The 56th annual Academy Awards for the film year 1983. The nominations were announced on February 16, 1984 and the awards were held on April 9, 1984.
Best Picture: Terms of Endearment
- The Big Chill
- The Right Stuff
- The Dresser
- Tender Mercies
Most Surprising Omission: Fanny and Alexander
Best Eligible Film Not Nominated: Fanny and Alexander
Best Eligible English-Language Film Not Nominated: Zelig
Rank (out of 82) Among Best Picture Years: #26
The Race: An article appeared in The New York Times in October from Aljean Harmetz. According to the article Hollywood executives agreed “it has been a bad year for art,” and they believed “no movie released so far will be nominated for Best Picture. Without hesitation most executives rattle off the names of the following five unreleased movies which they believe will be the probable nominees: The Right Stuff, Terms of Endearment, Star 80, Silkwood and Yentl.” (I am relying on quotes from Inside Oscar because the article itself is behind the paywall of the Times. If you want to read it, it’s from October 19, 1983.)
Thus we see two of the big problems with Oscar prognostication in one swoop. First – you can’t just write off the early films, as much as you would like to. While it has been “common knowledge” for years that you need to be a late release to compete for Oscars, that’s not really true. Up until the late 90’s it was relatively common to have at least one film from before Memorial Day among the nominees (12 out of 18 years from 79 to 96) and 7 times in the last 30 years of five Best Picture nominees did all the nominees get released after Labor Day. And so, of course, Tender Mercies, which had opened to strong reviews and word of mouth in April and The Big Chill, which opened to good reviews and strong box office in September, while written off by the executives, were still very much in the race.
The second thing you don’t do is bet on the films you haven’t seen (as fans of Dreamgirls learned all too well). No matter the hype, you still have to wait to see how people respond to the film. So Star 80, which didn’t get the reviews that people hoped and died at the box office was pretty much out of the running as soon as it opened. The other films were in better shape. The Right Stuff had the epic scope as well as a John Glenn presidential run behind it. Terms of Endearment had great reviews and quickly became the biggest film of the year not connected to Star Wars. Silkwood had the better reviews (and a Streep performance) while Yentl had Streisand doing publicity everywhere and slightly better business. But sneaking in at the end, unheralded by the execs, were two British films: Educating Rita and The Dresser.
The National Board of Review went for Terms of Endearment (Picture, Director, Actress, Supporting Actor), but also with Betrayal, yet another British film. Its Best Foreign Film was Ingmar Bergman’s swan song, Fanny and Alexander, which had blown critics away. Bergman was sweeping awards (Foreign Film from the LA Film Critics and New York Film Critics, Director from NYFC), but Terms of Endearment was taking home the big awards – Picture, Director, Actress, Supporting Actor and Screenplay in LA and Picture, Actress and Supporting Actor in New York.
The big films at the Golden Globes were Terms of Endearment and Yentl, with 6 nominations each. They would both take home Best Picture, with the former also winning Screenplay, Actress and Supporting Actor and the latter winning Director for Streisand. But the Globes didn’t really solve the riddle of who would get nominated other than Star 80 being out (only getting an Actor nomination). The Dresser, Fanny and Alexander and Educating Rita were all ineligible for Picture, but all were up for Foreign Film (where Fanny won) and the former two were nominated for Director while the latter won both acting categories. And the other contenders – The Right Stuff, The Big Chill, Silkwood and Tender Mercies – were all nominated for Best Picture.
It was left to the Directors Guild to finally pare the films down. Globe winner Streisand was out. In the race were James L. Brooks (Terms), Lawrence Kasdan (Big Chill), Bruce Beresford (Tender Mercies), Philip Kaufman (The Right Stuff) and Bergman and all the films but Bergman were in the Writers Guild race, along with Silkwood.
The Results: If they weren’t certain what was going to win before the nominations, the nominations ended all suspense. Terms of Endearment had 11 nominations – three more than any other film, a margin that hadn’t been achieved since 1968. In second place was The Right Stuff with 8 followed by Fanny and Alexander with 6. But Kaufman was out and while Bergman was nominated twice, Fanny itself wasn’t in the Best Picture race. In fact, the only two other films besides Terms with Picture / Director noms were The Dresser and Tender Mercies and they combined for 1 fewer nomination than Terms got on its own. The Big Chill was the final Picture nominee but only scored 3 noms and Yentl only managed 5 – all in the technical categories except for Supporting Actress.
