Bogie56 Posted September 12, 2016 Author Share Posted September 12, 2016 Here are Danny Peary’s Alternate Oscar choices for 1961. Winners in bold. Best Actor Paul Newman, The Hustler* James Cagney, One, Two, Three Albert Finney, Saturday Night and Sunday Morning (60) Sidney Poitier, A Raisin In the Sun Anthony Quinn, The Savage Innocents (60) Best Actress Natalie Wood, Splendor In the Grass* Lola Albright, A Cold Wind In August Audrey Hepburn, Breakfast at Tiffany’s Piper Laurie, The Hustler Vivien Leigh, The Roman Spring of Mrs. Stone Sophia Loren, Two Women (60) Hayley Mills, Whistle Down the Wind Marilyn Monroe, The Misfits Rita Tushingham, A Taste of Honey And here are Michael Gerbert’s Golden Armchair choices for 1961: Best Actor Vincent Price, Pit and the Pendulum* Best Actress Audrey Hepburn, Breakfast at Tiffany’s* 1 Link to comment Share on other sites More sharing options...
kingrat Posted September 12, 2016 Share Posted September 12, 2016 Tom, count me in as another fan of The Guns of Navarone. It ranks with The Adventures of Robin Hood and The Hunt for Red October as the gold standard for action adventure movies. Yes, to a modern audience it will seem to move slowly. However, the well-defined characters, great cast, and finely crafted script keep this viewer fully engaged, and the big action finale does not disappoint. One of the changes from Alastair MacLean's book was to make the local guides female instead of male. This gives us Irene Papas and Gia Scala, and makes a certain plot point more memorable. David Niven's confession that he can't swim is indeed one of the highlights of the film. Tom, I like your description of The Guns of Navarone as a "fantasy adventure," for this is much more a film with a WWII background than a war film. J. Lee Thompson had begun his directing career in Britain with smaller-scale films, most of which I have not seen (including Ice Cold in Alex, much liked by many of those who have seen it), and then The Guns of Navarone and 1962's Cape Fear would seem to put him on the top rung of Hollywood's commercial directors, but the subsequent course of his career was not a happy one. 4 Link to comment Share on other sites More sharing options...
TomJH Posted September 12, 2016 Share Posted September 12, 2016 One of the changes from Alastair MacLean's book was to make the local guides female instead of male. This gives us Irene Papas and Gia Scala, and makes a certain plot point more memorable. I was always struck by two things about Gia Scala, her stunning dark haired beauty, of course, but also a sense of sadness in her eyes. That is part of the effectiveness, I feel, about her casting in one of the smaller (but still memorable) roles in Navarone. But just today I looked her up on Wikipedia (a dubious source at times, I admit) and the tragic character Scala played in Navarone can be seen as a reflection of the actress herself. She had become severely emotionally impacted by her mother's death just a few years before the film was made, according to one source looking like she was contemplating suicide on a bridge before being taken to a police station. As for her death, at just 38 . . . On the night of 30 April 1972, Gia was found dead in her Hollywood hills home. Los Angeles County Coroner Thomas Noguchi reported her cause of death was from an "acute ethanol and barbiturate intoxication." She had a prescription for valium; three tablets were missing from the bottle, but valium is not a barbiturate; it is a benzodiazepine. Also, she was discovered nude sprawled across her bed; bruises were on her body and blood was on her pillow; the bedroom seemed to be staged with wine bottles and dirty wine glasses strewn about. Gia was a very organized and neat person. For those reasons, her sister Tina Scala never believed that Gia intended to take her life, nor that her death was accidental. She was 38 years old. Scala's death was later ruled accidental.She is interred next to her mother, Eileen O'Sullivan-Scoglio, in the Holy Cross Cemetary in Culver City California. That sadness I see in Gia Scala's eyes will be even more haunting for me now. 4 Link to comment Share on other sites More sharing options...
