They're young.  They're in love.  They kill people.  They are also the stars of the best film of the decade and one of the best films ever made.

They’re young. They’re in love. They kill people. They are also the stars of the best film of the decade and one of the best films ever made.

You can read more about this year in film here.  The Best Picture race is discussed here, with reviews of all the nominees.  First there are the categories, followed by all the films with their nominations, then the Globes, where I split the major awards by Drama and Comedy, followed by a few lists at the very end.  If there’s a film you expected to see and didn’t, check the very bottom – it might be eligible in a different year.  Films in red won the Oscar in that category (or Globe, in the Globes section).  Films in blue were nominated.  Films with an asterisk (*) were Consensus nominees (a scale I put together based on the various awards) while those with a double asterisk (**) were the Consensus winners.

I’m listing the top 10 in the categories but only the top 5 earn Nighthawk nominations.

Nighthawk Awards:

  • Best Picture
  1. Bonnie and Clyde  *
  2. The Graduate  *
  3. In the Heat of the Night  **
  4. Persona  *
  5. In Cold Blood
  6. Point Blank
  7. Cool Hand Luke
  8. Two for the Road
  9. A Fistful of Dollars
  10. I Live in Fear

Analysis:  There’s a five point difference between Bonnie and The Graduate – the largest difference between a #1 film and a #2 film since 1931.  Astute observers may notice that I have revised these rankings yet again – the last time I looked at this I had dropped The Graduate slightly below In the Heat of the Night.  But they are really close and Persona is just barely behind them.  In fact, it’s the first time that my #2, #3 and #4 films have all had the same score since 1935, although it will actually happen again the next year.  I continually revise my film lists but one thing I have not revised is this – I still think that Bonnie and Clyde is the best film of the decade.  The last two films are only ***.5.  Persona ends up in a three way tie for 5th place at the Consensus Awards thanks to its NSFC win.

  • bonnie-and-clyde-1967-001-00n-1qk-warren-beatty-faye-dunaway-arthur-penn-on-setBest Director
  1. Arthur Penn  (Bonnie and Clyde)  *
  2. Mike Nichols  (The Graduate)  **
  3. Norman Jewison  (In the Heat of the Night)  *
  4. Ingmar Bergman  (Persona)  *
  5. Richard Brooks  (In Cold Blood)  *
  6. John Boorman  (Point Blank)
  7. Stuart Rosenberg  (Cool Hand Luke)
  8. Grigori Kozintsev  (Hamlet)
  9. Sergio Leone  (A Fistful of Dollars)
  10. Akira Kurosawa  (I Live in Fear)

Analysis:  These are the only nominations for Penn and Jewison, the second in a row for Brooks and Nichols (although, ironically, also their only two noms each).  For Bergman, though, this is his 6th nomination and he’s at 315 points and in a tie for 8th place.
Nichols almost deserves a third asterisk.  He has the highest Consensus point total in this category since 1957.  He has the highest percentage of the Consensus points in this category since 1953 and only one director (Francis Ford Coppola in 1974) will beat him in percentage again until 1990.  Bergman ends up among the Consensus nominees thanks to winning the NSFC.  He will be a mainstay at those awards and their preference for foreign films will help more and more foreign directors earn Consensus nominations in the years ahead.

  • Best Adapted Screenplay:
  1. The Graduate  **
  2. In the Heat of the Night  *
  3. In Cold Blood  *
  4. Cool Hand Luke  *
  5. Point Blank
  6. The Comedians
  7. The Deadly Affair
  8. Wait Until Dark
  9. Les Dames du Bois de Boulogne
  10. A Fistful of Dollars

Analysis:  Because the WGA nominated by category and really stretched in the Musical category, Camelot and Doctor Dolittle both earn Consensus nominations (tying Cool Hand Luke and several other films for fourth place) but none of the bottom 6 films of my list do.  In the Heat of the Night would actually win the Oscar and the Globe but fail to win the Consensus, the only film to ever do that in Adapted Screenplay; that’s because The Graduate won the WGA and the BAFTA in addition to its Oscar and Globe noms.
Richard Brooks earns his 5th Nighthawk nomination for writing but still doesn’t have any wins.  The Comedians becomes the 7th different Graham Greene novel to have a film adaptation make my Top 10 for Adapted Screenplay.  The Deadly Affair is the second Le Carre adaptation in three years to make the Top 10.  Aside from those two, the only source material I’ve read is In Cold Blood, although I’ve seen Yojimbo, which is the source material for A Fistful of Dollars.

  • Best Original Screenplay:
  1. Bonnie and Clyde  **
  2. Persona
  3. Two for the Road  *
  4. The Crime of Monsieur Lange
  5. Tokyo Story
  6. I Live in Fear
  7. La Guerre est Finie
  8. Yoyo
  9. The Whisperers
  10. Live for Life

Analysis:  Bonnie and Clyde would fail to win the Oscar making the Academy look like complete fools, for two reasons.  The first is that it’s a brilliant script and instead the Academy went with the cliche-filled script of Guess Who’s Coming to Dinner (though the WGA would give Dinner two noms and the Globes would nominate it, only the Academy would give it an award).  The second is that everyone else agreed that Bonnie was brilliant.  Yes, it would lose at the Globes, but to In the Heat of the Night.  But, thanks to the WGA finally adding a new category (after 15 years of three categories – Drama, Comedy, Musical – they would add Original), Bonnie and Clyde would become the first screenplay (in either category) to win 4 awards (NYFC, NSFC, WGA – Drama, WGA – Original) and the first to earn 6 nominations.  It wouldn’t be until 1974 that another script would win 4 awards and not until 1976 that another one would earn 6 nominations.  In terms of percentage of Consensus points, Bonnie is the fourth highest film of all-time, behind only Annie Hall, The Piano and Pulp Fiction, all films that won the Oscar.
Bergman continues to rise in the writing categories.  He’s now up to 640 points and leaves Kurosawa behind and takes 2nd place by himself.  This is his 10th nomination.  Jean Renoir also is back after a 17 year gap, although both this and his 1950 nomination were for films from the 30’s finally getting released in the States.
With Bonnie and Persona, this year is better than each of the last three years by a considerable margin.

  • Best Actor:
  1. Warren Beatty  (Bonnie and Clyde)  *
  2. Dustin Hoffman  (The Graduate)
  3. Sidney Poitier  (In the Heat of the Night)  *
  4. Paul Newman  (Cool Hand Luke)  *
  5. Rod Steiger  (In the Heat of the Night)  **
  6. Albert Finney  (Two for the Road)
  7. Lee Marvin  (Point Blank)
  8. Toshiro Mifune  (I Live in Fear)
  9. Sidney Poitier  (To Sir With Love)
  10. James Mason  (The Deadly Affair)

Analysis:  For a very long time, three of the acting categories in this year belonged to The Graduate.  And all three of those performances still rank second.  It’s just that the more I watch Bonnie and Clyde, the more I am impressed by it, and I eventually had to push Beatty and Dunaway higher.  It’s hard to keep Finney out of the Top 5, but it’s really a very good top five.  I just wish the Academy hadn’t felt the need to give Tracy that posthumous nomination he didn’t deserve (he is on my list, at #11) and instead had gone with Poitier.  But, with Beatty and Hoffman earning their first nominations to go along with Newman, and Tracy earning his last, this is really a changing of the guard.
Hoffman and Beatty earn the first of numerous Nighthawk nominations.  Poitier earns his third (and his fourth, down below).  Newman earns his fourth.  Steiger, who I actually think of as a lesser actor than the other four, earns his fifth.