Then Brooks won both the Directors Guild and the Writers Guild and the only question left was how many Oscars it would win. The answer turned out to be five. It wouldn’t win any technical awards but would win all of the major awards that it could (both of the ones it lost – Actress and Supporting Actor – were to other performances also from the film).
Terms of Endearment
- Director: James L. Brooks
- Writer: James L. Brooks (from the novel by Larry McMurtry)
- Producer: James L. Brooks
- Studio: Paramount
- Stars: Shirley MacLaine, Debra Winger, Jeff Daniels, Jack Nicholson, John Lithgow
- Oscar Nominations: Picture, Director, Screenplay Based on Material from Another Medium, Actress (MacLaine), Actress (Winger), Supporting Actor (Nicholson), Supporting Actor (Lithgow), Editing, Original Score, Sound, Art Direction
- Oscar Points: 555
- Length: 132 min
- Genre: Drama
- MPAA Rating: PG
- Box Office Gross: $108.42 mil (#2 – 1983)
- Release Date: 23 November 1983
- Ebert Rating: ****
- My Rating: ****
- My Rank: #2 (year) / #57 (nominees) / #20 (winners)
- Nighthawk Nominations: Picture, Director, Adapted Screenplay, Actress (MacLaine), Actress (Winger), Supporting Actor (Nicholson), Editing, Original Score
- Nighthawk Points: 415
The Film: James L. Brooks so obviously loves his characters. And I do call them his characters instead of McMurtry’s, because the feel of the film is much different than the feel of the novel. The novel sprang from other novels and is part of that McMurtry inter-connectivity. These characters exist here, and we get glimpses of them from long before the novel begins.
That is part of the brilliance of the film. We get a wider, deeper understanding of the relationship between Emma Horton and her mother, Aurora. We don’t just start with the argument when Aurora finds out that Emma is pregnant. We begin at the very beginning – with poor little baby Emma in the crib, paranoid Aurora convinced that she is dead and then, almost crawling into the crib before Emma wakes up and starts crying. Of course, the crying doesn’t bother Aurora. She just walks away in triumph, knowing her daughter is alive. Then we get that wonderful music.
Those opening moments, the ones that last until the end of the main titles help establish everything else in the film. We understand the complicated, conflicted relationship between mother and daughter, how close they become after Emma’s father dies, how her friends steer away from her, how Emma is smart and attractive but is aware of neither – we even get a little idea of the mysterious astronaut who lives next door.
For years I thought of this film as a sad drama. It has very painful relationships at the core of it – a problematic mother/daughter relationship and two adulterous relationships, and then it moves on to cancer, the dreaded word that no one ever wants to talk about. But, later, I would learn that this film actually won the Writers Guild Award for Best Adapted Comedy. And slowly, I began to understand why. There is also a lot of joy in this film – in the way the relationships are handled, in the characters themselves. Even if only a few of the lines are designed to be laugh-out-loud-funny (“This is the strangest music to make love to,” Flap so aptly says with “Gee, Officer Krupke” playing in the background), the film overall could be viewed as a comedy.
I started keeping track of the films that I watched back in the spring of 1989. I used to write them down in a notebook – the film, the year, the stars, and a rating (I began with five stars, but changed over to four stars in 1995). I also began my Oscar notebook – an old 70 sheet Mead notebook that is now badly falling apart. The first page was “Best Pictures I have Seen”. On the list was The Sound of Music, then Platoon, then Terms of Endearment. It was the first film I deliberately sought out because it had won Best Picture at the dawn of my Oscar obsession. Even this I knew this film immediately for what it was – a fantastically written, well directed, phenomenally acted film – with several great performances (especially Debra Winger) and two performances for the ages from Shirley MacLaine and Jack Nicholson. It runs up against Fanny and Alexander so it doesn’t take home Picture or Director from me, but damn if it isn’t close. It’s still enjoyable, still brilliant, even after all this time. And I still seem to fall in love with Debra Winger.
