKO: Arsenal
CARL THEODOR DREYER: Ordet
JULIEN DUVIVIER: Pepe Le Moko
CLINT EASTWOOD: Unforgiven
ATOM EGOYAN: The Sweet Hereafter
MAURICE ELVEY: N/A
MORRIS ENGEL: Little Fugitive
SERGEI EISENSTEIN: Ivan the Terrible, Part One -
JAMES CAMERON: Aliens
JANE CAMPION: Portrait of a LadyMARCEL CAMUS: Black Orpheus
LAURENT CANTET: Time Out
FRANK CAPRA: It's a Wonderful Life
LEOS CARAX: Holy Motors
MARCEL CARNE: Children of Paradise
JOHN CARPENTER: The Thing
JOHN CASSAVETTES: A Woman under the Influence
LILIANA CAVANI: The Night Porter
NURI BILGE CEYLAN: Winter Sleep
CLAUDE CHABROL: The Story of Women
PARK CHAN-WOOK: Oldboy
LEE CHANG-DONG: N/A
CHARLIE CHAPLIN: Modern Times
PATRICE CHEREAU: N/A
VERA CHITYLOVA: Daisies
MICHAEL CIMINO: The Deer Hunter
SOULEYMANE CISSE: Yeelen
RENE CLAIR: Le Million
LARRY CLARK: N/A
RENE CLEMENT: Forbidden Games
HENRI-GEORGES CLOUZOT: Wages of Fear
JEAN COCTEAU: Orpheus
JOEL AND ETHAN COEN: Miller's Crossing
BILL CONDON: Kinsey
FRANCIS FORD COPPOLA: The Godfather, Part II
SOFIA COPPOLA: Lost in Translation
ROGER CORMAN: The Masque of the Red Death
PEDRO COSTA: Colossal Youth
ALEX COX: Repo Man
WES CRAVEN: Scream 2
CHARLES CRICHTON: A Fish Called Wanda
DAVID CRONENBERG: A History of Violence
CAMERON CROWE: Say Anything
ALFONSO CUARON: Children of Men
GEORGE CUKOR: The Philadelphia StoryADAM CURTIS: N/A
MICHAEL CURTIZ: Casablanca -
I saw three movies this week. The Constant Nymph is the second movie I saw in a month by Edmund Goulding. It has an interesting visual style and the drama involved is interesting. I was actually pleased that Alexis Smith as the wife between the two lovers is actually a reasonable person. Of course, it's disconcerting that Joan Fontaine is supposed to be a teenager, when she patently isn't one. The result is a not entirely successful movie. The Men Who Stare at Goats has one good joke, which I posted in the one-line thread. But George Clooney and his colleagues are patently idiots and Ewan McGregor is too pathetic to realize the truth. So Girlhood is the movie of the week, This looks at a black teenager in Paris and how she tries to get through her depressed and depressing social circumstances by joining a group of other young women like herself and engaging in life affirming juvenile delinquency. It's well acted and well shot.
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Actor
Laurence Olivier, The Entertainer
Anthony Perkins, Psycho
Jean-Paul Belmondo, Breathless
Jack Lemmon, The Apartment
Max von Sydow, The Virgin Spring
Runner-ups: Montgomery Clift (Wild River), Toshio Mifune (The Bad Sleep Well), Gabrielle Ferzetti (L'Avventura), Robert Mitchum (The Sundowners), Albert Finney (Saturday Night and Sunday Morning), Charles Aznavour (Shoot the Piano Player), Alain Delon (Rocco and His Brothers), Paul Newman (Exodus), Philippe Noiret (Zazie in the Metro), Kirk Douglas (Strangers When We Meet), Soumitra Chatterjee (Devi) , Burt Lancaster (Elmer Gantry), Alain Delon (Purple Noon)
Actress
Supriya Choudhury, The Cloud-Capped Star
Shirley Maclaine, The Apartment
Jean Seberg, Breathless
Monica Vitti, L'Avventura
Setsuko Hara, Late Autumn
Runner-ups: Lee Remick (Wild River), Deborah Kerr (The Sundowners), Kim Novak (Strangers when we Meet), Sharmila Tagore (Devi), Marie Dubois (Shoot the Piano Player), Catherine Demongeot (Zazie in the Metro), Lee Eun-Shim (The Housemaid), Jean Simmons (Elmer Gantry), Eva Marie Saint (Exodus), Edith Scob, Alida Valli (Eyes Without a Face), Hideko Takamine (When a Woman Ascends the Stairs),