LawrenceA Posted September 12, 2016 Share Posted September 12, 2016 That sadness I see in Gia Scala's eyes will be even more haunting for me now. Tom, I was struck by the same sadness in her. I read up on her after watching her in the Doris Day/Richard Widmark movie Tunnel of Love, and was disappointed to read about the tragedy of her life. 2 Link to comment Share on other sites More sharing options...
Bogie56 Posted September 12, 2016 Author Share Posted September 12, 2016 The Golden Globe Awards for 1961 were … Best Actor in a Drama Maximilian Schell, Judgment at Nuremberg* Maurice Chevalier, Fanny Paul Newman, The Hustler Sidney Poitier, A Raisin In the Sun Warren Beatty, Splendor In the Grass Best Actress in a Drama Geraldine Page, Summer and Smoke* Shirley MacLaine, The Children’s Hour Leslie Caron, Fanny Claudia McNeil, A Raisin In the Sun Natalie Wood, Splendor In the Grass Best Actor in a Comedy or Musical Glenn Ford, Pocketful of Miracles* Fred MacMurray, The Absent Minded Professor Richard Beymer, West Side Story Fred Astaire, The Pleasure of His Company Bob Hope, Bachelor In Paradise Best Actress in a Comedy or Musical Rosalind Russell, A Majority of One* Audrey Hepburn, Breakfast at Tiffany’s Miyoshi Umeki, Flower Drum Song Hayley Mills, The Parent Trap Bette Davis, Pocketful of Miracles Best Supporting Actor George Chakiris, West Side Story* Jackie Gleason, The Hustler George C. Scott, The Hustler Montgomery Clift, Judgment at Nuremberg Tony Randall, Lover Come Back Best Supporting Actress Rita Moreno, West Side Story* Fay Bainter, The Children’s Hour Judy Garland, Judgment at Nuremberg Pamela Tiffen, One, Two, Three Lotte Lenya, The Roman Spring of Mrs. Stone 1 Link to comment Share on other sites More sharing options...
skimpole Posted September 13, 2016 Share Posted September 13, 2016 I don't want to raise the whole Stanley Kramer thing again, but if you did have to choose a performance from Judgment at Nuremberg, why wouldn't you choose Lancaster's? Link to comment Share on other sites More sharing options...
LawrenceA Posted September 13, 2016 Share Posted September 13, 2016 I don't want to raise the whole Stanley Kramer thing again, but if you did have to choose a performance from Judgment at Nuremberg, why wouldn't you choose Lancaster's? That's an interesting question, skimpole. Without going back over everyone's choices, i don't recall anyone nominating him. I recall his performance being very underplayed, and almost inert, but not in a bad way. More as a man forced to dwell within himself. Perhaps his lack of emotion made him easier to dismiss or forget when it came time to compile these lists. I need to watch the movie again, as it has been a while since my last viewing of it. 1 Link to comment Share on other sites More sharing options...
kingrat Posted September 13, 2016 Share Posted September 13, 2016 I don't want to raise the whole Stanley Kramer thing again, but if you did have to choose a performance from Judgment at Nuremberg, why wouldn't you choose Lancaster's? To speak personally, I think Lancaster is miscast. He gives his best effort, as always. This is one of the Spencer Tracy performances I like best, without the scene-stealing ear-tugging and various other acting tricks. 1 Link to comment Share on other sites More sharing options...