  • Best Actress
  1. Faye Dunaway  (Bonnie and Clyde)  *
  2. Anne Bancroft  (The Graduate)  *
  3. Liv Ullmann  (Persona)
  4. Edith Evans  (The Whisperers)  **
  5. Audrey Hepburn  (Two for the Road)  *
  6. Katharine Hepburn  (Guess Who’s Coming to Dinner)  *
  7. Audrey Hepburn  (Wait Until Dark)  *
  8. Nina Pens Rodde  (Gertrud)
  9. Maria Casares  (Les Dames du Bois de Boulogne)
  10. Elizabeth Taylor  (The Taming of the Shrew)

Analysis:  Thanks to a magnificent top three, this is the second best Top 5 in this category to this date, behind only 1950.  It really hurt when I knocked Bancroft out of first place because she is truly magnificent, but ever time I watch Bonnie I am more and more impressed with Dunaway’s performance.
Dunaway earns her first nomination (and win – there will be more).  Bancroft and Evans earn their third nominations each.  Hepburn earns her fifth nomination.  This is the first nomination for Ullmann but just the beginning of a very impressive dozen years.

  • ActHackmanBonnieClydeBest Supporting Actor:
  1. Gene Hackman  (Bonnie and Clyde)  **
  2. Alec Guinness  (The Comedians)
  3. Sidney Poitier  (Guess Who’s Coming to Dinner)
  4. Michael J. Pollard  (Bonnie and Clyde)  *
  5. George Kennedy  (Cool Hand Luke)  **
  6. Alec Guinness  (The Quiller Memorandum)
  7. John Cassavetes  (The Dirty Dozen)  *
  8. Strother Martin  (Cool Hand Luke)
  9. Alan Arkin  (Wait Until Dark)
  10. John Mills  (The Family Way)

Analysis:  This is the one acting category that has never changed.  Hackman has been my winner in this year since I first saw the film back in 1989.  But, again, the Academy passed over Poitier, this time for a much, much lesser performance in the same film (Cecil Kellaway, who, at #12, is the last person on my list).  The Globe went to Richard Attenborough (they didn’t even nominate Hackman), who doesn’t embarrass himself in Doctor Dolittle, but was nowhere near deserving of a nomination, let alone an award.
These are the only Nighthawk nominations for Pollard and Kennedy.  Hackman earns his first nomination (and win), but will earn two more wins within a few years.  Guinness, with his 8th nomination, goes up to 300 points and 7th place.

  • persona2Best Supporting Actress:
  1. Bibi Andersson  (Persona)  *
  2. Katharine Ross  (The Graduate)  *
  3. Estelle Parsons  (Bonnie and Clyde)  *
  4. Mildred Natwick  (Barefoot in the Park)
  5. Billie Whitelaw  (The Family Way)  **
  6. Genevieve Bujold  (La Guerre est Finie)
  7. Lee Grant  (In the Heat of the Night)
  8. Beah Richards  (Guess Who’s Coming to Dinner)  *

Analysis:  This is the best top 5 in this category since 1959.  For a long time Ross was my winner, but when I realized Persona goes in 1967 that knocked her out of first.  That worked to the benefit of Who’s Afraid of Virginia Woolf, because if Persona was still in 1966, Andersson would take away Sandy Dennis’ Oscar and the film’s acting sweep.  A legitimate argument could be made that Andersson is not a supporting performance (her Consensus nomination is in lead), but I’m leaving her here.
This is the only nomination for Whitelaw, the first for Ross and Parsons and the third for Dunnock.  It’s the fourth nomination and second win for Andersson.

  • Best Editing:
  1. Bonnie and Clyde
  2. Point Blank
  3. Two for the Road
  4. In Cold Blood
  5. In the Heat of the Night
  6. The Graduate
  7. Persona
  8. The Testament of Orpheus
  9. Cool Hand Luke
  10. The Dirty Dozen

Analysis:  I have ranted in previous years about how badly the Academy does in this category – only two years to this point have a score above 60 and only a handful more above 50.  But this is where they go off the rails.  The score is actually 25.6, which is sadly higher than four of the five previous years, but those years were mostly about ignoring brilliantly edited foreign films (the Academy wouldn’t nominate a foreign language film for Best Editing until 1969).  But this is something else.  Bonnie and Clyde is one of the best edited films ever made.  The editing in Point Blank is almost revolutionary, the way it blends things together.  And Two for the Road wouldn’t even work if not for the fantastic editing keeping the past and present separate.  And what did the Academy do?  They nominated Dr. Dolittle.

  • Best Cinematography:
  1. Bonnie and Clyde
  2. In Cold Blood
  3. Persona
  4. The Graduate
  5. Point Blank
  6. In the Heat of the Night
  7. The Whisperers
  8. Far from the Madding Crowd
  9. Hamlet
  10. Tokyo Story

Analysis:  Conrad L. Hall earns a second straight nomination for In Cold Blood.  Burnett Guffey earns his second win, 14 years after his first, with no nominations in between (and only one Top 10 finish in between).  Sven Nykvist earns his fifth nomination (all with Bergman) and is now up to 175 points and tied for third place.
The Academy finally does away with the Black-and-White / Color split and combines things into one category and what do they do?  They nominate Dr. Dolittle and Camelot.

  • Best Original Score:
  1. A Fistful of Dollars
  2. Bonnie and Clyde
  3. For a Few Dollars More
  4. Hamlet
  5. In Cold Blood
  6. The Graduate
  7. In the Heat of the Night
  8. A Colt is My Passport
  9. Far from the Madding Crowd
  10. Yoyo

Analysis:  Ennio Morricone does two incredible scores for Sergio Leone, costing Bonnie a tech sweep.  This is the start of an amazing stretch for him that will land him in the Top 10 in points by 1970.  But he is far from the most famous composer nominated here.  Quincy Jones earns a nomination for In Cold Blood (and comes in 7th as well) while the music for Hamlet is done by Shostakovich.

  • Best Sound:
  1. Bonnie and Clyde
  2. Point Blank
  3. In the Heat of the Night
  4. The Dirty Dozen
  5. A Fistful of Dollars
  6. In Cold Blood
  7. For a Few Dollars More
  8. Beach Red
  9. The Burmese Harp
  10. Cool Hand Luke

Analysis:  More Camelot and Dr. Dolittle nominations and more passing up of Bonnie.

  • Best Art Direction:
  1. Bonnie and Clyde
  2. The Graduate
  3. Yoyo
  4. Far from the Madding Crowd
  5. Persona
  6. Hamlet
  7. Camelot
  8. The Taming of the Shrew
  9. Thoroughly Modern Millie
  10. The Comedians

Analysis:  The win for Camelot and nomination for Dolittle (it’s my #12) are much more acceptable here.  Of course, you still have the great Depression era sets in Bonnie and modern upper-class houses of The Graduate being passed over.