Supporting Actor
Roger Livesay, The Entertainer
Fred MacMurray, The Apartment
Peter Ustinov, Spartacus, The Sundowners
Albert Remy, Shoot the Piano Player
Charles Laughton, Spartacus
Runner-ups: Laurence Olivier (Spartacus), Michel Constantin, Jean Karaudy, Philippe Leroy, Raymond Meunier (Le Trou), Renato Salvatori (Rocco and His Brothers), Ralph Richardson (Exodus), Masayuki Mori (The Bad Sleep Well), Axel Duberg (The Virgin Spring),
Supporting ActressJanet Leigh, Psycho
Jo van Fleet, Wild River
Gunnel Lindbloom, The Virgin Spring
Lea Massari, L'AvventuraMoira Shearer, Peeping Tom
Runner-ups: Birgitta Pettersson (The Virgin Spring), Rachel Roberts (Saturday Night and Sunday Morning), Anna Giradot, Katrina Paxinou (Rocco and His Brothers), Yuko Tsukasa, Mariko Okada (Late Autumn)
Not seen: The Alamo, Sons and Lovers, Never on Sunday, Murder Inc, The Dark at the Top of the Stairs-------, In Contrast to TomJH, I had no trouble finding sufficient choices for both actress categories this year. It doesn't matter which year Two Women is considered, because Loren just misses the cut-off in both of them.
------, I chose Olivier over Perkins, partly because the serial killer theme has not had a good influence on movies.
-------Albert Finney, Alain Delon, and Paul Newman all make their first appearances this year. As it happens they all appear as runner-ups, given a rather strong year in all acting categories. But that will change.
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My choices, explanation to follow
Actor: James Stewart, Vertigo
Actress: Ingrid Bergman, Journey to Italy
Supporting Actor: Orson Wells, Touch of Evil
Supporting Actress: Barbara bel Geddes, Vertigo
Juvenile: Uma Das Gupta, Pather Panchali
OK, the juvenile award is fairly self-explanatory, since she was the one juvenile who actually won an award. The thing about supporting actors is that strong supporting actors can blur with actors. That's true of three of my other choices for this decade (Vanel, Mifune, Mitchum), while one of my choices for actor actually won the oscar for supporting actor (Sanders). This is rarely a problem for actresses, since there are fewer such roles for women period. Bel Geddes was clearly the leading supporting of the decade, the "normal" role that is never close enough to desire. As for actress, Monroe and Swanson are rightfully iconic, but Bergman is ultimately the more complex role. As for Actor, Stewart narrowly beats out Grant, with Kelly and Dean close behind. Tragic roles usually get more respect than comic ones, but in this case Stewart triumphs for being the more unfamiliar role.
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My choices, explanation to follow
Actor: James Stewart, Vertigo
Actress: Ingrid Bergman, Journey to Italy
Supporting Actor: Orson Wells, Touch of Evil
Supporting Actress: Barbara bel Geddes, Vertigo
Juvenile: Uma Das Gupta, Pather Panchali
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Bill Django: That... well, the hooker thing is definitely a lie.
(The Men Who Stare at Goats: here's the whole conversation for context)
Larry Hooper: Lieutenant Colonel Django used funds from the project's black budget to procure prostitutes... Bill Django: That's a lie!
Larry Hooper: ...and to get drugs for himself and his men.
Bill Django: That... well, the hooker thing is definitely a lie.