speedracer5 Posted September 13, 2016 Share Posted September 13, 2016 --- Getting into the 1960s, I worry that my lists will start getting shorter. It seems that there are so many films from the 1960s (famous ones even) that I haven't seen yet--if you notice any glaring omissions, that's probably why. --- 1961 WINNERS IN BOLD BEST PICTURE The Absent-Minded Professor Breakfast at Tiffany's The Children's Hour Come September The Hustler Lover Come Back The Misfits One Hundred and One Dalmatians The Parent Trap Splendor in the Grass West Side Story BEST ACTOR Fred MacMurray, The Absent-Minded Professor Fred Baby, Breakfast at Tiffany's James Garner, The Children's Hour Rock Hudson, Come September Paul Newman, The Hustler Rock Hudson, Lover Come Back Clark Gable, The Misfits Brian Keith, The Parent Trap Warren Beatty, Splendor in the Grass Richard Beymer, West Side Story BEST ACTRESS Audrey Hepburn, Breakfast at Tiffany's Audrey Hepburn, The Children's Hour Shirley MacLaine, The Children's Hour Gina Lollobrigida, Come September Piper Laurie, The Hustler Doris Day, Lover Come Back Marilyn Monroe, The Misfits Cruella De Vil, One Hundred and One Dalmatians Hayley Mills, The Parent Trap Hayley Mills, The Parent Trap Maureen O'Hara, The Parent Trap Natalie Wood, Splendor in the Grass Natalie Wood, West Side Story BEST SUPPORTING ACTOR Martin Balsam, Breakfast at Tiffany's Bobby Darin, Come September Jackie Gleason, The Hustler George C. Scott, The Hustler Tony Randall, Lover Come Back Montgomery Clift, The Misfits Lucky, One Hundred and One Dalmatians Charles Ruggles, The Parent Trap Pat Hingle, Splendor in the Grass George Chakiris, West Side Story Russ Tamblyn, West Side Story BEST SUPPORTING ACTRESS Miriam Hopkins, The Children's Hour Fay Bainter, The Children's Hour Sandra Dee, Come September Edie Adams, Lover Come Back Thelma Ritter, The Misfits Joanna Barnes, The Parent Trap Una Merkel, The Parent Trap Barbara Loden, Splendor in the Grass Rita Moreno, West Side Story WORST CASTING Hands down, Mickey Rooney as Mr. Yunioshi in Breakfast at Tiffany's, one of the worst portrayals I have ever seen. SCARIEST SCENE When the Jets attack Anita in West Side Story MOST VULNERABLE PERFORMANCE Clark Gable in The Misfits MOST BITTERSWEET FILM The Misfits. This entire film is seeped in sadness--most of the cast (Monroe, Clift, Gable and Ritter) would be dead within the decade. Monroe and Gable's characters are particularly heartbreaking. BEST SIGN OF WHAT COULD HAVE BEEN I fully believe that starting with Bus Stop (1956) and ending with The Misfits (1961), that Marilyn Monroe was in process of changing her image and proving her worth as a serious actress. I fully believe that had she not died in 1962, she would have finally procured "the role" and won an Academy Award by the end of the 1960s. FUNNIEST SCENE The entire camping trip in The Parent Trap. "Get me outta this stinkin' fresh air!" screams Joanna Barnes. MOST RIDICULOUS SCENE The entire party in Breakfast at Tiffany's. "TIMBER!" FAVORITE PERFORMANCE "Moon River," Breakfast at Tiffany's. The song is perfect with Audrey Hepburn's one-octave, subdued (while accompanied on ukulele) performance. BEST WARDROBE ***TIE*** Breakfast at Tiffany's (my favorite outfit being Audrey's gorgeous orange coat) & West Side Story (Anita had the best dancing dresses). WORST WARDROBE Cruella De Vil's all-fur wardrobe in One Hundred and One Dalmatians BEST SONG "Cruella De Vil," One Hundred and One Dalmatians FILM THAT UNFORTUNATELY SHOWS THAT SOME THINGS NEVER CHANGE Natalie Wood's treatment (especially in regard to sex) in 1920s Kansas in Splendor in the Grass. Her mother tells her (and I may be paraphrasing), "women aren't supposed to like [sex], we just are supposed to lie back and accept it." BEST ENDING The ending to Splendor in the Grass. It isn't necessarily a happy ending, but it is a good ending and a realistic one. SPEEDRACER'S TAKEAWAY FROM "THE PARENT TRAP" So did the trap work? Did the parents get back together? Or is the ending just a dream? SPEEDRACER'S SECOND TAKEAWAY FROM "THE PARENT TRAP" How lucky for Sharon that Susan could not only cut her hair decently, but she could copy her hairstyle exactly! 6 Link to comment Share on other sites More sharing options...