The Big Chill
- Director: Lawrence Kasdan
- Writer: Lawrence Kasdan / Barbara Benedek
- Producer: Michael Shamberg
- Studio: Columbia
- Stars: Kevin Kline, Glenn Close, Tom Berenger, JoBeth Williams, William Hurt, Jeff Goldblum, Mary Kay Place, Meg Tilly
- Oscar Nominations: Picture, Screenplay Written Directly for the Screen, Supporting Actress (Close)
- Oscar Points: 120
- Length: 105 min
- Genre: Comedy
- MPAA Rating: R
- Box Office Gross: $56.34 mil (#13 – 1983)
- Release Date: 30 September 1983
- Ebert Rating: **.5
- My Rating: ****
- My Rank: #3 (year) / #72 (nominees)
- Nighthawk Nominations: Picture, Director, Original Screenplay, Actor (Kline), Supporting Actor (Hurt), Supporting Actress (Close), Editing
- Nighthawk Points: 280
The Film: My dislike of funerals stems from a funeral I didn’t even attend. He was someone I went to school with in 8th grade. I was going to say he was my classmate but even that word seems to imply a closer relationship than we had. I was barely aware of his existence except for one day. On that day, I was recovering from a sprained ankle, he wasn’t feeling well and neither was another guy in our gym class and the three of us sat on the bench and talked while the rest of the class was doing something else, what exactly, I can’t say. I learned enough about him to know that he wasn’t a happy guy and for an afternoon it seemed like we were friends. I don’t think I ever talked to him again. A few weeks before the end of school he shot himself.
What followed was one of the most cynical things I have ever witnessed. Most of the students took off from school to go to his funeral. They didn’t know him. Hell, the three of us talked a hell of a lot that afternoon and if anything was clear it was that almost no one at the school knew him. So the two of us skipped the funeral, both of us disgusted with the hypocrisy of so many of our schoolmates. So it became my policy not to go to funerals, not that there are a whole lot of funerals at that age.
What changed my mind, after a fashion, was The Big Chill. Because while I would still avoid a show of naked cynicism like that one in middle school, I have come to understand something else about funerals. They aren’t about the deceased. They are about the survivors. Depending on who it is for, you go, not to grieve over the loss of the deceased, but to celebrate the life that is left. Sadly, funerals, like weddings, become about a gathering of those you love or have loved. When you get older and start to spread out, there are only so many chances you get to see these people. Or, as Randall says in Clerks, “I’m not gonna miss what is likely to be the social event of the season.” Of course, that’s the cynicism of it, but there is joy to it as well.
The Big Chill is about that joy, about gathering together and discovering those people that you love. Because no matter who your family was, is or has become, there are a certain kind of friends that you have, the kind of friends who will smile when they realize the recessional music being played at the funeral is “You Can’t Always Get What You Want.” I had friends like that in college and I can imagine a gathering like this if one of us were to die.
This is such a great film because it starts with a group of characters and then it allows all of those characters to develop. They all interact naturally, they all have distinct personalities, yet, we can also see the group dynamic. We get an understanding of who they were and who they have become. It helps that they are a great bunch of actors (two of them would soon win Oscars and another was in the midst of five Oscar nominations in seven years). They all have great lines to deliver (“The last time Alex and I talked we had a fight. I yelled at him.” “That’s probably why he killed himself.”) and they all deliver them perfectly (“So, we were great then and we’re shit now? I don’t buy that.”). It begins with that great writing, moves forward with the great ensemble and becomes a masterpiece of a motion picture. It helped kick off the great revival of sixties music with one of the great film soundtracks of all-time (it is currently certified 6X Platinum). And it doesn’t just have great music – it knows how to use it. How many films have such a brilliant opening, with the little boy in the tub, singing “Joy to the World” about his bullfrog, then the father turns and sees his wife with the tear and in comes “I Heard It Through the Grapevine” with the wonderful montage of funeral dressing and friends packing. It is so amazingly effective as an introduction to all the characters and the story with the perfect music. And of course, it all continues right through to the end with that wonderful last line (“We took a secret vote. We’re not leaving. We’re never leaving.”) and the beautiful fade into rock and roll.
The Right Stuff
- Director: Philip Kaufman
- Writer: Philip Kaufman (from the book by Tom Wolfe)
- Producer: Irwin Winkler / Robert Chartoff
- Studio: Warner Bros.