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HECTOR BABENCO: Pixote
JOHN BADHAM: Saturday Night Fever
MAROUN BAGDADI: N/A
RAMIN BAHRANI: N/A
RALPH BASHKI: The Lord of the Rings
NOAH BAUMBACH: Frances Ha
MARIO BAVA: Black Sunday
HAROLD BECKER: The Onion Field
JACQUES BECKER: Le Trou
JAMES BENNING: One Way Boogie Woogie
ROBERT BENTON: The Late Show
BRUCE BERESFORD: Breaker Morant
LUIS GARCIA BERLANDA: Welcome Mr. Marshall
JOE BERLINGER (& sometimes BRUCE SINOFSKY): Paradise Lost
INGMAR BERGMAN: Fanny and Alexander
BERNARDO BERTOLUCCI: The Last Emperer
LUC BESSON: La Femme Nikita
SANJAY LEE BHANSALI: N/A
KATHRYN BIGELOW: The Hurt Locker
LES BLANK: Burden of Dreams
BERTRAND BLIER: N/A
BUDD BOETTICHER: A time for Dying
PETER BOGDANOVICH: The Last Picture Show
SERGEY BONDARCHUK: War and Peace
JOHN BOORMAN: Hope and Glory
FRANK BORZAGE: Three Comrades
STAN BRAKHAGE: The Act of Seeing with One's Own Eyes
KENNETH BRANAGH: Henry V
CATHERINE BREILLAT: Fat Girl
ROBERT BRESSON: A Man Escaped
LINO BROCKA: N/A
ALBERT BROOKS: Modern Romance
JAMES L. BROOKS: Broadcast News
MEL BROOKS: The Producers
RICHARD BROOKS: Lord Jim
TOD BROWNING: Freaks
ZBYNEK BRYNYCH: N/A
RYSZARD BUGAJSKI: InterrogationANDREW BUJALSKI: N/A
LUIS BUNUEL: The Discreet Charm of the Bourgeoisie
CHARLES BURNETT: Killer of Sheep
TIM BURTON: Ed Wood -
CHANTAL AKERMAN: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
FATIH AKIN: N/A
ROBERT ALDRICH: Flight of the Phoenix
TOMAS GUITIERREZ ALEA: Memories of Underdevelopment
WOODY ALLEN: Annie Hall
PEDRO ALMODOVAR: Volver
ROBERT ALTMAN: McCabe and Mrs. Miller
ALEJANDRO AMENABAR: The Others
LINDSAY ANDERSON: If...
PAUL THOMAS ANDERSON: Magnolia
WES ANDERSON: Fantastic Mr. Fox
ROY ANDERSSON: Songs from the Second Floor
THEO ANGELOPOULOS: Landscape in the Mist
MICHAELANGELO ANTONIONI: L'AvventuraJUDD APATOW:N/A
MICHAEL APTED: N/A
DENYS ARCAND: Jesus of Montreal
DARIO ARGENTO: Deep Red
GILLIAN ARMSTRONG: Little Women
DARREN ARONOFSKY: Requiem for a Dream
HAL ASHBY: Being There
OLIVIER ASSAYAS: Carlos
ANTHONY ASQUITH: Pygmalion
RICHARD ATTENBOROUGH: Gandhi
JACQUES AUDIARD: A Prophet
BILLE AUGUST: The Best Intentions
ALFONSO AURA: Like Water for Chocolate-
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I saw five movies this week. Old Acquaintance benefits from a good Bette Davis performance. Miriam Hopkins plays the obnoxious witch, but considering that the men in the movie are such drips, I'm inclined to view the women with more sympathy. The Neon Demon is another example where Nicholas Windling Refn shows he had more style than brains. And since much of the style is borrowed from Fellini and Lynch, it's ultimately negligible. At least Drive has a couple of well played out scenes. Belladona of Sadness is both an innovative seventies animated film and flawed pornography. Coming at a time when making animated feature films was incredibly time consuming and expensive, it shows some ingenuity (panning shots of an illustrated shot) and later considerable creativity and originality. On the other hand, the way the heroine is objectified is ultimately objectionable. The Curse of Fu Manchu is very silly, but also objectionable. It's silly that the Chinese villains are played by Boris Karloff and Myrna Loy. It's silly that at one point a hero threatens to arrest the bad doctor in the name of the British Empire, even though they're in Mongolia. It's silly that it's not clear how getting the sword of Genghis Khan is going to help Karloff's plans. But it's also clearly racist,and in a paranoid, contemptible way. Mountains May Depart is an interesting, but not entirely successful drama about a love triangle in contemporary China that moves from 1999 to 2025, that deals with Jia Zhangke's overarching theme of a rapidly changing and increasingly commercial China. Part of the problem was that my DVD had problem playing fifteen minutes of it. More seriously, there was a lack of focus, both on the characters in the triangle, and in the larger point.
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... is one of the most popular movies on basic cable; hardly a month passes by without it being shown at least once.
