1970 is one of those years that I call “checkpoint” years. As in, you’re going and looking at all the Best Picture winners, and you go, “Like that, like that, don’t like that, oh man, that one’s horrible…” But when you get to this one, you see Patton and go, “Uh huh,” and you move on. Because it’s unquestionably a film that was gonna win. Gone With the Wind is like that. Lawrence of Arabia. These years are checkpoint years, because you mentally rest for a second before moving on.

Outside of Best Picture, Patton wins Best Director for Franklin Schaffner (talked about here) and Best Actor for George C. Scott (talked about here). Both were terrific decisions (though huge shout out to James Earl Jones in The Great White Hope. I’m not kidding when I say (racism notwithstanding) in almost any other year, he wins hands down). Best Actress this year was Glenda Jackson for Women in Love (talked about here), which is the single worst decision of all time by the Academy, in any category, bar none. (I hate it, in case you couldn’t tell.) Best Supporting Actor was John Mills for Ryan’s Daughter (talked about here), which I consider probably one of the worst three decisions of all time in the Best Supporting Actor category. And Best Supporting Actress was Helen Hayes for Airport (talked about here), which was a wonderful veteran Oscar. I’m glad she won.

So, overall, 1970 is a solid year. However, due to my insane love for another film, I will not be voting for the obvious choice in Patton here. I don’t care what anyone says, but Love Story, to me, is one of the greatest films ever made. Man’s gotta vote with his heart.

BEST PICTURE – 1970

And the nominees are…

Airport (Universal)

Five Easy Pieces (Columbia)

Love Story (Paramount)

MASH (20^th Century Fox)

Patton (20^th Century Fox) Read the rest of this page »

 The 70s had balls. That’s the best way to describe it. In the 80s, you’d look at this list and assume Nicholas and Alexandra was going to win. In the 60s, you’d assume Fiddler on the Roof. Nothing against either of those films, they’re both actually really amazing (this entire list is), it’s just — here, in the 70s — the right film won.

Outside of Best Picture, The French Connection won Best Director for William Friedkin (talked about here) and Best Actor for Gene Hackman (talked about here). Both were awesome decisions. Best Actress was Jane Fonda for Klute (talked about here), which is another great decision and another 70s decision. Best Supporting Actor and Best Supporting Actress were Ben Johnson (talked about here) and Cloris Leachman (talked about here) from The Last Picture Show. I don’t love either decision, but am more okay with Supporting Actress. Still, I’d have gone another way on both of them.

Again, though, the 70s are just terrific at awarding good things. There’s so much good stuff nominated that almost no matter what they choose, the result will be good (or at the very least, acceptable). It’s amazing.

BEST PICTURE – 1971

And the nominees were…

A Clockwork Orange (Warner Bros.)

Fiddler on the Roof (United Artists)

The French Connection (20^th Century Fox)

The Last Picture Show (Columbia)

Nicholas and Alexandra (Columbia) Read the rest of this page »

There is nothing to say about 1972 except: The Godfather. I rest my case.

Outside of Best Picture, Marlon Brando wins Best Actor for the film (talked about here). Duh. Best Actress goes to Liza Minnelli for Cabaret (talked about here), Joel Grey wins Best Supporting Actor for the film (talked about here), and Bob Fosse wins Best Director for it (talked about here). I love the Best Actress decision, hate the Best Supporting Actor decision (seriously, not James Caan or Al Pacino?) and am completely perplexed by the Best Director decision (I love Bob Fosse, but even the DGA went with Coppola. But it worked out, since both Coppola and Fosse ended up with Oscars.) And the only award left was Eileen Heckart winning Best Supporting Actress for Butterflies Are Free (talked about here), which — okay. It was a weak category, and is pretty irrelevant historically.

Seriously, though – The Godfather. Let’s not play around here.

BEST PICTURE – 1972

And the nominees were…

Cabaret (Allied Artists)

Deliverance (Warner Bros.)

The Emigrants (Warner Bros.)

The Godfather (Paramount)

Sounder (20^th Century Fox) Read the rest of this page »

Another one. This decade just knocks them out of the park, one year at a time. Seriously, has it ever been as good as it was here?

The Sting is such a great Best Picture choice I can’t even put it into words. It also won Best Director for George Roy Hill (talked about here), which — finally! After this and Butch and Sundance (not to mention Thoroughly Modern Millie), the man deserved it. Best Actor was Jack Lemmon for Save the Tiger (talked about here), which was about thirteen years overdue for him. Even though his category was tremendous, he did deserve to win. Best Actress was Glenda Jackson for A Touch of Class (talked about here), which would have been okay had she not won in 1970, but she did, which makes me not like this decision at all (plus if Ellen Burstyn won here, maybe Gena Rowlands could have won the year after this). Best Supporting Actor was John Houseman for The Paper Chase (talked about here). A veteran Oscar, and one I’d normally be okay with, but Jason Miller was so good in The Exorcist and Vincent Gardenia was so good in Bang the Drum Slowly that I just can’t like that decision. And Best Supporting Actress was Tatum O’Neal for Paper Moon (talked about here), which is seriously one of the best decisions of all time in the category. You know me and precocious child roles — this thing is just incredible. I loved that film and that performance so, so much.

Again, we have another 70s year hit right out of the park. I love how this decade is the complete antithesis to the 80s in almost every way. That’s so wonderful.

BEST PICTURE – 1973

And the nominees are…

American Graffiti (Universal)

Cries and Whispers (New World Pictures)

The Exorcist (Warner Bros.)

The Sting (Universal)

A Touch of Class (Avco Embassy) Read the rest of this page »

Oh, I love 1974 so much. (This will be, and has been, a recurring theme of the 70s with me.) Look at all five of these choices. And look at what won! Man, what a year.

The Godfather Part II, I think we can all agree, is one of the top five or ten best Best Picture winners of all time. Francis Ford Coppola winning Best Director for it (talked about here) is one of the top five Best Director decisions of all time, especially considering the Academy passed over him for the first Godfather. Robert De Niro also won Best Supporting Actor for the film (talked about here). I think we all know how good he was. Now, outside of those three — Art Carney wins Best Actor for Harry and Tonto (talked about here), which is one of the single worst Best Actor decisions of all time. Seriously Bottom five. Simply because Carney beat Al Pacino (in Godfather), Jack Nicholson (in Chinatown), Dustin Hoffman (in Lenny) and Albert Finney (in Murder on the Orient Express). None of these actors had an Oscar at this point, and this decision is what prevented Al Pacino from getting his Oscar until 1992 (and then prevented Denzel from getting his until 2001. Not to mention also potentially keeping Robert Downey Jr. and Clint Eastwood from an Oscar as well). I think we can agree it was bad. Best Actress was Ellen Burstyn for Alice Doesn’t Live Here Anymore (talked about here). It was a good decision. Burstyn was great in the role, but I can’t help but feel that Gena Rowlands deserved it more for A Woman Under the Influence. And Ingrid Bergman won Best Supporting Actress for Murder on the Orient Express (talked about here), which is clearly a veteran win, because she’s only on screen for five minutes and does next-to-nothing in the film.

Overall, 1974 is a huge success, and is in a way, the heart of the 70s. I’m seriously in awe of this decade.

BEST PICTURE – 1974

And the nominees were…

Chinatown (Paramount)

The Conversation (Paramount)

The Godfather Part II (Paramount)

Lenny (United Artists)

The Towering Inferno (20^th Century Fox, Warner Bros.) Read the rest of this page »