  • Best Visual Effects
  1. Bonnie and Clyde

Analysis:  Dolittle wins the Oscar, but really, the effects aren’t any good, even for 1967.  But the effects in that final moment of Bonnie are pretty damn good.

  • Best Sound Editing
  1. Bonnie and Clyde
  2. The Dirty Dozen
  3. Point Blank
  4. A Fistful of Dollars
  5. For a Few Dollars More
  6. In the Heat of the Night

Analysis:  In the Heat of the Night becomes the first Best Picture winner to earn a nomination for Sound Editing, something that won’t happen again until 1994.

  • Best Costume Design:
  1. Bonnie and Clyde
  2. Far from the Madding Crowd
  3. Camelot
  4. Thoroughly Modern Millie
  5. The Taming of the Shrew
  6. Anna Karenina
  7. The Kingdom and the Beauty
  8. A Fistful of Dollars
  9. Hamlet
  10. Doctor Dolittle

Analysis:  Well, at least they nominated Bonnie for this one.  With the first combined year in this category they get it pretty right, with a score of 95.8.  Sadly, that won’t be a harbinger of things to come, as this category won’t score above 80 again for another six years.

  • Best Makeup
  1. Bonnie and Clyde
  2. A Fistful of Dollars
  3. Camelot
  • Best Original Song:
  1. “The Bare Necessities”  (The Jungle Book)
  2. “I Wan’na Be Like You”  (The Jungle Book)
  3. “To Sir With Love”  (To Sir With Love)
  4. “Col. Hathi’s March”  (The Jungle Book)
  5. “In the Heat of the Night”  (In the Heat of the Night)
  6. “Trust in Me”  (The Jungle Book)
  7. “The Look of Love”  (Casino Royale)
  8. “Double Trouble”  (Double Trouble)
  9. “Talk to the Animals”  (Doctor Dolittle)

Analysis:  Even though there doesn’t ever seem to have been an explicit rule that you couldn’t nominate more than one song from a film, the Academy seemed to act as if there was one.  It would not be until Fame in 1980 that a film would earn more than one nomination in this category.  That’s a shame, because in a year like this, clearly The Jungle Book deserved more than one nomination – its songs are far better than the other ones available.  But, then again, the Academy didn’t have the brains to give the Oscar to “Bare Necessities”, so maybe it doesn’t matter.
You might note the absence this time of “Mrs. Robinson”.  I went back and forth on this.  In the end, it’s not listed as Oscars.org, and though that list isn’t definitive, I decided to go with it.  Only a truncated version of the song appears in The Graduate and the full version of the song wouldn’t even be recorded until February of 1968.  It’s a shame not to include it, as it is my single favorite song of the 1960’s, but there it is.
This year has five semi-finalists (none of which make my list).

  • MPW-48498Best Animated Film:
  1. The Jungle Book

Analysis:  I used to be more on the fence of The Jungle Book being a *** or ***.5 film but that was before I watched it a zillion times when Thomas was obsessed with it.  It’s definitely a mid-range ***.5 film.

  • belleBest Foreign Film:
  1. Belle de Jour
  2. Closely Watched Trains
  3. The Two of Us
  4. Playtime
  5. Elvira Madigan

note:  Films in green were submitted to the Academy but not nominated.

Analysis:  The best Top 5 in this category in four years.  In his seventh nomination, Luis Buñuel finally wins the Nighthawk.  Jacques Tati earns his third and final nomination.  With Buñuel working in France, France earns 80 points, the most by any country in a single year since 1954.  Even though he’s Spanish and has worked mostly in Mexico, Buñuel earns France its first win in five years.
This year actually scores 100 because the only submitted film is nominated (and wins).  So this is one of those years where the problem is that the best films weren’t submitted.  Only five films make my list – though this is the best Top 5 in four years, it’s got the weakest 6 through 10 since 1954.  To be fair, Live for Life, my #6 film was nominated, but I still rank it as only a high-level *** film and thus, not eligible for my awards.

By Film:

note:  They’re in points order.  You get twice as many points for a win as for a nomination.  Hopefully your math skills will let you figure out the system.

  • Bonnie and Clyde  (865)
    • Picture, Director, Original Screenplay, Actor, Actress, Supporting Actor, Supporting Actor, Supporting Actress, Editing, Cinematography, Original Score, Sound, Art Direction, Visual Effects, Sound Editing, Costume Design, Makeup
  • The Graduate  (320)
    • Picture, Director, Adapted Screenplay, Actor, Actress, Supporting Actress, Cinematography, Art Direction
  • Persona  (315)
    • Picture, Director, Original Screenplay, Actress, Supporting Actress, Cinematography, Art Direction, Foreign Film (1966)
  • In the Heat of the Night  (260)
    • Picture, Director, Adapted Screenplay, Actor, Actor, Editing, Sound, Original Song
  • In Cold Blood  (210)
    • Picture, Director, Adapted Screenplay, Editing, Cinematography, Original Score
  • Point Blank  (130)
    • Adapted Screenplay, Editing, Cinematography, Sound, Sound Editing
  • Cool Hand Luke  (105)
    • Adapted Screenplay, Actor, Supporting Actor
  • Two for the Road  (100)
    • Original Screenplay, Actress, Editing
  • A Fistful of Dollars  (100)
    • Original Score, Sound, Sound Editing, Makeup
  • The Crime of Monsieur Lange  (80)
    • Original Screenplay, Foreign Film (1936)
  • The Jungle Book  (80)
    • Original Song, Original Song, Original Song, Animated Film
  • Hamlet  (65)
    • Original Score, Foreign Film (1964)
  • For a Few Dollars More  (45)
    • Original Score, Sound Editing
  • Tokyo Story  (40)
    • Original Screenplay
  • The Dirty Dozen  (40)
    • Sound, Sound Editing
  • Yoyo  (40)
    • Art Direction, Foreign Film
  • The Whisperers  (35)
    • Actress
  • Far from the Madding Crowd  (35)
    • Art Direction, Costume Design
  • The Comedians  (30)
    • Supporting Actor
  • Guess Who’s Coming to Dinner  (30)
    • Supporting Actor
  • Barefoot in the Park  (30)
    • Supporting Actress
  • The Family Way  (30)
    • Supporting Actress
  • Camelot  (25)
    • Costume Design, Makeup
  • La Guerre est Finie  (20)
    • Foreign Film  (1966)
  • The Burmese Harp  (20)
    • Foreign Film (1956)
  • The Taming of the Shrew  (15)
    • Costume Design
  • Thoroughly Modern Millie  (15)
    • Costume Design
  • To Sir With Love  (10)
    • Original Song

Analysis:  Bonnie crushes the all-time record for points.  Its 17 nominations is tied for 2nd and its 14 wins are tied for 1st.

Best Film Not Nominated for Any Nighthawk Awards:

  • I Live in Fear

Analysis:  A mid-range ***.5, very under-rated film from Kurosawa.  Its highest finish is 6th (Original Screenplay) and it finishes 8th in Foreign Film for 1955, which has the third best Top 10 in Foreign Film to this date – it would have been nominated in most years.