Bogie56 Posted September 13, 2016 Author Share Posted September 13, 2016 The 1961 Berlin International Film Festival winners were… Best Actor Peter Finch, No Love For Johnnie Best Actress Anna Karina, A Woman Is a Woman —————————————————————————————— The 1961 Cannes Film Festival winners were… Best Actor Anthony Perkins, Goodbye Again Best Actress Sophia Loren, Two Women (60) ————————————————————————————— The 1961 Moscow International Film Festival winners were … Best Actors Peter Finch, The Trials of Oscar Wilde (60) Bambang Hernato, Pedjuang Best Actress Lan Yu, A Revolutionary Family ————————————————————————————— The 1961 Venice Film Festival winners were: Best Actors Toshiro Mifune, Yojimbo Best Actress Suzanne Flon, Thou Shall Not Kill ————————————————————————————————— The 1961 San Sebastian Film Festival winners were… Best Actor Gert Frobe, Crook and the Cross (60) Best Actress Pina Pellicer, One-Eyed Jacks 1 Link to comment Share on other sites More sharing options...
TomJH Posted September 13, 2016 Share Posted September 13, 2016 I don't want to raise the whole Stanley Kramer thing again, but if you did have to choose a performance from Judgment at Nuremberg, why wouldn't you choose Lancaster's? Burt Lancaster was an actor who enjoyed the challenge of a role outside of his comfort zone. Sometimes the results were impressive (Sweet Bird of Youth, Birdman of Alcatraz, Atlantic City). It's been a while since I saw Judgment at Nurmberg but I recall thinking that it was one of his less successful efforts to stretch as an actor. The role probably required a quieter, more naturally introspective performer than Burt proved to be on this occasion (though I give him an "A" for effort and sincerity). Lancaster was an actor who certainly had the courage to challenge himself artistically. Always been fond of Burt. 2 Link to comment Share on other sites More sharing options...
kingrat Posted September 13, 2016 Share Posted September 13, 2016 FILM THAT UNFORTUNATELY SHOWS THAT SOME THINGS NEVER CHANGE Natalie Wood's treatment (especially in regard to sex) in 1920s Kansas in Splendor in the Grass. Her mother tells her (and I may be paraphrasing), "women aren't supposed to like [sex], we just are supposed to lie back and accept it." BEST ENDING The ending to Splendor in the Grass. It isn't necessarily a happy ending, but it is a good ending and a realistic one. Speedracer, Kazan wrote in his memoirs that Splendor in the Grass wasn't his best film, but it had the best last two reels. Many of us would agree that the bittersweet ending is just about perfect. It's not just Warren and Natalie; poor Zohra Lampert could hardly have wanted to live on an isolated farm in rural Kansas. 2 Link to comment Share on other sites More sharing options...
JamesJazGuitar Posted September 13, 2016 Share Posted September 13, 2016 Speedracer, Kazan wrote in his memoirs that Splendor in the Grass wasn't his best film, but it had the best last two reels. Many of us would agree that the bittersweet ending is just about perfect. It's not just Warren and Natalie; poor Zohra Lampert could hardly have wanted to live on an isolated farm in rural Kansas. What is a reel as it relates to time? I understood a reel to be around 35 minutes but I guess I'm off and it is closer to 18??? Link to comment Share on other sites More sharing options...