- Stars: Dennis Quaid, Ed Harris, Scott Glenn, Fred Ward, Sam Shepard
- Oscar Nominations: Picture, Supporting Actor (Shepard), Editing, Cinematography, Original Score, Sound, Art Direction, Sound Effects Editing
- Oscar Points: 285
- Length: 193 min
- Genre: Drama (Historical)
- MPAA Rating: PG
- Box Office Gross: $21.19 mil (#33 – 1983)
- Release Date: 21 October 1983
- Ebert Rating: ****
- My Rating: ****
- My Rank: #4 (year) / #163 (nominees)
- Nighthawk Nominations: Picture, Director, Adapted Screenplay, Supporting Actor (Shepard), Editing Cinematography, Original Score, Sound, Visual Effects, Sound Editing
- Nighthawk Points: 300
The Film: In both the film and novel Wonder Boys, Walter Gaskell speaks prosaically about “American mythopoetics,” and, specifically, the place of Joe DiMaggio and Marilyn Monroe’s brief marriage as an image of such. Of course, as lifelong Red Sox fan, I find that theory to be utter bullshit. But there his overall idea of American mythopoetics is not a bad one (Chabon would kind of return to it with Summerland, trying to write an American mythology). If you are going to write the American mythology, baseball is certainly not a bad place to start. But in some ways, The Right Stuff is the story of American mythopoetics, of the America of the 50’s that was thriving having assured the triumph of the second World War on two fronts, only to face a challenge from the Russians in the space race.
If you look at The Right Stuff in this way that can help to explain some of the choices in the film. First, there is the strange voiceover that really doesn’t belong – it only distracts from the early parts and makes a summation at the end of the film that is obvious. Then there are the characters played by Jeff Goldblum and Harry Shearer – the rather bungling recruiters who seem completely out of place. But both of them add something when looking at from this viewpoint. They lend the story an epic scope and some comic relief (as does the scene where Alan Shepard is stuck waiting and finally has to pee in his spacesuit). It also makes Philip Kaufman’s decision to include Chuck Yeager’s story the right choice (the first draft of the screenplay by William Goldman had excised all the early parts about the test pilots) – it makes it a dual story of two types of America – stressing the importance of the growing middle class, the college educated who would become the Mercury astronauts – while also paying credence to those hardy pioneers who came before. That perfectly sets up the final scenes, where Yeager manages to reach for the stars on his own at the same time that Gordon Cooper finally becomes what he has always said – the greatest pilot you ever saw.
All of this combines to make it the perfect film for my best friend, John, who, now that I think about it, is the most American person I know. He has long been an American history buff (especially the Civil War), he is the biggest fan of NASA I have ever met (he even drove out to Edwards once to watch the space shuttle land) and he is a devoted fan of that most American of sports, baseball. In fact, he is a lifelong Dodgers fan. And that is where the real American story comes from – the move of the Dodgers to L.A., making the World Series actually transcend the country and not just be another series of baseball games in New York. This is one of his favorite films, and no wonder, for it tells the story of America itself. Or, really, it tells exactly what the poster promises: How the future began.
The Dresser
- Director: Peter Yates
- Writer: Ronald Hardwood (from his play)
- Producer: Peter Yates
- Studio: Columbia
- Stars: Tom Courtenay, Albert Finney
- Oscar Nominations: Picture, Director, Screenplay Based on Material from Another Medium, Actor (Courtenay), Actor (Finney)
- Oscar Points: 205
- Length: 118 min
- Genre: Drama
- MPAA Rating: PG
- Box Office Gross: $5.31 mil (#100 – 1983)
- Release Date: 9 December 1983
- Ebert Rating: ****
- My Rating: ***
- My Rank: #27 (year) / #326 (nominees)
- Nighthawk Nominations: Actor (Courtenay)
- Nighthawk Points: 35
The Film: The Dresser got nominated for Best Picture and Best Director and then promptly became one of the most forgotten Best Picture nominees of my lifetime. No Best Picture nominee since has made less money at the box office and until the increase in nominees two years ago only two films (Secrets and Lies and Letters from Iwo Jima) had ranked as low in their respective year’s box office. Not only does it have the fewest votes on the IMDb of any post-1978 nominee, but only A Soldier’s Story doesn’t have at least twice as many votes. People just don’t seem to have seen it. And what they’re missing . . . Well, it screwed up the Oscars. There’s no other way of putting it. This is clearly the film that managed to slip in and take the spot that should have gone to Fanny and Alexander. It didn’t make any money, didn’t have any critics awards and failed to get nominated by either the DGA or the WGA. It was the odd man out and somehow it was in.