Biggest Awards Film Not Nominated for Any Nighthawk Awards:

  • Dr. Dolittle

Analysis:  Simply a terrible film, the worst ever nominated for Best Picture.  But it wasn’t just nominated for Best Picture at the Oscars – overall, between the Oscars (2 wins, 9 noms), Globes (1 win, 5 noms), and the Guilds (1 win, 3 noms), it won four awards and received a staggering 17 nominations.  Because most of those weren’t in major categories, it still only receives 474 weighted awards points, but that’s enough to be the 9th most to this point to receive no Nighthawk nominations.

Nighthawk Golden Globes:

Drama:

  • Best Picture
  1. Bonnie and Clyde
  2. In the Heat of the Night
  3. Persona
  4. In Cold Blood
  5. Point Blank

Analysis:  The best Top 5 in this category in five years, although it will be outshone by each of the next two years.

  • Best Director
  1. Arthur Penn  (Bonnie and Clyde)
  2. Norman Jewison  (In the Heat of the Night)
  3. Ingmar Bergman  (Persona)
  4. Richard Brooks  (In Cold Blood)
  5. John Boorman  (Point Blank)

Analysis:  Bergman is earning his fifth nomination.  The other four directors will only earn six nominations in their careers combined.

  • Best Adapted Screenplay:
  1. In the Heat of the Night
  2. In Cold Blood
  3. Cool Hand Luke
  4. Point Blank
  5. The Comedians

Analysis:  One of those rare years where both the Adapted and Original categories are quite strong – 1947 and 1963 are the only previous years where both categories are this good.

  • Best Original Screenplay:
  1. Bonnie and Clyde
  2. Persona
  3. The Crime of Monsieur Lange
  4. Tokyo Story
  5. I Live in Fear

Analysis:  Kurosawa and Bergman both get nominations; Kurosawa is actually ahead in points in Drama (760 to 640) and this is the finale of his eight straight years of earning a Drama nomination.  Those eight years include 10 nominations and 5 wins.  This is the start of a streak of five straight years of Bergman Drama nominations.  Clearly, outside of Bonnie, this was not a good year for American original screenwriting.
The third best in this category to date and it won’t be beaten again until 1974.  This is in contrast to the year before which had no films in this category.

  • warren-beatty-bonnie-clyde-1967Best Actor:
  1. Warren Beatty  (Bonnie and Clyde)
  2. Sidney Poitier  (In the Heat of the Night)
  3. Paul Newman  (Cool Hand Luke)
  4. Rod Steiger  (In the Heat of the Night)
  5. Lee Marvin  (Point Blank)

Analysis:  Marvin earns his second Drama nomination, Beatty his second, Poitier his fourth (and his fifth down below), Newman his fourth and Steiger his fifth.

  • bonnie2Best Actress
  1. Faye Dunaway  (Bonnie and Clyde)
  2. Liv Ullmann  (Persona)
  3. Edith Evans  (The Whisperers)
  4. Katharine Hepburn  (Guess Who’s Coming to Dinner)
  5. Audrey Hepburn  (Wait Until Dark)

Analysis:  Dunaway, Ullmann and Evans all earn their first nominations.  Audrey, known more for Comedies, earns her second Drama nomination.  Katharine, who will be knocked from the #1 spot in Comedy in this year by Audrey, earns her ninth nomination; she’s now at 385 points and tied for 3rd place in Drama.
Another really strong category – the third best to date, behind only 1950 and 1962.  A strange year in which an actress is nominated in both Drama and Comedy but I think the Comedy performance is stronger (even though it was the Drama performance that earned the Oscar nomination).

  • Best Supporting Actor:
  1. Gene Hackman  (Bonnie and Clyde)
  2. Alec Guinness  (The Comedians)
  3. Sidney Poitier  (Guess Who’s Coming to Dinner)
  4. Michael J. Pollard  (Bonnie and Clyde)
  5. George Kennedy  (Cool Hand Luke)

Analysis:  Guinness, the master of Comedy, is only earning his fifth Drama nomination.  Hackman, Pollard and Kennedy are all first-time nominees.  This is the second best Top 5 in this category to date, behind only 1950.

  • Best Supporting Actress:
  1. Bibi Andersson  (Persona)
  2. Estelle Parsons  (Bonnie and Clyde)
  3. Billie Whitelaw  (The Family Way)
  4. Genevieve Bujold  (La Guerre est Finie)
  5. Lee Grant  (In the Heat of the Night)

Analysis:  First-time nominations for Parsons, Whitelaw and Bujold.  Grant earns her second nomination, 16 years after her first.  Andersson earns her second win and fourth nomination.

  • Bonnie and Clyde  (530)
    • Picture, Director, Original Screenplay, Actor, Actress, Supporting Actor, Supporting Actor, Supporting Actress
  • In the Heat of the Night  (275)
    • Picture, Director, Adapted Screenplay, Actor, Actor, Supporting Actress
  • Persona  (230)
    • Picture, Director, Original Screenplay, Actress, Supporting Actress
  • Point Blank  (170)
    • Picture, Director, Adapted Screenplay, Actor
  • In Cold Blood  (135)
    • Picture, Director, Adapted Screenplay
  • Cool Hand Luke  (105)
    • Adapted Screenplay, Actor, Supporting Actor
  • The Comedians  (70)
    • Adapted Screenplay, Supporting Actor
  • Guess Who’s Coming to Dinner  (65)
    • Actress, Supporting Actor
  • The Crime of Monsieur Lange  (40)
    • Original Screenplay
  • Tokyo Story  (40)
    • Original Screenplay
  • I Live in Fear  (40)
    • Original Screenplay
  • The Whisperers  (35)
    • Actress
  • Wait Until Dark  (35)
    • Actress
  • The Family Way  (30)
    • Supporting Actress
  • La Guerre est Finie  (30)
    • Supporting Actress

Analysis:  Bonnie ties four other films for the second most points in Drama to date – like Petrified Forest, it does it by winning 6 and earning 8 noms rather than by sweeping all 7.

Best Drama Not Nominated for Any Nighthawk Golden Globes:

  • A Fistful of Dollars

Analysis:  My #9 film of the year (#7 in Drama), a very good film, but not strong enough in writing or directing to break into the Top 5.

Comedy / Musical:

  • Best Picture
  1. The Graduate
  2. Two for the Road
  3. Yoyo
  4. The Jungle Book
  5. Barefoot in the Park

Analysis:  Like the year before, there are two great films and three mid-range ***.5 films.  The Graduate wins this easily.

  • Best Director
  1. Mike Nichols  (The Graduate)
  2. Pierre Etaix  (Yoyo)
  3. Stanley Donen  (Two for the Road)

Analysis:  Fifteen years after Singin in the Rain, Stanley Donen finally earns a second nomination.  Mike Nichols earns his first nomination (and win), but he’ll soon be back for more.  Nicholas wins this by a mile, which makes sense since it’s so rare for a director win Best Director at the Oscars for a Comedy, especially when his film doesn’t win Best Picture (four times ever).

