Michael's descent into darkness is captured in this amazing shot by Gordon Willis.

Michael’s descent into darkness is captured in this amazing shot by Gordon Willis.

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 8 in the categories but only the top 5 earn Nighthawk nominations.  I’ve dropped it from 10 because in a lot of categories I only have 8 or fewer listed.

Nighthawk Awards:

  • Best Picture
  1. The Godfather  *
  2. The Discreet Charm of the Bourgeoisie  *
  3. Sleuth
  4. Cabaret  **
  5. Deliverance  *
  6. Play It Again, Sam
  7. Murmur of the Heart
  8. The Emigrants  *

Analysis:  I’ve included the Top 8, but in most categories, including this one, there is a significant drop-off after the first five.  This is actually, for me, the single easiest year in film history to pick my Top 5.  It is one of only eight years in which there are exactly five **** films.  Of those eight, only 1957 has a better #5 film, but it also has a better #6 film.  This film has the biggest drop in points between my #5 and 6 films – seven points.
The Godfather is widely acknowledged as one of the Academy’s best choices but it was a surprise at the time.  Going into the final award, Cabaret had won 8 Oscars and no film with more than 6 had ever lost Best Picture while The Godfather had only managed to win two.  They had gone face to face in five categories and Cabaret had won four of them.  Yet, the Academy made the right choice, though with the NBR win, the BAFTA win (where The Godfather wasn’t even nominated) and the Globe win (The Godfather won for Drama), Cabaret easily takes the Consensus.

  • godfathersetBest Director
  1. Francis Ford Coppola  (The Godfather)  *
  2. Luis Buñuel  (The Discreet Charm of the Bourgeoisie)  *
  3. Joseph L. Mankiewicz  (Sleuth)  *
  4. Bob Fosse  (Cabaret)  **
  5. John Boorman  (Deliverance)  *
  6. Jan Troell  (The Emigrants)
  7. Alfred Hitchcock  (Frenzy)
  8. John Huston  (Fat City)

Analysis:  Boorman and Fosse earn their first nominations.  Coppola, Mankiewicz and Buñuel earn their second each.
I’m a little surprised that the Academy didn’t nominate Buñuel.  They had gotten into the habit of nominating Foreign directors even when not nominating their films and he was nominated for his script (and would win Best Foreign Film).  This was their best chance to nominate an all-time great director, but perhaps they felt they had already done their duty to Foreign films by nominating Troell.
By nominating Sleuth rather than Sounder (which was the fifth Picture nominee), this category earns a score over 90 for the first time.

  • Best Adapted Screenplay:
  1. The Godfather  **
  2. Sleuth
  3. Play It Again, Sam
  4. Cabaret  *
  5. Deliverance  *
  6. Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)
  7. The Heartbreak Kid  *
  8. Fat City

Analysis:  The Godfather becomes the first adapted script to win the Oscar, WGA and the Golden Globe.  Woody Allen earns his third nomination but it’s the only time in his long career that he will earn a nomination for Adapted (though he’s adapting his own play).  Of course, he’s also in sixth place but that’s really more of a technicality than anything else.
Coppola earns his second nomination and first win.
The only original sources I have read to this point are The Godfather and Deliverance.

  • Best Original Screenplay:
  1. The Discreet Charm of the Bourgeoisie  *
  2. Murmur of the Heart  *
  3. Limelight
  4. The Candidate  **
  5. The King of Marvin Gardens
  6. Intimate Lighting
  7. Bad Company  *
  8. What’s Up, Doc?  *

Analysis:  There’s almost no Consensus at all here – only The Candidate manages both an Oscar and WGA nomination (it wins both).  For the first time since 1966 no original script earns a Globe nomination.  And they don’t even have Consensus with me – there are 14 scripts that end up with either WGA or Oscar noms (and thus, Consensus noms) and three of my top eight aren’t on that list.
Louis Malle earns his second nomination.  In his fifth nomination, Buñuel finally wins the Nighthawk.  Charlie Chaplin his seventh, and final nomination.  With five of those resulting in wins, Chaplin ends with 440 points and in third place.  This is the first time since 1966 and only the fourth time since 1953 that neither Ingmar Bergman nor Stanley Kubrick earn a writing nomination and it won’t happen again until 1977.
This is a ridiculously easy category for me to pick a winner – Discreet blows away the other scripts in my estimation.