But what about the film itself? Well, it’s a good film, but it’s nothing more than that. It’s one of those filmed plays that manages to open things up a little bit (the key scene is the stopping of the train which clearly works well in the film, probably much better than it worked in the theater), but still feels very much like a play. It contains very good performances from Albert Finney is Sir, an actor who has gone beyond his talent level in long tours of the English countryside, struggling to remember what Shakespeare play he is doing tonight. Courtenay is his dresser, the man who makes certain that Sir is able to go on every night and sometimes is there just to remind him what play they are doing. He is caustic and funny and sometimes brutal (especially when reveals to the young actress that she will be playing Cordelia, not because of any natural talent, but because she is light enough for Sir to carry her on stage at the end). If I only nominate Courtenay it is no slight to Finney – he finishes sixth on my list for the year.
The film is good and you enjoy it while you watch but it does seem to slip away as soon as it is over. It doesn’t linger for long. And it just doesn’t belong on the list of nominees, not when it is the film that almost certainly managed to keep Bergman out. It’s just far too forgettable and that’s never a characteristic you want out of your Oscar nominees.
Tender Mercies
- Director: Bruce Beresford
- Writer: Horton Foote
- Producer: Philip S. Hobel
- Studio: Universal
- Stars: Robert Duvall, Tess Harper, Ellen Barkin
- Oscar Nominations: Picture, Director, Screenplay Written Directly for the Screen, Actor (Duvall), Song (“Over You”)
- Oscar Points: 255
- Length: 100 min
- Genre: Drama (Musical)
- MPAA Rating: PG
- Box Office Gross: $8.44 mil (#78 – 1983)
- Release Date: 4 March 1983
- Ebert Rating: **** (retroactive)
- My Rating: ***
- My Rank: #36 (year) / #355 (nominees)
- Nighthawk Nominations: none
The Film: The first time I watched Tender Mercies, I thought to myself, “Really? After all the great work he did in the seventies – M*A*S*H, both Godfather films, Network, Apocalypse Now – this is what they decided to give him an Oscar for? Really?” And now I have gone back to it for the first time in probably 15 years or so. And what I think to myself now is “Jeff Bridges did this same role in Crazy Heart, except a lot better. And that film had better music, a more interesting script and was just overall a better film.”
That may all sound a bit harsh. Now, by no means do I think Tender Mercies is a bad film and by no means do I think that Robert Duvall gave a bad performance. He does come in at seventh on my list for the year and Tender Mercies is a good film – in its own way very much like a country song – bittersweet at times, tender at times, making you want to cry with the occasional laugh. And to its credit it seems to steer away from the fatal sentimentality of so much country music. And there is the very good performance of Duvall at the heart of it, as well as the very good performance from Tess Harper as the widow with a young child who manages to form some sort of a life with this middle aged singer who realizes that he is on his last chance in life.
But this isn’t a list of good films. It’s a list of films that were nominated for Best Picture and to me there is just not enough to this film. It seems like it has the core for an excellent short story, maybe something by Annie Proulx or Larry McMurtry, but not enough to hang a whole film on. And that comes from the script. It just seems too thin to me and that’s not good enough, especially when you not only get nominated over Zelig and Local Hero, but also manage to win over The Big Chill, and, astoundingly, Fanny and Alexander. Now it’s not Horton Foote’s fault that the Academy chose to reward him rather than Bergman’s masterpiece. But, unfortunately for him, that comparison is always going to be sitting there.
13 April, 2011 at 2:40 am
Excited you’re finally getting close to my birth year, 1985. I’m interested in your rankings and awards for those movies.
13 April, 2011 at 5:54 am
I have to disagree about Tender Mercies: I think it is way better than Crazy Heart – a film which, to me, only appears to exist to give Jeff Bridges a meaty role that might win him an Oscar. Tender Mercies is slow and quiet, but I don’t think it is slight – it is about massive things. We hear the word “redemption” used a lot about films, in trailers etc., but this really is a film about a man’s redemption – step by step, little by little.
Also, the music is way better than in Crazy Heart. Sure, “The Weary Kind” is a nice song and a worthy Best Song winner, but this film has the glorious “Over You” and a lot of other lovely tracks, including those written by Duvall himself. They just feel more musical and authentic.
