I love me some 1976. How can you not? Rocky, Taxi Driver, All the President’s Men, Network… and those were just the films nominated for Best Picture. How stacked a list is that? It’s probably the strongest Best Picture year of all time. And Rocky winning Best Picture, to me, was the best decision, mostly because it’s my favorite film of the bunch. Though I get people feeling otherwise (as long as they aren’t dicks about it).
Peter Finch wins Best Actor for Network (talked about here), which, while it wouldn’t have been my personal choice in the category, is totally acceptable as a result. I explained why in the article. Then Best Actress was Faye Dunaway, also for Network, which had to happen. She earned a statue twice over by this point and gave arguably the best performance of her career. Great call. (Shame about Talia Shire, though. Sentimental favorite.) Then Best Supporting Actress was Beatrice Straight, also from Network (talked about here), which I’m okay with (I think), though I’d have voted for Jodie Foster in Taxi Driver. And Best Supporting Actor was Jason Robards for All the President’s Men (talked about here), which I’m okay with, but I, personally would have gone with Burt Young or Burgess Meredith (not even sentimentally, I thought they legit gave better performances).
So that’s 1976. Awesome, in all, and it ends with this category, which, given the Best Picture choice, was pretty much a foregone conclusion.
BEST DIRECTOR – 1976
And the nominees were…
John G. Avildsen, Rocky
Ingmar Bergman, Face to Face
Sidney Lumet, Network
Alan J. Pakula, All the President’s Men
Lina Wertmüller, Seven Beauties (more…)
Last week, in Box Office…
After some strong early numbers that made it seem like Moneyball was gonna take the top spot, The Lion King again held strong, to my tremendous enjoyment. I love the idea that a 17-year old film won the box office twice over newer (and, in like three cases, better) films.
The Lion King made another $21.9 million, bringing its recent total to $61.5 million. This, to me, tells me that, among being other things (somewhat racist, quick to sue about anything, discriminatory, possibly keeping their creator’s frozen head in a bunker underneath their park), are also smart. Because of this, they know, when they release titles from their vault, they’ll make quick money rereleasing them in theaters too. Now, of course, this really only applies to like, five movies (Little Mermaid, Beauty and the Beast, Aladdin, this and maybe some of the really old classics), but still, I feel like they could offset the 3D conversion price by knowing there’s enough desire for certain films (or just skip the 3D entirely and just rerelease the films). So I’m actually a big fan of this strategy. I’m glad they realize that their old stuff is better than other people’s new stuff. (If only they could make that the case about their new stuff too…)
Moneyball finished second, opening to a (pretty strong, actually) $19.5 million. I don’t think that’s bad for this film. I feel like it was one of those — “Okay, we’re aiming for Oscars, and with Pitt, we’ll probably make a few bucks as well.” But a $50 million price tag isn’t that high. Not for today. So even though most studios seem to be willing to lose some money on films in theaters in the case that they get nominated for Oscars, I think they’ll be all right here. I’ve yet to see the film, but I imagine it’s very strong, and will probably catch some Oscar nominations. But if not, I’m sure it’ll end up making its money back at some point. (more…)
Oh, I don’t like 1947. This year just reeks of weak to me. Not that Gentleman’s Agreement is a bad film, it’s just — the rest of the year is so weak around it, to me, it feels like a weak choice. It’s a great film, and in the category, it totally should have won Best Picture. It also won Best Director for Elia Kazan, which — no objections there, and Best Supporting Actress for Celeste Holm, which I’m cool with. I like her. And the category was weak.
Best Actor this year was Ronald Colman for A Double Life, which is a really weak choice. Gregory Peck was so much better in Gentleman’s Agreement. Best Actress this year was Loretta Young in The Farmer’s Daughter, which is one of the worst Best Actress decisions of all time (probably second, maybe third, still, really, really bad). Rosalind Russell definitely should have won for Mourning Becomes Electra. The performances aren’t even close.
So that’s 1947. Just a weak set of films, Academy-wise, and overall weak choices outside of Best Picture and Director. Fortunately, though, this category does redeem a lot of it, because — Santa Claus. Instant redemption.
BEST SUPPORTING ACTOR – 1947
And the nominees were…
Charles Bickford, The Farmer’s Daughter
Thomas Gomez, Ride the Pink Horse
Edmund Gwenn, Miracle on 34th Street
Robert Ryan, Crossfire
Richard Widmark, Kiss of Death (more…)
Love me some 1986. Actually, wait, I just said that without thinking about it? Do I? …Platoon, Best Picture, Best Director for Oliver Stone. Check. Best Actor for Paul Newman for The Color of Money (talked about here), this category. All likes a lot so far. Best Supporting Actor and Best Supporting Actress for Michael Caine (talked about here) and Dianne Wiest in Hannah and Her Sisters. Well — they can’t all be winners. But still, 4 out of 6, so, sure, I love me some 1986.
Oh, and hey, look at that — we took care of the recap there too. Don’t you love how I can change it up while pretending it’s all just random? (It was totally random.) Don’t you also love how I can save space by saying things briefly and then fucking it up by continuing to talk for absolutely no reason?
Anyway, let’s get to the category… (Big time sound effect!)
BEST ACTRESS – 1986
And the nominees were…
Jane Fonda, The Morning After
Marlee Matlin, Children of a Lesser God
Sissy Spacek, Crimes of the Heart
Kathleen Turner, Peggy Sue Got Married
Sigourney Weaver, Aliens (more…)