  • Best Actor:
  1. Michael Caine  (Sleuth)
  2. Laurence Olivier  (Sleuth)  **
  3. Marlon Brando  (The Godfather)  *
  4. Charlie Chaplin  (Limelight)
  5. Burt Reynolds  (Deliverance)
  6. Jon Voight  (Deliverance)
  7. Max von Sydow  (The Emigrants)
  8. Paul Winfield  (Sounder)

Analysis:  Olivier’s Consensus win is by just a few points over Brando – Olivier won the NYFC and earned Oscar, BAFTA and Globe noms while Brando won the Oscar and Globe and was BAFTA nominated.  Thanks to strange wins and strange eligibility times at the BAFTAs, two of the other Consensus nominees are Walter Matthau (who won the BAFTA in 1973 for Charley Verrick which is eligible in 73 and Pete ‘n’ Tillie, which, combined with his Globe nomination gets him on the Consensus list here) and Gene Hackman (who won the BAFTA in this year for The French Connection and The Poseidon Adventure – the BAFTA alone gets him into the Consensus list here).  The last Consensus nominee is Peter O’Toole for The Ruling Class, which I didn’t think was that great a performance, but did win him the NBR and earned Oscar and Globe noms (actually, his Globe nom was for Man of La Mancha), thus beating out my winner, Michael Caine, who only earned Oscar and Globe noms.
Reynolds earns his first (and, until 1997, his only) nomination.  Caine is earning his second nom, but his first win.  Brando is, surprisingly, only earning his third Nighthawk nomination, though he won his first two.  Chaplin earns his sixth (and final) nomination.  This leaves him with 315 points and tied for 7th place; the last time he earned a nomination he had been in 3rd place.  Meanwhile, this is Olivier’s 10th nomination; he’s at 405 points and is in 3rd place.

  • Best Actress
  1. Liza Minnelli  (Cabaret)  **
  2. Liv Ullmann  (The Emigrants)  *
  3. Diana Ross  (Lady Sings the Blues)  *
  4. Maggie Smith  (Travels with My Aunt)
  5. Cicely Tyson  (Sounder)  *
  6. Susannah York  (Images)
  7. Juliet Mills  (Avanti)
  8. Carol Burnett  (Pete n Tillie)

Analysis:  Minnelli actually becomes the first actress to sweep the Oscar, BAFTA and Globe in 15 years.  But she only wins the Consensus because of how I weight points.  In a raw total she actually ties with Tyson, who won the NSFC and NBR and earned Oscar and Globe noms.
It’s the only nomination for Tyson and Ross.  It’s the second nomination for Minnelli.  But the other two are major Nighthawk stars.  This is already Smith’s third nomination with several more to come.  Ullmann is earning her fourth nomination in just six years and has four more to come before the end of the decade.
This is the first time since 1951 where I have completely agreed with the Academy in this category.  To me, it’s not even really close – there’s a big drop between Tyson and York.

  • pacinoBest Supporting Actor:
  1. Al Pacino  (The Godfather)  *
  2. Robert Duvall  (The Godfather)  *
  3. Joel Grey  (Cabaret)  **
  4. James Caan  (The Godfather)  *
  5. Richard Castellano  (The Godfather)
  6. Eddie Albert  (The Heartbreak Kid)  *
  7. Zero Mostel  (The Hot Rock)
  8. Jeff Bridges  (Fat City)

Analysis:  The critics spread the wealth – the NSFC gave their award to Grey and Albert while the NBR gave it to Grey and Pacino.  The NYFC simply gave their award to Duvall  That, combined with Pacino winning Best Actor at the NSFC ends up with 8 awards in this category, the most before groups start increasing late in the decade.  Pacino and Albert were also both nominated as leads at the Globes.  Pacino has the better case, but I stick with Oscar eligibility for deciding acting categories, so he stays in supporting.
Caan, Castellano and Grey all earn their only nominations.  Duvall and Pacino, meanwhile, are earning their first of several nominations in this decade alone.  For Pacino, this is the first of four straight Nighthawk nominations (and Oscar nominations for that matter).
This Top 5 is tied for the second best Top 5 to date, behind only 1950.  I still think that Pacino’s performance is one of the greatest, if not the greatest performance in the history of this category.  And, with the fifth Oscar nominee in sixth place, this category earns a score of 97.3, the highest since all five agreed in 1945.