  • Best Adapted Screenplay:
  1. The Graduate
  2. Barefoot in the Park
  3. The Jungle Book

Analysis:  The Graduate wins this by a mile and a half – it’s not even close.  But this the start for a number of Neil Simon adaptations earning nominations in this category.  The Jungle Book, on the other hand, will be the last Disney film for a while.
In this category, as with most of the Comedy categories in this year, the group is fairly weak (and incomplete).  If not for The Graduate, this would be a pretty bad year for Comedies.

  • Best Original Screenplay:
  1. Two for the Road
  2. Yoyo
  • hoffmanBest Actor:
  1. Dustin Hoffman  (The Graduate)
  2. Albert Finney  (Two for the Road)
  3. Richard Burton  (The Taming of the Shrew)
  4. Robert Redford  (Barefoot in the Park)

Analysis:  I can’t fathom the lack of a nomination for Finney at the Globes, especially since Hepburn was nominated.  Instead, the Globes nominated Rex Harrison for Doctor Dolittle and actually gave Richard Harris the award for Camelot.  It boggles the mind.  Hoffman runs away with this.  Finney at least puts up a good show.

  • bancroftBest Actress
  1. Anne Bancroft  (The Graduate)
  2. Audrey Hepburn  (Two for the Road)
  3. Elizabeth Taylor  (The Taming of the Shrew)
  4. Shirley MacLaine  (Woman Times Seven)
  5. Jane Fonda  (Barefoot in the Park)

Analysis:  Fonda and Taylor both earned BAFTA nominations yet neither earned Globe nominations, being passed over for Julie Andrews and Vanessa Redgrave, neither of whom were even on my list.  It’s the first Comedy noms for Bancroft, Fonda and Taylor.  On the other hand, MacLaine earns her sixth nomination and goes up 280 Comedy points and 3rd place .  Hepburn earns her 9th nomination, and with her 3 wins in the category goes up to 420 points, breaking a tie with Katharine Hepburn and taking over 1st place by herself.
This is the best Top 5 in this category since 1956, partially at least because it is a full Top 5.  This is by far the strongest category in Comedy in this year.

  • Best Supporting Actor:
  1. none

Analysis:  The Globes would give their Supporting Actor award to Richard Attenborough for Doctor Dolittle and I don’t even think he’s worth mentioning, even though I have no one else in this category.  There just wasn’t anything in this category in this year.  The closest I came to picking someone was William Daniels in The Graduate.

  • Best Supporting Actress:
  1. Katharine Ross  (The Graduate)
  2. Mildred Dunnock  (Barefoot in the Park)

Analysis:  It’s the first nomination for Ross and the second for Dunnock.

  • The Graduate  (470)
    • Picture, Director, Adapted Screenplay, Actor, Actress, Supporting Actress
  • Two for the Road  (245)
    • Picture, Director, Original Screenplay, Actor, Actress
  • Barefoot in the Park  (190)
    • Picture, Adapted Screenplay, Actor, Actress, Supporting Actress
  • Yoyo  (135)
    • Picture, Director, Original Screenplay
  • The Jungle Book  (90)
    • Picture, Adapted Screenplay
  • The Taming of the Shrew  (70)
    • Actor, Actress
  • Woman Times Seven  (35)
    • Actress

Analysis:  Overall, not nearly as strong a year for Comedy as 1966 was.  But, with The Graduate, there is a dominant film.  No film in 1966 won more than two awards, while The Graduate takes home six.

Best Comedy Not Nominated for any Nighthawk Golden Globes:

  • Kidnapping, Caucasian Style

Analysis:  Mid-range *** Soviet comedy that my #6 of the year but didn’t even merit consideration in any of the categories.  But, a film that is worth watching and is entertaining.

Roundup for the Year in Film:

Eligible Films I Have Seen:  138

By Stars:

  • ****:  8
  • ***.5:  14
  • ***:  66
  • **.5:  34
  • **:  13
  • *.5:  2
  • *:  0
  • .5:  0
  • 0:  1
  • Average Film Score for the Year, out of 100:  64.57

Analysis:  With only 1 film below *.5, that leaves less than 1% of the films as awful, the first time that number has dropped below 1% in six years and a big drop from the over 5% the year before.  That leads to a jump of over two points from the year before.  This would also, sadly, be the last year where the awful films account for less than 1%.

Oscar-Nominated Films I Have Not Seen:

  • Banning  (Best Song)
  • Portrait of Chieko  (Best Foreign Film)

note:  Portrait would not be eligible for other awards until 1968, but its Foreign Film nomination is here.

Other Award Nominated Films I Have Not Seen (in descending order of points total):

  • none

Oscar Quality:

Best Picture:  This year sees the nomination of one of the best films of all-time, but also the worst film ever nominated for Best Picture.  Dolittle, combined with Guess Who’s Coming to Dinner, sinks the year and it ends up at #57 of all-time, a big drop from the year before, although it is a lot higher than 1968 will be.

The Winners:  The Academy doesn’t exactly earn a gold star here.  Overall the Tech categories are strong, at least among the nominees (1.44), but not overall (4.89).  The major categories don’t do so well among the nominees, with not a single winner being the best of its category and the Academy chooses the 4th best for Actor and Actress and the worst nominee for Original Screenplay.  Overall, the winners average a 2.21 among the nominees, much weaker than 1966, but better than 1964 and 1965.  Among all films, they average a 4.84, again weaker than 1966, but better than the three previous years before that.  The key differences is not agreeing completely on winners – in only 2 categories does the Oscar winner win the Nighthawk (and one of those is Score Adaptation, which I don’t actually do a Nighthawk for), the lowest since 1958 when none agreed.

The Nominees:  The nominations are actually fairly strong across the board.  The overall score is a 66.0, the third highest score to date.  The Tech score is a decent 50.7, the acting is a solid 82.4 (down from 1966 but higher than most years to this date) and the major categories earn a 72.2, tied for the second highest score to date.

Golden Globe Best Picture – Comedy / Musical:  This is a terrible, terrible year.  It is the third worst year of all-time, the second worst to date.  Yes, it has The Graduate, but that is so badly counter-balanced by  the nominations for Dr. Dolittle and Camelot, that the average film is a 62.0, the worst to date, and one that won’t be surpassed until 2010.  The other two nominees were The Taming of the Shrew and Thoroughly Modern Millie.  And it didn’t have to be nearly this bad – Two for the Road was nominated for Actress, and if they had nominated it instead of Dolittle, this year rises from 63rd all-time to 40th.  And that’s without Barefoot in the Park, which the Globes didn’t nominate for anything.

Top 5 Films of the Year:

1  –  Bonnie and Clyde  (reviewed here)

2  –  The Graduate  (reviewed here)

3  –  In the Heat of the Night  (reviewed here)

Apparently what we need to get great roles for women is to bring Ingmar Bergman back to life.

Apparently what we need to get great roles for women is to bring Ingmar Bergman back to life.