I am reminded of Schaffner's NICHOLAS AND ALEXANDRA, and I wonder about why such a moving story turned into such a boring movie. Considering the other work of Schaffner--THE WAR LORD, PLANET OF THE APES, PATTON, PAPILLON--, I have come to the conclusion that FS did not like Masie's book, and therefore was not interested in making a movie as dynamic as the best of David Lean. Was LAWRENCE OF ARABIA simply Peter O'Toole, Claude Rains, Jack Hawkins, Alec Guinness, Anthony Quayle, Anthony Quinn and Omar Sharif babbling incessantly about events that were uninteresting because they were never shown on the screen? Of course not! DL was careful to balance scenes of the actors talking with action sequences, and the result was an action classic.
Bay obviously realized that a movie showing nothing but Jon Voight sitting on a wheelchair reacting to the news of the attack would antagonize even the most fervent admirers of Voight, so he made sure to show the entire story on the screen: the preparations of the Japanese, the Americans trying to anticipate the actions of the Japanese, the actual battle, and the Doolittle Raid! The result was a satisfied public that came out of the theatre happy with the realization that their ticket was a good investment of their money. If Schaffner had used his budget responsibly and depicted the very exciting battles of Mukden, Tsushima, Tannenberg, Gorlice-Tarnow, and the Brusilov Offensive, NICHOLAS AND ALEXANDRA would have swept the Oscars the same way LAWRENCE OF ARABIA did!
First off, as I recall, it takes some time in what is fairly long film for there to be any actual action sequences in Lawrence of Arabia. And that is actually a long march through a particularly exhausting stretch of desert. Second, the reason Lawrence of Arabia is considered one of the greatest of movies isn't simply or even primarily because of the battle sequences. If battle sequences were what counted then Tora, Tora, Tora or even Heaven's Gate would have done much better at the Oscars. No, it is because it is an intelligent, visually stunning and brilliantly acted movie that takes a complex perspective of its protagonist. By contrast, Nicholas and Alexandra simply isn't in the same class. Its appeal is basically sentimental, we are sympathetic to the reactionary nitwits at its centre because they and their children were summarily executed by the Bolsheviks. Had Wilhelm II and his family met the same fate there'd be the same sympathy for them, just as we'd feel less for the executed princesses if they had grown up and, like their German cousins, supported Hitler. Third, there isn't much to say about Schaffner's directorial signature. Planet of the Apes and Papillon are at best adequate movies, with the former best known for its twist ending. And the most striking qualities of Patton are Scott's performance and Coppola's script. Fourth, having five battles in Nicholas and Alexandra would have been insanely expensive. Since they were all ultimately unsuccessful, they would not have encouraged sympathy for Nicholas, whose role in them was comparatively minor anyway.
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Actor
Cary Grant, North by Northwest
James Stewart, Anatomy of a Murder
Jack Lemmon, Some Like it Hot
Soumitra Chatterjee, The World of Apu
Jean-Pierre Leaud, The 400 Blows
Runner-ups: Tony Curtis (Some Like it Hot), Vladimir Ivashov (Ballad of a Soldier), Breno Mello (Black Orpheus), Eiji Okada (Hiroshima Mon Amour), John Wayne (Rio Bravo) Dick Miller (A Bucket of Blood),
Actress
Marilyn Monroe, Some Like it Hot
Emanuelle Riva, Hiroshima Mon Amour
Eva Marie Saint, North by Northwest
Marpessa Dawn, Black Orpheus
Lana Turner, Imitation of Life
Runner-ups: Leila Goldini (Shadows),
Supporting Actor
James Mason, North by Northwest
George C. Scott, Anatomy of a Murder
Dean Martin, Rio Bravo
Joe E. Brown, Some like it Hot
Chishu Ryu, Good Morning
Runner-ups: Arthur O'Connell (Anatomy of a Murder), Martin Landau (North by Northwest), Albert Remy (The 400 Blows), Ben Gazzara (Anatomy of a Murder), Joseph Welch (Anatomy of a Murder)
Supporting Actress
Shamrila Tagore, The World of Apu
Zhanna Prokhorenko, Ballad of a Soldier
Lourdes de Oliveira, Black Orpheus
Lee Remick, Anatomy of a Murder
Juanita Moore, Imitation of Life
Runner-ups: Claire Maurier (The 400 Blows), Susan Kohner (Imitation of Life), Jessie Royce Landis (North by Northwest), Thelma Ritter (Pillow Talk)Not seen: The Diary of Anne Frank, The Last Angry Man, The Young Philadelphians
--------And for the second time, Tony Curtis is beat out by his own co-star.