  • theheartbreakkid10Best Supporting Actress:
  1. Jeannie Berlin  (The Heartbreak Kid)  **
  2. Eileen Heckart  (Butterflies are Free)  *
  3. Suzanne Tyrell  (Fat City)
  4. Diane Keaton  (The Godfather)
  5. Shelley Winters  (The Poseidon Adventure)  *
  6. Marisa Berenson  (Cabaret)  *
  7. Geraldine Page  (Pete ‘n’ Tillie)  *
  8. Stephane Audran  (The Discreet Charm of the Bourgeoisie)  *

Analysis:  Audran’s Consensus nomination is actually for lead, where she won the BAFTA, but that was for two roles (Just Before Nightfall was the other) and I consider her performance in Discreet to be supporting.
It’s the only nomination for Berlin, Heckart and Tyrell.  It’s the fourth and final nomination for Winters.  It’s the first for Keaton, but she will earn several more.
This is the weakest Top 5 in this category since 1954.  Berlin is the weakest winner since 1965 and the second weakest since 1935.  In spite of not being a great category overall, the Oscars earn a great score of 95.2, with all five of their nominee in my Top 7.  In fact, the acting overall scores wonderfully – an amazing 95.9, the highest score to date and only the second time since acting was expanded to four categories that the score is above 90.

  • Best Editing:
  1. The Godfather
  2. The Discreet Charm of the Bourgeoisie
  3. Sleuth
  4. Deliverance
  5. Cabaret
  6. The Hot Rock
  7. Murmur of the Heart
  8. Limelight

Analysis:  With four of the nominees in my Top 6 (the other nominee was The Poseidon Adventure) this category earns a score of 67.6, which is the highest in the category to date and only the fourth time it’s been over 60.
But, for all the talent and craftsmanship involved in making Cabaret, the baptism scene alone should have won this for The Godfather.

  • Best Cinematography:
  1. The Godfather
  2. Cabaret  **
  3. The Emigrants
  4. Sleuth  *
  5. Deliverance  *
  6. Fellini’s Roma
  7. The Discreet Charm of the Bourgeoisie
  8. Images

Analysis:  A year after earning his first Nighthawk nomination, Vilmos Zsigmond is back with Deliverance.  But the more important person here is Gordon Willis, a rival to Sven Nykvist and Gregg Toland as the greatest Cinematographer of all-time.  Willis earns his first of three wins in five years and his first of five nominations in a decade that would earn him, now read carefully here, exactly 0 Oscar nominations.  The overall score is a dreadful 26.5 because the Oscars were too busy nominating films like Butterflies are Free and 1776 rather than The Godfather.

  • Best Original Score:
  1. The Godfather
  2. Sleuth
  3. Limelight
  4. Fellini’s Roma
  5. The Life and Times of Judge Roy Bean
  6. Travels with My Aunt
  7. The Emigrants
  8. Jeremiah Johnson

Analysis:  There was a bit of an oddity with the Oscars.  Nino Rota’s score for The Godfather was considered to have too much music that he had written for a previous film so it was originally nominated, but then disqualified, and replaced by the score for Sleuth (by today’s rules there would be no replacement).
John Addison’s score for Sleuth is quite good; he is the only composer in the top 5 not in the Top 10 for points at this point.  After losing in four previous nominations (all for Fellini films) Nina Rota again loses while working for Fellini, but also wins, working for Coppola.  This puts him at 175 points and a tie for 7th place.  Ahead of him is Maurice Jarre, coming in 5th.  This is his sixth nomination, but he has four wins and is now at 250 points and in 4th place.  Charlie Chaplin actually wins his only competitive Oscar for his score for Limelight.  He doesn’t win the Nighthawk, but he has five previous wins and two other nominations, so he finishes with 325 points and in 2nd place all-time.
If you’re going to allow The Godfather (which I obviously do), it has to be the winner; after all, how many films can be readily identified by their score, even by people who have never seen the film?

  • Best Sound:
  1. The Godfather
  2. Cabaret
  3. The Poseidon Adventure
  4. Deliverance
  5. The Getaway
  6. Fat City
  7. Sleuth
  8. The Life and Times of Judge Roy Bean

Analysis:  The Oscars are finally getting better in this category.  The score is 71.0, which is only the second time it’s even been above 60.

  • The_Godfather1972_72_Guru_sBest Art Direction:
  1. The Godfather
  2. Cabaret
  3. The Discreet Charm of the Bourgeoisie
  4. Sleuth
  5. Young Winston
  6. Fellini’s Roma
  7. Travels with My Aunt
  8. Alice’s Adventures in Wonderland

Analysis:  With the amazing set work on The Godfather (all those houses), Cabaret (what a nightclub), Discreet (fascinating houses again) and Sleuth (what a hell of a house Olivier has), this year is tied for the 2nd best in this category to date, trailing only 1952.  Of course, leave it to the Oscars to fail to recognize most of that great work.