Bogie56 Posted September 13, 2016 Author Share Posted September 13, 2016 What is a reel as it relates to time? I understood a reel to be around 35 minutes but I guess I'm off and it is closer to 18??? A traditional 35mm reel for cinema projection is 2000 feet or twenty minutes. But these are really two, 1000 foot reels that are joined together in the laboratory printing stage. Up until the printing stage everyone works with 1000 foot reels, which are roughly ten minutes. So, if you are working in the cutting room you may have 10 ten minute reels. But if you are watching it in a cinema you would have 5 20 minute reels. 35mm runs at 90 feet per minute. Theatrical change over reels are everts second reel starting at 2 to 3. That means you change over from one projector to another. This is prior to having films on platters or digital. You should not have music cues run over reel changes and certainly not over a change over. That is why most reels are often less than the 1000 feet allowed. It is ideal to do changeovers on scene changes. How many times in the old days did you see a projector change in the middle of a scene and the colour temperature would change? There are all sorts of weird things determined by change overs. For instance you could not have dialogue near the end of the reel. This is because in a projector the sound head is in advance of the picture. Therefore the sound is printed in advance. 1 Link to comment Share on other sites More sharing options...
JamesJazGuitar Posted September 13, 2016 Share Posted September 13, 2016 A traditional 35mm reel for cinema projection is 2000 feet or twenty minutes. But these are really two, 1000 foot reels that are joined together in the laboratory printing stage. Up until the printing stage everyone works with 1000 foot reels, which are roughly ten minutes. So, if you are working in the cutting room you may have 10 ten minute reels. But if you are watching it in a cinema you would have 5 20 minute reels. Funny but your avatar provided my answer! The 3 Stooges were known for their 2 reel shorts and I had just seen that documentary by Moe's son on Decades last week. So I had a general idea that a 2 reel short was around 35 - 40 minutes. (so clearly I wasn't thinking straight when I asked). But thanks for the technical info. Link to comment Share on other sites More sharing options...
TomJH Posted September 13, 2016 Share Posted September 13, 2016 Some of the great comedy joys of the movies for me are to be found in two reelers. 1 Link to comment Share on other sites More sharing options...
Bogie56 Posted September 13, 2016 Author Share Posted September 13, 2016 Funny but your avatar provided my answer! The 3 Stooges were known for their 2 reel shorts and I had just seen that documentary by Moe's son on Decades last week. So I had a general idea that a 2 reel short was around 35 - 40 minutes. (so clearly I wasn't thinking straight when I asked). But thanks for the technical info. I think a two reeler in those days is using the 1000 foot per reel barometer. The Stooges films were usually 17 minutes long. And the earliest projectors used 1000 foot reels. 1 Link to comment Share on other sites More sharing options...
Bogie56 Posted September 13, 2016 Author Share Posted September 13, 2016 Here are some performances from 1961 that will be recognized in subsequent years … Marcello Mastroianni will be nominated for the Best Actor Oscar in 1962 for Divorce - Italian Style (1961). He will also be nominated for the 1962 Golden Globe Best Actor in a Comedy or Musical Award and for the BAFTA Best Foreign Actor Award in 1963. Murray Melvin will share the 1962 Cannes Film Festival Best Actor Award for A Taste of Honey (1961). Rita Tushingham will win the 1962 Cannes Film Festival Best Actress Award for A Taste of Honey (1961). Spencer Tracy will be tied for Italy’s David di Donatello Best Foreign Actor Award in 1962 for Judgment at Nuremberg (1961). Anthony Perkins will be tied for Italy’s David di Donatello Best Foreign Actor Award in 1962 for Goodbye Again (1961). Audrey Hepburn will win Italy’s David di Donatello Best Foreign Actress Award in 1962 for Breakfast at Tiffany’s (1961). Franco Citti will be nominated for the BAFTA Best Foreign Actor Award in 1962 for Accatone (1961). Jean-Paul Belmondo will be nominated for the BAFTA Best Foreign Actor Award in 1962 for Leon Morin, Pretre (1961). George Wilson will be nominated for the BAFTA Best Foreign Actor Award in 1962 for Such a Long Absence (1961). Anouk Aimee will be nominated for the BAFTA Best Foreign Actress Award in 1962 for Lola (1961). Natalie Wood will be nominated for the BAFTA Best Foreign Actress Award in 1962 for Splendor In the Grass (1961). Harriet Andersson will be nominated for the BAFTA Best Foreign Actress Award in 1962 for Through a Glass Darkly (1961). Daniela Rocca will be nominated for the BAFTA Best Foreign Actress Award in 1963 for Divorce - Italian Style (1961). Alberto Sordi will be nominated for the 1962 Golden Globe Best Actor in a Comedy or Musical Award for The Best of Enemies (1961). Suchitra Sen will win the Best Actress Award at the Moscow International Film Festival in 1963 for Marriage Circle (1961). 3 Link to comment Share on other sites More sharing options...