--------Marilyn Monroe wins my Best Actress oscar for 1959. And that's the last time anyway in Hollywood does until 1967.
--------As it happened, North by Northwest, Rio Bravo, Anatomy of a Murder, Some Like it Hot and Imitation of Life were among the biggest grossers of 1959. They would have made a better Best Picture selection that the ones that were nominated.
--------Fewer runners ups this year, though the actual nominees in Actress and the supporting characters were stronger than 1958's. This may be due to the fact that my top 15 includes two documentaries, a Bresson film, and two choices whose cinematic qualities outweigh their thespian ones.
--------About two of my choices for best supporting actress: Prokhorenko appears a quarter of the way into the movie, and leaves a quarter of the way from the end. With the exception of a brief prologue Ivashov is the focus of the entire movie. As for Remick, her character is clearly supporting her husband, and he's a supporting actor. That's she's second in the cast list means little, only that they highlighted the attractive young wife over the relatively unknown actor playing her husband.
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Just to be clear, everyone agrees The Virgin Spring is a 1960 film, and not a 1959 one?
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Is there a website or something who tells you how long a performer is on screen in a given film?
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Elster may or may not get away with the murder of his wife after the film has ended.
Apparently there was a scene shot to show that he doesn't, just to make sure that the movie fell within Movie Production Code guidelines. But apparently nobody cared enough to demand it was included. But frankly, I don't see how Elstir gets caught. The only evidence against him just fell off a bell tower.
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I saw five movies last week. The remake of 3:10 to Yuma is a the remake of a movie that I never particularly cared about in the first place. But whatever qualities the updated version has with its two strong leads has is ultimately ruined by its idiotic and pointless ending. Taken marks the unlikely creation of Liam Neeson as an action hero, which has vastly improved his bank balance while shredding his credibility as an actor. The movie doesn't start badly, but its violence becomes increasingly ludicrous (and probably counter-productive at more than one point). This mastery of violence may be flattering to a certain American mindset, but it isn't the absence of overwhelming force that has hampered American objectives since 2001. Swamp Water was the first of Renoir's American films, though apparently Darryl Zanuck had such a vice on it that Renoir didn't really feel much pride of ownership in it. Like all his American movies, with the partial exception of The Southerner, it doesn't fully work. The scriptwriters hardly do the subject of a small unique rural community the justice it deserves. And this isn't the subject Hollywood ever really did very well. So there are some interesting camera movements, and some nice touches (such as when Walter Huston and his wife talk for the first time). I didn't like the novel The Razor's Edge is based on, so the fact that the movie was slightly better than that is a point in its favor. Of course, the religious theme is just middlebrow hogwash. Clifton Webb, George Marshall and Gene Tierney arguably acquit themselves well: they're certainly better than Tyrone Power as the hero. Unfortunately Anne Baxter's role is classic oscarbait: she loses her husband and child, then suffers from alcoholism and the shame of being a fallen woman. So I suppose Five Graves to Cairo is the movie of the week. Franchot Tone is competent, Anne Baxter is an improvement over her two previous movies of the evening, and Wilder shows signs of promise that would be quickly vindicated the next year with Double Indemnity. Erich von Stroheim gives a reasonable, measured performance as Rommel, and the solution is actually both simple and clever.