4  –  Persona  (dir. Ingmar Bergman)

Persona is, no doubt about it, a strange film.  I don’t really think there’s any way around it.  It was strange enough, both in terms of the film itself, and the way it sets itself apart from the previous Bergman films, that when I first saw it, in a Film and Lit class back in January of 1995, that I withdrew back from it, ranked it much lower than I do now when I continue to come back to it.  It was the artifice of the opening and closing, the parts that make it seem so obvious that we are watching a film (which seemed like something out of Godard) that pushed me away, but I now see them in the service of something larger.

This film is not about a grand allegorical story, like The Seventh Seal.  It does not examine a man’s life like in Wild Strawberries.  We are not questioning the existence (or silence) of god as in Winter Light.  This is a deep psychological probing between two women, between the way they merge into one personality and slowly find themselves again.  We are using film to look at them, but it is, like a visit to a psychiatrist, simply another method of deconstructing what is going on in their lives.

None of this would work, of course, had Bergman not written it to perfection, had Sven Nykvist not found new ways to photograph the two actresses, blending them together in some of the most famous shots in film history and if not for the incredible acting.

This is the turning point in Bergman’s career, the jump from one stage to another.  There had been a few different actresses in the first half of Bergman’s career, from Harriet Andersson to Eva Dahlbeck to Ingrid Thulin.  But Bibi Andersson, so brilliant in supporting roles in The Seventh Seal and Wild Strawberries, brings us into this film and hands off the baton to Liv Ullmann.  Bergman would make 15 more films after this one, 9 of which would star Ullmann, and their collaboration would bring both of them multiple international honors (and Oscar nominations, though, idiotically, not actual Oscars).  But that all starts here with a complex film that leaves us wondering who we are, wondering who Ullmann is and where any of us belong in a world where we can so easily slip into silence and darkness, only hoping for someone who will bring us out of it.

A true crime film as stark and bleak as a documentary.

A true crime film as stark and bleak as a documentary.

5  –  In Cold Blood  (dir. Richard Brooks)

How to feel about In Cold Blood after all this time?  Can the film be looked at in a vacuum, or does it carry with it so many other things that a first-time viewer in 1967 would not have been able to think about?

In all fairness, we should look at the film for what it is.  It is a stark film, a bleak film, one photographed in black-and-white perhaps because to see all of this in color would be too much.  Not because it would overwhelm us with the violence in the way that the ending of Bonnie and Clyde does, but because it can overwhelm with its sense of despair.  How many lines in all of cinema are as deeply disturbing as “I thought Mr. Clutter was a very nice gentleman… I thought so right up to the time I cut his throat.”, especially given the way that Robert Blake says it?

We follow the events of the film methodically.  It is brilliantly photographed, very well constructed (though we always know who the culprits are, we don’t see the events of the killings until towards the end of the film) and has a haunting score from Quincy Jones.  Wisely, Richard Brooks decided not to go with big names in the film, making good use of John Forsythe, but using two mostly unknowns for the killers and making us focus on their performances rather than stars.  Overall, it is a deeply disturbing film, but a great one, one that absolutely deserved its nominations for Director and Adapted Screenplay and definitely one that should have been nominated for Best Picture.

But what about the rest?  What are all the things that have come to hang upon the film in the years since it was released?  Well, there is the film Capote, and the more widely known story now of how Truman Capote basically destroyed himself writing the book (a book, by the way, which I rank as one of the great non-fiction books of all-time).  Watching this film, we know now that writing the original book cost a man his soul.

There are the events of Robert Blake’s life.  This man, who sold coldly utters that haunting line, may or may not have killed his own wife or hired someone else to kill his wife.  The events became as surreal as the film Lost Highway which Blake also starred in and this film was certainly mentioned many times over the course of two different trials which found him innocent of a crime and liable for her death.  Can you hear him say that line now and not think of those later actions?

But over all of this hangs the shadow of the death penalty.  I write this a few days after the Supreme Court claimed that the drugs in Oklahoma are fine for the use of the death penalty.  It is also in the shadow of the death penalty handed down for Dzhokhar Tsarnaev.  I live in Boston, where he committed his crime and where he was convicted, and where a majority of people would rather see him rot in jail for the rest of his life, not because he doesn’t deserve to die, but because as a society we should be above the idea of putting people to death.  Perry Smith was a deeply disturbed individual, a cold-blooded killer (the line, by the way, comes straight from the book – Smith really did say it), one so warped by pain (both physical and emotional) that he was in no way capable of being safely out in society.  There are many who would view this film and the book and see it as an argument for the death penalty.  I, on the other hand, watch it, and wonder how we can still do this and call ourselves civilized.

5 Worst Films  (#1 being the worst):

  1. Horrors of Spider Island
  2. Doctor Dolittle  (reviewed here)
  3. The Trip
  4. Casino Royale
  5. Carry On Screaming

note:  AIP is back in the bottom 5 with The Trip, directed by Roger Corman himself.

Yeah, pretty much as bad as this poster would make you think it is.

Yeah, pretty much as bad as this poster would make you think it is.

Horrors of Spider Island  (dir. Fritz Bottger)

Not only is Horrors of Spider Island a terrible film, but it can’t even really decide what kind of terrible film it is.

There’s no doubt that it’s a terrible film.  Well, first of all, it was shown on MST3K, always a fairly reliable barometer for a film being truly awful.  Second, the acting is astoundingly bad – not quite Ed Wood bad, but getting close to that level.  Third, the writing is Ed Wood bad – a plane breaks up in mid-air and all the characters we need survive and the ones we don’t die.  Fourth, the makeup and sets are also Ed Wood bad – a ridiculous giant spider-web, a pathetic giant spider, the makeup on the creature after he is transformed.

All of this might have made for the kind of film that an Ed Wood fan would enjoy, for its sheer idiocy and lack of talent.  But there’s also the problem of what the hell kind of film it is.  On the one hand, it wants to be an early “nudie-cutie”, with a lot of scantily clad women running around.  But, it’s also a horror film, about a spider-creature (sort-of, because it’s hard to tell what the hell the creature is after he is bitten by the spider) who is hunting people down, although he’s not really that dangerous, because once the others realize what’s going on they hunt the creature down and he drowns in quicksand, because, hey, why not.

Points:

  • Most Nighthawk Nominations:  Bonnie and Clyde  (17)
  • Most Nighthawk Awards:  Bonnie and Clyde  (14)
  • Most Nighthawk Points:  Bonnie and Clyde  (865)
  • Worst Film Nominated for a Nighthawk Award:  Camelot
  • 2nd Place Award:  The Graduate  (Picture, Director, Actor, Actress, Supporting Actress, Art Direction)
  • 6th Place Award:  Point Blank  (Picture, Director)
  • Most Nighthawk Drama Nominations:  Bonnie and Clyde  (8)
  • Most Nighthawk Drama Awards:  Bonnie and Clyde  (6)
  • Most Nighthawk Drama Points:  Bonnie and Clyde  (530)
  • Worst Film Nominated for a Nighthawk Drama Award:  Guess Who’s Coming to Dinner
  • Most Nighthawk Comedy Nominations:  The Graduate  (6)
  • Most Nighthawk Comedy Awards:  The Graduate  (6)
  • Most Nighthawk Comedy Points:  The Graduate  (470)
  • Worst Film Nominated for a Nighthawk Comedy Award:  Woman Times Seven

