1966's Oscar Nominees

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Have never seen The Sand Pebbles.

rank as Woolf, Alfie, Russians, Seasons.

Haven't seen Russians in forever, but I remember it as a quality Cold War sitcom, with good work by Arkin (debut), Jonathan Winters, Paul Ford and even Carl Reiner.

I suspect Woolf will win, and deserve to win, but I'm not voting as I haven't seen the other four.

I actually had to consult Wiki to remember what the actual winner was this year. I should've known: another one that exists in that Out of Africa/English Patient/The King's Speech canon of movies that will only ever be remembered for being BP winners.

This is a solid movie, though.

My problem with A Man for All Seasons is I found the Sir Thomas More character unsympathetic/kind of a priss

The Sand Pebbles is not incredibly exciting.

Woolf is the best; Russians and Alfie good. Wasn't Spielberg trying to do another Russians with 1941 (but it wasn't as funny)?

He was in the play, to be fair. Not inherently dramatic.

Scofield is fine. Prefer him in Quiz Show

I believe Kael said that More was a boring hero in A Man for All Seasons bcz he "had all the good lines" with no worthy villain to challenge him. It had been a big success on the stage, with a less straightforward approach (I think there was an onstage narrator).

It's fair to say that 1941 was a more cinematically ambitious Russians Are Coming, but yes, perhaps not as funny.

It's been years, but I remember Orson Welles as Cardinal Wolsey stealing an early scene.

shaking his wattles, mostly

A Man for All Seasons was John Wayne's favorite movie

Duke's film tastes were likely better than his political tastes.

His taste in men, otoh, another story entirely.

He married three Catholic Latinas, though not religious himself

one was of Spanish ancestry rather than "hispanic" ancestry iirc.

he married two latinas while being a racist POS. he contained multitudes

one was of Spanish ancestry rather than "hispanic" ancestry iirc.

actually this is wrong, i guess i just imagined that i read it sometime :/

I always wondered how good his Spanish was IRL, considering his marital advantage. His cowboy characters always spoke that twangy gringo type of Spanish.

His taste in men, otoh, another story entirely.

― Pauline Male (Eric H.),

https://66.media.tumblr.com/f19688d0c1551c6a1019b2a55402e780/tumblr_nffh7m8oCL1qzgwh4o3_500.gif

Of the five BP nominees for this year, only two (Zinnemann and Nichols) were nominated for Best Director. That's gotta be an unusually small overlap for those categories, no?

Interesting year, in that it's right before Bonnie and Clyde and the beginning of New American Cinema or whatever you want to call it. (I know that didn't happen instantaneously, and that films like the one that's going to win this poll played a part.) I won't vote though--I'm ambivalent about Virginia Woolf, and the only other thing I've seen, Alfie, was over 40 years ago.

Probably about 1966 or so ...

Goin to the beach pic.twitter.com/ftuMflyOHk

— Matt Prigge (@mattprigge) July 12, 2019

Automatic thread bump. This poll is closing tomorrow.

Woolf it is then.

Automatic thread bump. This poll's results are now in.

well, yeah

just wanted to add re the initial post that Matthau's shyster character in The Fortune Cookie is a thing of motherfucking blackhearted beauty; maybe he should've won the lead Oscar for it instead of supporting. And the film is funnier than I'd remembered. Bravo!

Watched A Man for All Seasons for the first time ever. I had this Academy Awards pocketbook when I was 10 or something, and all the films that won Best Picture had this elevated stature to me at that age that is probably still buried somewhere deep in the recesses of my mind. By the time I was 15, though, a film like A Man for All Seasons had ceased to be of interest.

I liked it, probably as much for what it represents than the film itself: it feels like the last big film of its kind--historical, literary (or ambitions in that direction, anyway), celebrated non-auteurist director (so relatively forgotten now, he doesn't have an ILX thread--that defined late-'50s/early-'60s Hollywood before such films fell out of favour for at least the next decade. (They definitely came back in the '80s.) I especially liked the opening-credits sequence, with Georges Delerue's score. Strange for me to see Robert Shaw and John Hurt years before the films I know them for (and Leo McKern, who to me is the guy who pops up from the manhole in Help!). You can still access Kael's review from when she was at The New Republic.

https://newrepublic.com/article/95291/tnr-film-classics-man-all-seasons-february-25-1967

Missing an end bracket there: ...have an ILX thread)--that defined