  • Best Visual Effects
  1. The Poseidon Adventure
  2. The Godfather

Analysis:  The visual effects in The Godfather that I’m referring to are the amazing work in the death scene of Sonny – that required some serious visual work to be properly achieved.

  • Best Sound Editing
  1. The Godfather
  2. The Poseidon Adventure
  3. The Getaway
  4. Deliverance
  5. The Hot Rock

Analysis:  Of course, that Sonny death scene makes for an easy win here.

  • Best Costume Design:
  1. The Godfather
  2. Cabaret
  3. Young Winston
  4. Travels with My Aunt
  5. Fellini’s Roma
  6. 1776
  7. Limelight
  8. Man of La Mancha

Analysis:  It’s pretty strange that the Academy did such a good job honoring Cabaret yet thought the costumes in The Poseidon Adventure were more worthy of a nomination.

  • Best Makeup
  1. Cabaret
  2. The Godfather
  3. Limelight
  4. Alice’s Adventures in Wonderland
  5. Sleuth
  6. Man of La Mancha

Analysis:  I actually didn’t have Sleuth here originally, but after re-watching it to review it down below I decided it belonged here.

  • Best Original Song:
  1. “Mein Herr”  (Cabaret)
  2. “Money”  (Cabaret)
  3. “Spring is Here”  (Limelight)
  4. “Snoopy Come Home”  (Snoopy Come Home)
  5. “The Morning After”  (The Poseidon Adventure)
  6. “Carry Me”  (Butterflies are Free)

Analysis:  This is the weakest Top 5 since 1966 and yet it’s far better than the schmaltz that the Academy actually nominated.  It earns a score of 12.5, the worst since 1958.  And it might have been even worse, but the score is derived from only four songs, as I haven’t seen one of the nominees.  “Snoopy Come Home” is in orange because it was a semi-finalist.  There are only six on my list and I would rather stop my list there than list any of the other nominees or semi-finalists.

  • Best Animated Film:
  1. none

Analysis:  There were only three animated films during the year.  Snoopy Come Home was by far the best, a solid *** film, but it’s not good enough to merit a nomination.  The other two are both very adult films – Fritz the Cat and Cleopatra: Queen of Sex.  The former is not very good and the latter is pretty bad (and also wasn’t eligible).

  • Viskningar-Och-RopBest Foreign Film:
  1. Cries and Whispers  *
  2. The Discreet Charm of the Bourgeoisie  **
  3. Solyaris
  4. I Love You Rosa
  5. State of Siege
  6. Under the Flag of the Rising Sun

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

Analysis:  Ah, the question of eligibility.  Discreet Charm wins Best Foreign Film from the NBR in 1972, but Cries and Whispers wins it in 1973 (though it was nominated for the Globe in 1972 along with Discreet Charm where they both lose to The New Land, the sequel to The Emigrants).  Discreet does win the Oscar, for which Cries isn’t eligible, because Sweden submitted The New Land.  Yet, the Academy will recognize Cries the next year, making it only the fourth Foreign film ever nominated for Best Picture, something that won’t happen again for another 22 years.
This is the best Top 5 since 1963 and the fourth best to date, but that rests primarily on those top 3 films.  The top 3 are the third best to date but there is an incredible 13 point drop from #3 to #4.
Israel earns its first, and until 1984 its only nomination.  Tarkovsky and Costa-Gavras each earn their second nominations.  Buñuel earns his tenth – he’s at 220 points and a very distant third place.  Bergman, meanwhile, earns his seventh win (and 13th nomination) and goes up to 400 points, just 40 behind Kurosawa.

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.