Note:  * means a Nighthawk record up to this point; ** ties a Nighthawk record

Progressive Leaders:

  • Most Nighthawk Nominations:  The Wizard of Oz  (18)
  • Most Nighthawk Awards:  The Wizard of Oz  /  Bonnie and Clyde  (14)
  • Most Nighthawk Points:  Bonnie and Clyde  (865)
  • Most Nighthawk Awards without winning Best Picture:  Frankenstein  /  The Magnificent Ambersons  (6)
  • Most Nighthawk Nominations without a Best Picture Nomination:  Yojimbo  (11)
  • Most Nighthawk Nominations without a Nighthawk Award:  Throne of Blood (13)
  • Actor:  Humphrey Bogart  (475)
  • Actress:  Bette Davis  (555)
  • Director:   Billy Wilder  (585)
  • Writer:  Billy Wilder  (960)
  • Cinematographer:  Arthur Edeson  /  Gregg Toland  (200)
  • Composer:  Max Steiner  (450)
  • Foreign Film:  Akira Kurosawa  (360)

Breakdown by Genre  (Foreign in parenthesis, best film in genre following, avg. score is afterwards, in parenthesis):

  • Foreign:  52  –  Persona  (67.9)
  • Drama:  41 (25)  –  Persona  (67.7)
  • Comedy:  30 (5)  –  The Graduate  (61.2)
  • Western:  11 (3)  –  A Fistful of Dollars  (67.5)
  • Crime:  10 (6)  –  Bonnie and Clyde  (71)
  • Musical:  8 (1)  –  How to Succeed in Business Without Really Trying  (57.4)
  • Suspense:  7  –  Point Blank  (76.4)
  • Action:  7  (4)  –  Samurai Rebellion  (59.1)
  • War:  5  (1)  –  The Burmese Harp  (64.8)
  • Kids:  5 (1)  –  The Jungle Book  (59.6)
  • Horror:  5 (1)  –  Viy  (47.4)
  • Adventure:  4 (3)  –  Marketa Lazarova  (63.3)
  • Mystery:  3 (1)  –  In the Heat of the Night  (72)
  • Sci-Fi:  1 (1)  –  The Face of Another  (69)
  • Fantasy:  1  –  One Million Years B.C.  (60)

Analysis:  For the third year in a row, Foreign films have more than any genre.  Sci-Fi films drop off – there is only one for the first time since 1955.  The 11 Westerns are the most since 1959 and herald a brief resurgence with the new violence allowed before they drop off in the early 70’s.  The 5 Horror films are the fewest since 1959.  The 41 Dramas are not only the fewest since 1961, but for the first time since 1943, Dramas account for less than 30% of the films I’ve seen.

Bonnie and Clyde becomes the first Crime film to win the Nighthawk in over 30 years.  With In Cold Blood at #5, it’s the first time in over a decade that there are two Crime films in the Top 10.  In the Heat of the Night becomes the first Mystery in the Top 10 in six years.

Studio Note:  The majors have a slight resurgence, at least in what I’ve seen, with 78 out of 138 films, accounting for over 56%.  United Artists takes the lead, as it will for the next four years, this time with 15 films.  It’s followed by Columbia and 20th Century-Fox, both with 13.  It’s the most films for Fox since 1960 and they won’t have as many again for over a decade.  On the flip side, Universal has only 5, the fewest I’ve seen from any major since 1960.  Paramount has 10 films that average only a 57.9, the worst from any studio in four years.

Warner Bros wins a second straight Nighthawk, the first studio to do it in a decade and joins Columbia with six wins overall, ironically, as they were the last two majors to win the Nighthawk and they are the first two to get to six.  No studio has more than 2 Top 10 films and United Artists is the only one with more than 2 Top 20 films.  UA has 4 Top 20 films, the fourth time it has had more than 3 since 1953, a period during which no other studio has done that even once.

49 Films Eligible for Best Foreign Film (alphabetical, with director and country in parenthesis – red are ****, blue are ***.5 – both those colors qualify for my Best Foreign Film Award; an asterisk means it was the Official selection for the Oscar, two asterisks were nominated, three asterisks won the Oscar):

  • Amor Brujo, El  (Rovira Beleta, Spain)  **
  • Anna Karenina  (Zarkhi, USSR)
  • Anyone Can Play  (Zampa, Italy)
  • Asterix the Gaul  (Goossens, France)
  • Because of a Flower  (Nepomuceno, Philippines)  *
  • Belle de Jour  (Buñuel, France)
  • Between Salt and Sweet Water  (Brault, France)
  • Branded to Kill  (Suzuki, Japan)
  • A Bullet for the General  (Damiani, Italy)
  • Case of the Naves Brothers  (Person, Brazil)  *
  • La Chinoise  (Godard, France)
  • The Climax  (Germi, Italy)
  • Closely Watched Trains  (Menzel, Czechoslovakia)  ***
  • A Colt is My Passport  (Nomura, Japan)
  • Death Rides a Horse  (Petroni, Italy)
  • Le Depart  (Skolimowski, Belgium)  *
  • The Dirty Outlaws  (Rossetti, Italy)
  • Django Kill … If You Live, Shoot!  (Questi, Italy)
  • Dragon Inn  (Hu, Taiwan)
  • Elvira Madigan  (Widerberg, Sweden)
  • Father  (Szabo, Hungary)  *
  • Here’s Your Life  (Troell, Sweden)  *
  • I Even Met Happy Gypsies  (Petrovic, Yugoslavia)  **
  • Japan’s Longest Day  (Okamoto, Japan)
  • Japanese Summer: Double Suicide  (Oshima, Japan)
  • Kidnapping, Caucasian Style  (Gaidai, USSR)
  • La Collectionesse  (Rohmer, France)
  • The Last Adventure  (Enrico, France)
  • The Last Letter  (Anand, India)  *
  • Le Samourai  (Melville, France)
  • Live for Life  (Lelouch, France)  **
  • Love Affair  (Makavejev, Yugoslavia)
  • Marketa Lazarova  (Vlacil, Czechoslovakia)
  • No Stars in the Jungle  (Godoy, Peru)  *
  • Oedipus Rex  (Pasolini, Italy)
  • The One-Armed Swordsman  (Chang, Hong Kong)
  • Oscar  (Molinaro, France)
  • Playtime  (Tati, France)
  • The Red and the White  (Jancso, Hungary)
  • Samurai Rebellion  (Kobayashi, Japan)
  • Sing a Song of Sex  (Oshima, Japan)
  • The Stranger  (Visconti, Italy)
  • Terra em Transe  (Rocha, Brazil)
  • Thief of Paris  (Malle, France)
  • The Two of Us  (Berri, France)
  • Viy  (Yershov, USSR)
  • The Young Girls of Rochefort  (Demy, France)
  • Zatoichi Challenged  (Misumi, Japan)

Note:  I have my first film from Peru.  France leads the way with 14 – those 14 films account for 28%, the highest from any country since 1952.  It’s followed, as usual by Italy (8) and Japan (7).  I have two films from both Hungary and Yugoslavia, a first for both.  For the first time since 1954, I don’t have any films from Poland (it’s also the last time Poland wouldn’t submit a film to the Academy until 1982).  This will be the last year before re-unification that I don’t have a film from West Germany.  For the first time since 1945 I don’t have a film from Mexico; I haven’t seen the submitted Mexican film and they won’t submit again until 1971 and as such I won’t see another Mexican film until 1971.