13 April, 2011 at 5:58 am
Sorry, that sounded a bit argumentative, and I didn’t mean it to. I just like Tender Mercies!… but I agree, Fanny and Alexander should have won for Best Original Screenplay over it.
To me, the most abiding feeling I have about the 1983 Best Picture nominees is that Jack Nicholson probably won by the largest margin of any Oscar winner. Nothing against his fellow nominees, but this was definitely a time in which Jack could do no wrong. Just hear the reaction of the crowd when he wins his Oscar! And I do just love his performance. So funny, so cheeky and devil-may-care…and then when he shows up unexpectedly to lend his support to Aurora, I burst into tears. Really, I was a wreck…
13 April, 2011 at 7:00 am
Yeah, there’s probably no question about Nicholson winning by a lot. My second choice was William Hurt who wasn’t even nominated. As for Tender Mercies – I actually much prefer the songs in Crazy Heart. Something about Tender Mercies just couldn’t get me involved.
13 April, 2011 at 12:24 pm
I agree 100 percent with Edward L. “Tender Mercies” is a much better film and Robert Duvall DEFINITELY deserved his Oscar. Next to “The Apostle,” it’s his best performance, and that’s saying a lot since he has given so many GREAT performance.
Also, if I remember correctly, “Star 80” got great notices from Newsweek and Time. It’s one of the most underrated films of the 1980s. Bob Fosse’s direction was masterful (as always).
I love to read your movie and Oscar comments, even if we disagree a lot. Keep up the good work!
13 April, 2011 at 12:46 pm
Well, I think his performance in The Apostle is quite overrated as well, so we definitely disagree on Duvall’s performances. But, hey, a lot of my commenters disagree with me and I’m cool with that. I’m just glad that people care enough to comment.
14 April, 2011 at 3:53 pm
Nominees: Big Chill, Christmas Story, Fanny and Alexander, King of Comedy, Scarface, Silkwood, Star Wars Episode 6, Terms of Endearment, Trading Places, Year of Living Dangerously
Honorable Mentions: Local Hero, Videodrome, Zelig
Winner: Fanny and Alexander. This is Bergman’s only BP win from me.
15 April, 2011 at 9:09 am
Nighthawk, we apparently also disagree about country-music movies as well. I recall you didn’t care for “Nashville,” which is my all-time favorite movie. But, like you said, we can agree to disagree.
15 April, 2011 at 9:54 am
It’s interesting because I don’t particularly care for country music. But I actually liked the music in Nashville. It was the script (or lack thereof) that I didn’t like.
16 April, 2011 at 11:41 pm
The only one of the noms I haven’t seen from this year is Tender Mercies, and I have to say I disagree with you on this year. I would put The Big Chill, The Right Stuff and The Dresser above Terms of Endearment. It’s weird, because I seem to love everything else Jack Nicholson’s been in, but I just couldn’t get into that film. It seemed like little more than a soap opera to me. Until I saw Crash, it was my least favorite Best Pic winner.
I agree with the people who have given props to Fanny and Alexander and Zelig up above. The winner should have been The Big Chill for its surprising staying power, even if it’s been tied in to the whole yuppie era.
1 August, 2011 at 11:01 am
With all due respect to Terms, which was a fantastic film, I’ve always felt The Right Stuff got shortchanged. An amazing chronicle of America in transition from substance to style; from indomitable spirit to decadence. That there was actually a time during the early development of this film that the screenplay omitted Yeager’s story is mind-boggling. What would the end of the movie been without Gordo hesitating from a moment while he decides whether to give props to Yeager only to decide “f**k it” and toot his own horn? It’s as if his cheeky response opens the door to a new age all by itself.