  • The Godfather  (815)
    • Picture, Director, Adapted Screenplay, Actor, Supporting Actor, Supporting Actor, Supporting Actor, Supporting Actor, Supporting Actress, Editing, Cinematography, Original Score, Sound, Art Direction, Visual Effects, Sound Editing, Costume Design, Makeup
  • Cabaret   (390)
    • Picture, Director, Adapted Screenplay, Actress, Supporting Actor, Editing, Cinematography, Sound, Art Direction, Costume Design, Makeup, Original Song, Original Song
  • Sleuth  (345)
    • Picture, Director, Adapted Screenplay, Actor, Actor, Editing, Cinematography, Original Score, Art Direction, Makeup
  • Deliverance  (260)
    • Picture, Director, Adapted Screenplay, Actor, Editing, Cinematography, Sound, Sound Editing
  • The Discreet Charm of the Bourgeoisie  (240)
    • Picture, Director, Original Screenplay, Editing, Art Direction, Foreign Film
  • Limelight  (120)
    • Original Screenplay, Actor, Original Score, Makeup, Original Song
  • The Poseidon Adventure  (120)
    • Supporting Actress, Sound, Visual Effects, Sound Editing, Original Song
  • The Emigrants  (80)
    • Actress, Cinematography, Foreign Film (1971)
  • Murmur of the Heart  (60)
    • Original Screenplay, Foreign Film (1971)
  • The Heartbreak Kid  (60)
    • Supporting Actress
  • Travels with My Aunt  (50)
    • Actress, Costume Design
  • Play It Again, Sam  (40)
    • Adapted Screenplay
  • The Candidate  (40)
    • Original Screenplay
  • The King of Marvin Gardens  (40)
    • Original Screenplay
  • Fellini’s Roma  (40)
    • Original Score, Costume Design
  • The Getaway  (40)
    • Sound, Sound Editing
  • Lady Sings the Blues  (35)
    • Actress
  • Sounder  (35)
    • Actress
  • Young Winston  (35)
    • Art Direction, Costume Design
  • Fat City  (30)
    • Supporting Actress
  • Butterflies are Free  (30)
    • Supporting Actress
  • The Life and Times of Judge Roy Bean  (25)
    • Original Score
  • The Hot Rock  (20)
    • Sound Editing
  • Alice’s Adventures in Wonderland  (10)
    • Makeup
  • Snoopy Come Home  (10)
    • Original Song

Analysis:  The Godfather is obviously the dominant film here.  Its 815 points and the second highest to date and its 18 nominations tie The Wizard of Oz for the highest to date.  Both will be the most in the decade and its 11 wins will be the second highest of the decade.

Best Film Not Nominated for Any Nighthawk Awards:

  • Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)

Analysis:  A very good Woody Allen Comedy – the type of film they’re talking about in Stardust Memories when they want him to go back to his older films.  But it only actually stands out in a couple of categories.  If it has been considered an original script it would have earned a nomination there and it does come in sixth in Adapted.

Biggest Awards Film Not Nominated for Any Nighthawk Awards:

  • Pete n Tillie

Analysis:  A solid Comedy, my #30 of the year and it finished in the Top 8 in both Actress and Supporting Actress but can’t break the Top 5.  It won the BAFTA for Best Actor and earned 2 Oscar noms, 3 Globe noms and a WGA nom.

Nighthawk Golden Globes:

Drama:

  • Best Picture
  1. The Godfather
  2. Sleuth
  3. Deliverance
  4. Murmur of the Heart
  5. The Emigrants

Analysis:  Not a great year, with two ***.5 films.  It has the third-lowest average in this category since 1945.  The Emigrants, of course, won Best Foreign Film at the Globes (in 1971) and thus wasn’t actually eligible for Best Picture.

  • Best Director
  1. Francis Ford Coppola  (The Godfather)
  2. Joseph L. Mankiewicz  (Sleuth)
  3. John Boorman  (Deliverance)
  4. Jan Troell  (The Emigrants)
  5. Alfred Hitchcock  (Frenzy)

Analysis:  Troell earns his only nomination.  Coppola earns his first nomination.  Boorman and Mankiewicz earn their second nominations.  That gives the four of them six combined nominations to this point.  Hitchcock, on the other hand, is earning his 10th, and final nomination, without a single win to show for it (he does have a Comedy win).  This puts Hitchcock at 450 points, in a three-way tie with Fritz Lang and David Lean for third place.

  • Best Adapted Screenplay:
  1. The Godfather
  2. Sleuth
  3. Deliverance
  4. Fat City
  5. The Emigrants

Analysis:  Coppola earns his first Drama win.  After an eight year gap, John Huston is back with his seventh Drama nomination.

  • Best Original Screenplay:
  1. Murmur of the Heart
  2. The King of Marvin Gardens
  3. Intimate Lighting
  4. Bad Company

Analysis:  Louis Malle earns his first Drama win.  This is the weakest in this category since 1966 when there were no nominees at all.

  • Sleuth-1972-Screencaps-michael-caine-5575439-550-330Best Actor:
  1. Michael Caine  (Sleuth)
  2. Laurence Olivier  (Sleuth)
  3. Marlon Brando  (The Godfather)
  4. Burt Reynolds  (Deliverance)
  5. Jon Voight  (Deliverance)

Analysis:  It’s the first nomination for Reynolds.  It’s the second for both Voight and Caine.  It’s the fourth Drama nomination for Brando, but the first in 18 years.  Just like with the regular nomination, it’s the 10th for Olivier and he’s at 405 points and in 3rd place.  The fifth Globe nominee was Al Pacino (see below).