Foreign Films Submitted for Best Foreign Film at the Oscars That I Haven’t Seen:

  • Japan:  Portrait of Chieko  (dir. Nakamura)  –  NOMINEE
  • Denmark:  Once There Was a War  (dir. Kjaerulff-Schmidt)
  • Italy:  China is Near  (dir. Bellocchio)
  • Mexico:  The Adolescents  (dir. Salazar)
  • West Germany:  Tattoo  (dir. Schaaf)

note:  At this point I am making a concerted effort to see as many submitted films as I can.  The full list can be found here.  This year I am 11 for 16.
Eight countries that submitted in 1966 don’t submit here.  There are two first time countries – Belgium and Peru.  For the first time since 1961, Greece doesn’t submit a film.  For only the second time since 1957, Egypt doesn’t submit a film.
I am missing West Germany for the first time.  I am missing Mexico for the second time.  I am missing Italy for the only time between 1956 and 1980.  After seeing two Danish submissions in a row, this is the first of six straight submissions I am missing.  This is the middle year of three straight Japanese submissions I am missing.

Films Eligible in This Year But Originally Released in a Different Year:

  • The Crime of Monsieur Lange  (1936)
  • Les Dames du Bois de Boulogne  (1945)
  • The Diary of a Country Priest  (1951)
  • Tokyo Story  (1953)
  • I Live in Fear  (1955)
  • Journey to the Beginning of Time  (1955)
  • The Burmese Harp  (1956)
  • The Kingdom and the Beauty  (1959)
  • Horrors of Spider Island  (1960)
  • The Testament of Orpheus  (1960)
  • Kanchenjungha  (1962)
  • Zatoichi on the Road  (1963)
  • Band of Outsiders  (1964)
  • Dry Summer  (1964)
  • A Fistful of Dollars  (1964)
  • Hamlet  (1964)
  • Lemonade Joe  (1964)
  • Shadows of Forgotten Ancestors  (1964)
  • Une fille et des fusils  (1964)
  • Blood for a Silver Dollar  (1965)
  • For a Few Dollars More  (1965)
  • Gertrud  (1965)
  • Shakespeare Wallah  (1965)
  • A Study in Terror  (1965)
  • The Sucker  (1965)
  • Yoyo  (1965)
  • The Alphabet Murders  (1966)
  • The Brides of Fu Manchu  (1966)
  • Carry On Screaming  (1966)
  • The Deadly Affair  (1966)
  • The Deadly Bees  (1966)
  • The Face of Another  (1966)
  • The Game is Over  (1966)
  • The Hunt  (1966)
  • La Guerre Est Finie  (1966)
  • Made in U.S.A.  (1966)
  • Masculin Feminin  (1966)
  • The Mummy’s Shroud  (1966)
  • One Million Years B.C.  (1966)
  • Penelope  (1966)
  • Persona  (1966)
  • The Quiller Memorandum  (1966)
  • The Spy with a Cold Nose  (1966)
  • Three  (1966)
  • Thunder Alley  (1966)
  • Yesterday Girl  (1966)

Note:  These 46 films average a 66.3, although that goes up to a 67.8 if you take out Horrors of Spider Island.  This is includes three of the Top 10 and an astounding seven of the second 10.  Films from this list account for 23 Nighthawk nominations (6 of which are for Foreign Film).

Films Not Listed at Oscars.org:

  • El Amor Brujo
  • Anna Karenina
  • Between Salt and Sweet Water
  • Blood for a Silver Dollar
  • Branded to Kill
  • The Burmese Harp
  • Carry On Screaming
  • A Colt is My Passport
  • Django Kill . . . If You Live, Shoot!
  • Dragon Inn
  • Dry Summer
  • The Hellbenders
  • I Live in Fear
  • Japanese Summer: Double Suicide
  • Kidnapping, Caucasian Style
  • Made in U.S.A.
  • Marketa Lazarova
  • No Stars in the Jungle
  • The One-Armed Swordsman
  • Oscar
  • Sing a Song of Sex
  • Three
  • Une fille et des fusils
  • Viy
  • Yesterday Girl
  • Yoyo

Note:  I use the list at Oscars.org for deciding which year films are eligible in.  Some films, however, don’t appear in that database.  For those films, I use the IMDb.  These are the films that aren’t listed in the Oscars.org database but that end up in this year.
As is generally the case, all but a handful of these are 1967 films that don’t seem to have ever had an official U.S. release.  El Amor Brujo and No Stars in the Jungle were submitted for Best Foreign Film while Three was an actual Best Foreign Film nominee in 1966.  Four of these are Japanese films that have been put out on DVD by Criterion (Branded to Kill, A Colt is My Passport, Japanese Summer, Sing a Song of Sex).

Films Released This Year Originally But Eligible in a Different Year 

  • Asterix the Gaul  (1968)
  • Belle de Jour  (1968)
  • Le Chinoise  (1968)
  • Closely Watched Trains  (1968)
  • Custer of the West  (1968)
  • Dark of the Sun  (1968)
  • Le Depart  (1968)
  • The Double Man  (1968)
  • Elvira Madigan  (1968)
  • Father  (1968)
  • The Fearless Vampire Killers  (1968)
  • The Fox  (1968)
  • Games  (1968)
  • Half a Sixpence  (1968)
  • How I Won the War!  (1968)
  • I Even Met Happy Gypsies  (1968)
  • It!  (1968)
  • Japan’s Longest Day  (1968)
  • Poor Cow  (1968)
  • The Red and the White  (1968)
  • The Shuttered Room  (1968)
  • The Two of Us  (1968)
  • The Young Girls of Rochefort  (1968)
  • Death Rides a Horse  (1969)
  • Mad Monster Party  (1969)
  • The Sorcerors  (1969)
  • Anyone Can Play  (1970)
  • A Bullet for the General  (1970)
  • The Last Adventure  (1970)
  • Mouchette  (1970)
  • Terra em Transe  (1970)
  • They Came From Beyond Space  (1970)
  • Zatoichi Challenged  (1970)
  • The Dirty Outlaws  (1971)
  • Case of the Naves Brothers  (1972)
  • La Collectionesse  (1972)
  • Le Samourai  (1973)
  • Playtime  (1974)
  • Love Affair  (1976)
  • Oedipus Rex  (1985)
  • David Holzman’s Diary  (2010)

Note:  These 41 films average a 62.8.  But that goes up to a 64.9 if you take out Mad Monster Party and They Came From Beyond Space.  If I went by the release year rather than Oscar eligibility, Persona would be out of this year, but Belle de Jour would replace it in many categories, including Picture, Director and Actress.  There are three **** films (Belle, Closely Watched Trains, The Two of Us) and two high-level ***.5 films (Playtime, Elvira Madigan), all of which, of course, are nominated for Best Foreign Film in this year.

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