CoraSmith Posted September 14, 2016 Share Posted September 14, 2016 One of my favorites from 1961 is The Children's Hour. This contains SPOILERS. The play by Lillian Hellman, who was blacklisted in the 1950s, premiered in 1934. It was loosely based on true facts in Scotland around 1810. William Wyler made a first, heterosexual version in 1936, retitled "These Three". It would last twenty-five more years until Hollywood was ready for his second, more faithful adaptation. Shirley MacLaine and Audrey Hepburn played in some of the best comedies of this era, but here they show their dramatical depth. They play two contrasting characters. Karen (Hepburn) is more extravert, self-confident and better dressed. Martha (MacLaine) comes from a religious family with conservative values. She feels guilty about her feelings. A strong point is the fact that only one of the two women struggles with her sexual orientation. It makes her feel even more isolated. There are some brilliant supporting characters, like the gossipping Amelia Tilford (Fay Bainter) - who unsuccessfully tries to buy off her guilt - and her granddaughter Mary (Karen Balkin). I like naughty children in movies. All too often they are portrayed as little angels, but here they make big mistakes without realizing the consequences. The focus is on the dialogues and the tension between the conflicting characters. Reaction shots show their emotional response. Less is more, Wyler must have thought, so he didn't show the court case, Mary's spanking ad Martha's corpse (only its shadow). They shot on location in Shadow Ranch in Los Angeles. In the beginning this beautiful place looks like an oasis away from the overcrowded city, but after the children have left it feels gloomy and isolated. 5 Link to comment Share on other sites More sharing options...
Bogie56 Posted September 14, 2016 Author Share Posted September 14, 2016 Italy’s Nastro d’Argento Film Awards for 1961 were … Best Actor Marcello Mastroianni, Divorce Italian Style Best Actress Lea Massari, A Difficult Life (but not awarded as he was dubbed by another actress) Best Supporting Actor Salvo Randone, The Assassin Best Supporting Actress Monica Vitti, La Notte —————————————————————————————— Italy’s David di Donatello Awards for 1961 were … Best Foreign Actor Spencer Tracy, Judgment at Nuremberg Anthony Perkins, Goodbye Again Best Foreign Actress Audrey Hepburn, Breakfast at Tiffany’s 1 Link to comment Share on other sites More sharing options...
JamesJazGuitar Posted September 14, 2016 Share Posted September 14, 2016 One of my favorites from 1961 is The Children's Hour. This contains SPOILERS. The play by Lillian Hellman, who was blacklisted in the 1950s, premiered in 1934. It was loosely based on true facts in Scotland around 1810. William Wyler made a first, heterosexual version in 1936, retitled "These Three". It would last twenty-five more years until Hollywood was ready for his second, more faithful adaptation. Shirley MacLaine and Audrey Hepburn played in some of the best comedies of this era, but here they show their dramatical depth. They play two contrasting characters. Karen (Hepburn) is more extravert, self-confident and better dressed. Martha (MacLaine) comes from a religious family with conservative values. She feels guilty about her feelings. A strong point is the fact that only one of the two women struggles with her sexual orientation. It makes her feel even more isolated. There are some brilliant supporting characters, like the gossipping Amelia Tilford (Fay Bainter) - who unsuccessfully tries to buy off her guilt - and her granddaughter Mary (Karen Balkin). I like naughty children in movies. All too often they are portrayed as little angels, but here they make big mistakes without realizing the consequences. The focus is on the dialogues and the tension between the conflicting characters. Reaction shots show their emotional response. Less is more, Wyler must have thought, so he didn't show the court case, Mary's spanking ad Martha's corpse (only its shadow). They shot on location in Shadow Ranch in Los Angeles. In the beginning this beautiful place looks like an oasis away from the overcrowded city, but after the children have left it feels gloomy and isolated. Nice write up of this film but I notice you didn't mention James Garner and the male role. I believe this is the weak part of the film. I just don't get the feeling of any strong sexual chemistry between the man and women in this film. What that intentional on the part of Wyler to create doubt in the minds of the audience as it relates to Karen's sexual orientation? MacLaine does a fantastic job of acting in this film showing her range, but I have always felt Hepburn and Garner were only adequate. 1 Link to comment Share on other sites More sharing options...