  • emigrants-1971-01-gBest Actress
  1. Liv Ullmann  (The Emigrants)
  2. Cicely Tyson  (Sounder)
  3. Susannah York  (Images)

Analysis:  Yes, I really could only come up with three performances I thought worthy of a nomination, although Diana Ross was listed as Drama at the Globes.  It’s the only nomination for Tyson and the second for York.  Ullmann, on the other hand, after losing four straight years, from 67-70, earns her first of back-to-back wins.
Surprisingly with only three actresses, this is not the weakest in this category to date, but it is the second weakest (1936 is worse).

  • Best Supporting Actor:
  1. Al Pacino  (The Godfather)
  2. Robert Duvall  (The Godfather)
  3. James Caan  (The Godfather)
  4. Richard Castellano  (The Godfather)
  5. Zero Mostel  (The Hot Rock)

Analysis:  The Globes nominated Pacino in lead, which is arguably where he really belongs.
It’s the only Drama nominations for Caan, Castellano and Mostel (though Mostel has several in Comedy).  It’s the first of four in the decade for Duvall (all in supporting) and the first of five in the decade for Pacino (the rest in lead).

  • Best Supporting Actress:
  1. Suzanne Tyrell  (Fat City)
  2. Diane Keaton  (The Godfather)
  3. Shelley Winters  (The Poseidon Adventure)

Analysis:  Tyrell earns her only nomination, Keaton her first and Winters her fourth (and final).  This is the weakest in this category since 1963.

Points:

  • The Godfather  (485)
    • Picture, Director, Adapted Screenplay, Actor, Supporting Actor, Supporting Actor, Supporting Actor, Supporting Actor, Supporting Actress
  • Sleuth  (240)
    • Picture, Director, Adapted Screenplay, Actor, Actor
  • Deliverance  (205)
    • Picture, Director, Adapted Screenplay, Actor, Actor
  • The Emigrants  (205)
    • Picture, Director, Adapted Screenplay, Actor, Actress
  • Murmur of the Heart  (130)
    • Picture, Original Screenplay
  • Fat City  (100)
    • Adapted Screenplay, Supporting Actress
  • Frenzy  (45)
    • Director
  • Intimate Lighting  (40)
    • Original Screenplay
  • The King of Marvin Gardens  (40)
    • Original Screenplay
  • Bad Company  (40)
    • Original Screenplay
  • Images  (35)
    • Actress
  • Sounder  (35)
    • Actress
  • The Hot Rock  (30)
    • Supporting Actor
  • The Poseidon Adventure  (35)
    • Supporting Actress

Analysis:  The Godfather earns nine nominations, tying From Here to Eternity for the most in Drama to date.

Best Drama Not Nominated for Any Nighthawk Golden Globes:

  • Jeremiah Johnson

Analysis:  A solid film, my #17 (and thus, my #10 in Drama) but not high enough in any of the major categories to make the list.

Comedy / Musical:

  • Best Picture
  1. The Discreet Charm of the Bourgeoisie
  2. Cabaret
  3. Play It Again, Sam
  4. Limelight
  5. Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)

Analysis:  Discreet Charm was nominated for Foreign Film.  This Top 5 is actually better than the previous two years, though still a shade below averaging ****.

  • Best Director
  1. Luis Buñuel  (The Discreet Charm of the Bourgeoisie)
  2. Bob Fosse  (Cabaret)
  3. Charlie Chaplin  (Limelight)
  4. Federico Fellini  (Fellini’s Roma)
  5. George Cukor  (Travels with My Aunt)

Analysis:  Fosse earns his first nomination.  Fellini earns his fourth nomination.  Cukor earns his sixth (and final) nomination, all without a win.  Buñuel earns his seventh nomination (and second win).  Chaplin earns his seventh (and final) nomination; it is the only time he has failed to win this category.  Chaplin finishes with 585 points and 1st place (by a long way).  Buñuel at this point is tied with Billy Wilder and Preston Sturges in 2nd place with 405 points.  Cukor is at 270 points and in a four-way tie for fifth place.  Fellini is at 225 points and in a three-way tie for 9th place.
This is one of those years that make me feel better about my opinions.  The Globes nominated Billy Wilder for Best Director for Avanti.  He’s one of my favorite directors of all-time but I don’t even think it’s good enough to earn a Comedy nomination.
This is kind of a rare year in that there is not only a full slate of five directors in this category but they are all Top 100 directors.