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Actor
James Stewart, Vertigo
Chhabi Biswas, The Music Room
Nikolai Chersakov, Ivan the Terrible, Part II
Zbigniew Cybulski, Ashes and Diamonds
Jacques Tati, Mon Oncle
Runner-ups: Vince Edwards (Murder by Contract), Gary Cooper (Man of the West), Max von Sydow (The Magician), Shin Saburi (Equinox Flower), Marcello Mastroianni (Big Deal on Madonna Street), David Niven (Bonjour Tristesse), Alec Guinness (The Horse's Mouth), Gregory Peck (The Big Country), Youssef Chahine (Cairo Station), Toshiro Mifune (The Hidden Fortress),
Actress
Kim Novak, Vertigo
Jeanne Moreau, The Lovers
Ingrid Thulin, The Magician
Jean Seberg, Bonjour Tristesse
Jeanne Moreau, Elevator to the Gallows
Runner-ups: Deborah Kerr (Bonjour Tristesse), Cyd Charisse (Party Girl), Jean Simmons (The Big Country), Susan Hayward (I want to Live!),
Supporting Actor
Orson Welles, Touch of Evil
Gangapada Bose, The Music Room
Gunnar Bjornstrand, The Magician
Dean Martin, Some Came Running
Joseph Calleia, Touch of Evil
Runner-ups: Waclaw Zastrzezynski (Ashes and Diamonds), Chishu Ryu (Equinox Flower), Burl Ives (The Big Country), Kenneth More (A Night to Remember), Dennis Weaver (Touch of Evil)
Supporting Actress
Barbara Bel Geddes, Vertigo
Adrienne Servante, Mon Oncle
Shirley MacLaine, Some Came Running
Marlene Dietrich, Touch of Evil
Hermione Gingold, Gigi
Runner-ups: Serafima Birman (Ivan the Terrible, Part II), Ewa Kryzyzewska (Ashes and Diamonds), Carroll Baker (The Big Country),
Not seen: Auntie Mame, The Inn of the Sixth Happiness, The Brothers Karamazov, Teacher's Pet, Lonelyhearts------The Second part of Ivan the Terrible was released in 1958, twelve years after its production and 10 years after Eisenstein's death.
------This is the third oscar I've given Stewart, having won both an Actor and Best Supporting Actor oscar in the forties.
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The twist at the end is the first thing that came to mind about why remaking a film like 'witness' could be problematic. When talking media heads discuss or write about a film that is a remake they often discuss the plot. While they wouldn't give away the entire thing as a spoiler, they provides hints. This could cause people to do some 'research' (e.g. asking someone who has seen the original).
Once one knows the twist, there isn't much of a reason to see another version of this story.
I'm inclined to agree. I didn't see the recent remake of Beyond a Reasonable Doubt, but the reviews certainly didn't suggest that they overcame the problem.
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The Sorrow and the Pity! Awesome!
Also The Ascent and Battleship Potemkin. Wow! The first two parts of The Battle of Chile! Also Sans Soleil! Why do they show Burden of Dreams, but never Fitzcarraldo?
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I'm not seeing Richard Lester.
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I recall they gave Elia Kazan an honorary Oscar in 1999, notwithstanding the fact he had won two before. As it happened Robert Bresson died later that year, leaving the message that you don't want to honor integrity too much.
Your Favourite Performances from 1929 to present are...
in Your Favorites
Posted
Comparing the poll of the winners with the actual Oscars, fifties version
Supporting Actress
Harvey defeated 2-1 vote 7 way tie for 3rd
Hunter winner 3-2
Grahame No Votes
Reed defeated 5-2
Saint defeated 5-1 four way tie for 2nd
Van Fleet tied for winner 2-2
Malone winner 3-2
Umeki defeated 2-1 four way tie for 3rd
Hiller tied for winner 2-2
Winters defeated 2-1 six way tie for 2nd
Supporting Actor
Sanders winner 5-2 plus one vote for Best Actor
Malden defeated 2-1 five way tie 3rd
Quinn tied for winner 2-2
Sinatra tied for winner 2-2-2
O'Brien no votes
Lemmon tied for winner 2-2
Quinn winner 3-2
Buttons no votes
Ives 1 vote, eight way tie
Griffith no votes
Actress
Holliday no votes
Leigh winner 5-2
Booth winner 3-1
Hepburn winner 3-2
Kelly no votes
Magnani defeated 2-1 seven way tie for 2nd
Bergman no votes
Woodward defeated 5-1 three way tie for 2nd
Hayward winner 3-2
Signoret defeated 3-1 three way tied for 3rd (note, ran in different year from award won)
Actor
Ferrer no votes
Bogart defeated 2-1 seven way tied for 2nd
Cooper no votes
Holden defeated 4-1 five way tie for 2nd
Brando winner 5-1
Borgnine no votes
Brynner no votes
Guinness winner 3-2
Niven no votes
Heston no votes