8 February, 2012 at 12:17 pm
Fanny & Alexander is one of the best films of the 1980s and my personal choice. It did manage to win four Oscars but lost Best Director?! The film was not nominated as Best Picture. Of the nominees, The Big Chill has charm to spare. I especially enjoyed Kevin Kline, Tom Berenger and JoBeth Williams. Since Williams failed to receive a much deserved nomination, I would pick Glenn Close for Supporting Actress and the film itself for Best Picture. Where is Betrayal? It did manage a screenplay nod but Jeremy Irons, Ben Kingsley and Patricia Hodge were wonderful. Anne Bancroft was fabulous and deserved a nomination in To Be Or Not To Be. Tom Courtenay would be my pick for Best Actor in The Dresser but Tom Conti, Albert Finney, Michael Caine and Robert Duvall fill out a great category.Best Actress? The grandma in Fanny & Alexander gave one of the finest performances I have ever witnessed. Ingmar Bergman made one of the three best foreign films of the 80s- the other two (Kagemusha and Ran) are both by Akira Kurosawa.
14 July, 2012 at 7:50 pm
Without any doubt, Fanny and Alexander deserved more Oscars (4 weren’t enough).
Between The right stuff and Terms of endearment, I prefer the first one, but the second is very close. Both are very different films: one is an epic, the other is a meldorama, one has amazing visuals, the other one has great performances, etc.
The big chill has a great cast and good script and of course great soundtrack.
Tender mercies is way better than Crazy heart, I don`t like country music, but this movie is good.
The dresser has two great actors: Finney and Courtenay.
I agree in all the acting awards: MacLaine and Nicholson are amazing in Terms of endearment, Linda Hunt is great in her role as a man in The year of…, and of course, Duvall is very good in Tender Mercies.
22 July, 2012 at 4:33 am
I was so glad to revisit Tender Mercies again after a while away – and to find it worthy of going back in my all-time top 100 (The Right Stuff is very high in that particular list). I just find it so touching and quietly engaging…Beresford and Duvall may have clashed, but the director’s precision framing combined with the lead actor’s soulfulness, plus the potent themes and the lovely music, created a film that I feel is some kind of magic.
Terms of Endearment has never fully clicked with me, and its treasured status is something I puzzle over (when I give it any thought at all, which is rare.)
I look forward to rewatching The Big Chill with slightly older eyes :-) and I’m a bit surprised The Dresser didn’t linger with you at all; I mean, what an ending…
17 November, 2013 at 6:16 pm
I’m disappointed that Terms of Endearment didn’t win Best Picture or Best Director in the Nighthawk Awards. But I AM glad to see that it still won 4 awards, so it wasn’t ignored, unlike The Right Stuff, which doesn’t win anything.
19 May, 2018 at 11:01 pm
I think it’s years like this, 1979 and 1980 that should have seen a Best Picture and Best Director split, something that has become commonplace in the 2010’s. Terms of Endearment’s excellence lies mainly in the acting and writing and in it’s beautiful Music, not in the directing; it’d have been better if Ingmar Bergman had won, with Brooks just settling for the nomination(He does elicit excellent performances from MacLaine and Nicholson and the whole cast, so there’s that).
The same goes for Peter Yates’ nomination for The Dresser; Philip Kaufman could easily and deservedly have taken his place; but i suppose the Director’s branch thought otherwise.
The Score(by Michael Gore i suppose, or Bill Conti? I’ve forgotten) for Terms of Endearment is my favourite film score ever: nothing ever is going to come close in estimation for me.
31 December, 2018 at 2:15 am
Erik, I am confused. According to Wiki, Fanny & Alexander wasn’t nominated for Best Pic because Sweden entered it in the Best Foreign Film category, making it ineligible for the award.
https://en.wikipedia.org/wiki/Fanny_and_Alexander#Accolades
Is this correct?
31 December, 2018 at 10:43 am
@ mikegspnj –
There will be a new post up shortly that will explain the answer to this.
1 January, 2019 at 6:51 pm
So, regarding the film themselves…
I always thought that Terms of Endearment was a great film, but I had only watched it when I was younger. When I watched it more recently, my opinion of it declined a bit. It’s still a great picture, but it felt a bit dated and lacked the depth it could have had. It seemed to me the film could have done more to explore all of the relationships in the film. The events also seem to transpire rather quickly in the film.
Nonetheless, Nicholson is fantastic in it, as is Shirley MacLaine. The hospital scene where she is imploring the nurses to give her daughter the medication is as memorable a scene as you will find in film history.
Fanny and Alexander, however, is just a superior film. The storytelling is excellent, the acting is precise, and its awards for cinematography, art direction and costume design are all well earned. Despite its 3-hour length, the film maintains your interest throughout. It’s too bad it wasn’t eligible for the Best Picture award it rightly deserved.