  • Best Adapted Screenplay:
  1. Play It Again, Sam
  2. Cabaret
  3. Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)
  4. The Heartbreak Kid
  5. Travels with My Aunt

Analysis:  Woody Allen earns his first win with his only two nominations in Adapted, one of which is adapted from his own play (and the other more of a technicality).  In less than a decade, Allen has moved up to 240 points in Comedy and a tie for fourth place behind only Wilder, Chaplin and Sturges.  By the early 80’s he will trail only Wilder.

  • Best Original Screenplay:
  1. The Discreet Charm of the Bourgeoisie
  2. Limelight
  3. The Candidate
  4. What’s Up, Doc?

Analysis:  Even in Comedy, this is still Buñuel’s first win (in his fifth nomination).  After a 25 year gap, Chaplin earns his seventh (and final) nomination.  Like with director, it is the only time he has not been the winner and he finishes with 520 points and a distant 2nd place behind Billy Wilder.

  • charlie-chaplinBest Actor:
  1. Charlie Chaplin  (Limelight)
  2. Fernando Rey  (The Discreet Charm of the Bourgeoisie)
  3. Woody Allen  (Play It Again, Sam)
  4. William Daniels  (1776)
  5. Robert Redford  (The Candidate)

Analysis:  This was so surprising I had to look it up to see if I had done this before – not nominated a single Actor who had been nominated at the Globes in this category.  Turns out I hadn’t.  The Globes didn’t make bad choices – my next five choices have four of the Globe nominees (Jack Lemmon, the winner for Avanti, Charles Grodin in The Heartbreak Kid, Walter Matthau in Pete ‘n’ Tillie and Peter O’Toole in Man of La Mancha).  It’s just that they didn’t make my choices.
It’s the only nomination for Daniels, who, as John Adams, is the best thing about the film (I’m still flabbergasted that it was nominated at the Oscars for its Cinematography but The Godfather wasn’t).  It’s the first for Rey.  It’s the first for Allen, but by decade’s end he will be in the Top 20 in points and by the end of the 80’s he’ll be in the Top 10.  It’s the third nomination for Redford and he’ll finally win this in 1973.  It’s the ninth nomination for Chaplin and the only reason he’s at 7 wins instead of nine is because in the combined 1912-1926 Awards he was nominated three times but could only win once.  He finishes with 560 points, 80 more than Cary Grant, 145 more than James Cagney and 220 more than Alec Guinness.  If he doesn’t hold the lead forever, it will be a long time before anyone can catch him.

  • liza-minnelliBest Actress
  1. Liza Minnelli  (Cabaret)
  2. Diana Ross  (Lady Sings the Blues)
  3. Maggie Smith  (Travels with My Aunt)
  4. Juliet Mills  (Avanti)
  5. Carol Burnett  (Pete ‘n’ Tillie)

Analysis:  Diana Ross was nominated in Drama.  Burnett, Mills and Ross are earning their only nominations.  Smith and Minnelli are both earning their first nominations.
With an actual full slate of five, this is tied for the second best Top 5 in this category to date.  My Actor list has no Globe nominees and my Actress list is full of them.

  • Best Supporting Actor:
  1. Joel Grey  (Cabaret)
  2. Eddie Albert  (The Heartbreak Kid)
  3. Tony Roberts  (Play It Again, Sam)
  4. Jean-Pierre Cassell  (The Discreet Charm of the Bourgeoisie)

Analysis:  It’s the only nominations for Cassell and Grey.  It’s the second for Albert, some 19 years after his first.  It’s the first for Roberts but he’ll win this award in 1977.

  • Best Supporting Actress:
  1. Jeannie Berlin  (The Heartbreak Kid)
  2. Eileen Heckart  (Butterflies are Free)
  3. Marisa Berenson  (Cabaret)
  4. Geraldine Page  (Pete ‘n’ Tillie)
  5. Stephane Audran  (The Discreet Charm of the Bourgeoisie)

Analysis:  Page is the only person on this list not earning her only nomination – she won in this category in 1966.
This is a rare year where I fill this category and so it’s tied for the third best in the category to date.