Bogie56 Posted September 14, 2016 Author Share Posted September 14, 2016 Nice write up of this film but I notice you didn't mention James Garner and the male role. I believe this is the weak part of the film. I just don't get the feeling of any strong sexual chemistry between the man and women in this film. What that intentional on the part of Wyler to create doubt in the minds of the audience as it relates to Karen's sexual orientation? MacLaine does a fantastic job of acting in this film showing her range, but I have always felt Hepburn and Garner were only adequate. The male part is not very strong in the play. I saw it in London with Keira Knightley in the Audrey Hepbrun role and Ellen Burstyn playing the grandmother. If memory serves in the play the boyfriend starts off by supporting his woman but then deserts her when the going gets rough. 1 Link to comment Share on other sites More sharing options...
CoraSmith Posted September 14, 2016 Share Posted September 14, 2016 Nice write up of this film but I notice you didn't mention James Garner and the male role. I believe this is the weak part of the film. I just don't get the feeling of any strong sexual chemistry between the man and women in this film. What that intentional on the part of Wyler to create doubt in the minds of the audience as it relates to Karen's sexual orientation? MacLaine does a fantastic job of acting in this film showing her range, but I have always felt Hepburn and Garner were only adequate. I agree that the male part is less interesting. The character is mostly there to trigger Martha's jealousy. MacLaine has the most captivating part because she's the one who undergoes the biggest emotional evolution, and she gives a terrific performance. I don't believe Karen has any doubt about her sexual orientation, although she probably hasn't found the right man yet. 1 Link to comment Share on other sites More sharing options...
JamesJazGuitar Posted September 14, 2016 Share Posted September 14, 2016 The male part is not very strong in the play. I saw it in London with Keira Knightley in the Audrey Hepbrun role and Ellen Burstyn playing the grandmother. If memory serves in the play the boyfriend starts off by supporting his woman but then deserts her when the going gets rough. Interesting. To me the boyfriend being somewhat of a cad works better than the ambiguous way he is portrayed in the 60s film. Link to comment Share on other sites More sharing options...
Bogie56 Posted September 14, 2016 Author Share Posted September 14, 2016 Japan’s Blue Ribbon Awards for 1961 were … Best Actor Toshiro Mifune, Yojimbo and The important Man Best Actress Ayako Wakao, The Wife Confesses, Onna wa Nido Inameru and The Age of Marriage Best Supporting Actor So Yamamura, Arega Minato no hi da Best Supporting Actress Hiruzu Takachiho, Zero Focus and Haitoku no Mesu ————————————————————————————— Japan’s Mainichi Awards for 1961 were … Best Actor Tatsuya Nakadai, The Human Condition Part 3 and Immortal Love Best Actress Hideo Takamine, Happiness of Us Alone and Immortal Love Best Supporting Actor Rentaro Mikuni, Hadakakko and The Catch Best Supporting Actress Michiyo Aratama, The End of Summer 1 Link to comment Share on other sites More sharing options...
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