Points:

  • The Discreet Charm of the Bourgeoisie  (365)
    • Picture, Director, Original Screenplay, Actor, Supporting Actor, Supporting Actress
  • Cabaret  (295)
    • Picture, Director, Adapted Screenplay, Actress, Supporting Actor, Supporting Actress
  • Limelight  (205)
    • Picture, Director, Original Screenplay, Actor
  • Play It Again, Sam  (195)
    • Picture, Adapted Screenplay, Actor, Supporting Actor
  • The Heartbreak Kid  (130)
    • Adapted Screenplay, Supporting Actor, Supporting Actress
  • Travels with My Aunt  (120)
    • Director, Adapted Screenplay, Actress
  • Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)  (90)
    • Picture, Adapted Screenplay
  • The Candidate  (75)
    • Original Screenplay, Actress
  • Pete ‘n’ Tillie  (65)
    • Actress, Supporting Actress
  • Fellini’s Roma  (45)
    • Director
  • What’s Up Doc  (40)
    • Original Screenplay
  • 1776  (35)
    • Actor
  • Lady Sings  the Blues  (35)
    • Actress
  • Avanti  (35)
    • Actress
  • Butterflies are Free  (35)
    • Supporting Actress

Analysis:  A big jump in the number of nominated films.

Best Comedy Not Nominated for any Nighthawk Golden Globes:

  • Snoopy Come Home

Analysis:  A very charming Kids film and my #13 Comedy of the year (#34 overall) but nowhere near good enough for a nomination.

Roundup for the Year in Film:

Eligible Films I Have Seen:  156

By Stars:

  • ****:  5
  • ***.5:  9
  • ***:  68
  • **.5:  36
  • **:  21
  • *.5:  2
  • *:  11
  • .5:  4
  • Average Film Score for the Year, out of 100:  57.81

Analysis:  A drop of three and a half points.  That’s because there are only 5 **** films and 9 ***.5 films (the fewest since 1963 even though this year is tied for the second most films to date).  For only the second time since 1958, the films better than *** account for less than 10% of all the films.  Meanwhile, just like in 1970 (the only year with a worse average), the films at * or below actually outnumber the films at ***.5 and above.

Oscar-Nominated Films I Have Not Seen:

  • Little Ark  (Best Song)

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

  • none

Oscar Quality:

Best Picture:  This is, by far, the best year to date.  With three **** films and a ***.5 film (and a strong *** film), it ranks at 23rd, a good 8 spots better than any year before it, although the next year will crush it.  Sounder is the best #5 ranked film – a good 23 spots on the full nominee list than the next best #5 ranked film up to this point.  This is the first year when the nominees average **** and it heralds a big leap forward for the Academy – three of the next four years will be even better and the one that isn’t ranks only one spot behind.  In the first 44 years of the Academy Awards, the average Best Picture nominee was a 76 – the lowest score of ***.5.  In the 43 that follow, including this year, the average nominee is an 87.4 – the very highest score of ***.5.  No year before this averaged higher than an 86 but the average after this is an 87.  No year after this averages lower than a 78 but the average before it was a 76.  This is the turning point and maybe it’s appropriate to have The Godfather right there at that point, a pick the Oscars actually get right, the best of all the winners.

The Winners:  The Oscars did a better job of their overall picks than within the nominees, at least in comparison to other years.  The average winner ranks at 1.94 among the nominees, which is worse than the two previous years and near the middle of the years to this point.  Cinematography and Sound are the only two category where they didn’t choose either the best or second best choice and there they made the 3rd best.  That’s because Cabaret won so many Oscars when it finished second on my list.  But, among all films, the average is a 2.56 which is the second best to date.  Every single winner is among my nominees for the first time ever.

The Nominees:  The Oscars actually did a great job in this year.  It shows across the board.  The Tech score is a 63.6, which is the best to date.  The major categories earn a 71.2, which is one of the better scores, and includes a score of 91.7 for Director, the best to date.  The acting is the best – earning an astounding 95.9, with only Actor falling below 95 (and it’s at 91.2) and a perfect 100 in Actress.  The overall score is a 72.6, which is the best to date, and surprisingly, will be beaten four times in the next six years.  The only thing holding this year back are Cinematography (26.5) and Song (12.5).

Golden Globe Best Picture – Comedy / Musical:  This year isn’t great, but it’s a lot better than most years to this date (33rd overall but third best to date).  It’s mainly because there’s not a dud among the nominees.  There’s only great film (Cabaret) and one very good (Travels with My Aunt).  The other three films are all mid-range *** films (Avanti, 1776, Butterflies are Free).  They could have done better with some Woody Allen (Play It Again Sam, Everything You Always Wanted…).  I can’t really fathom how they passed up on The Heartbreak Kid, especially since it was nominated for Actor, but they did.  And, for the fourth year in a row they nominated a film for Actor and Actress but not Picture, this year’s choice being Pete ‘n’ Tillie, which, again would have been a better choice than some of their choices.

Top 5 Films of the Year:

1  –  The Godfather  (reviewed here and here)

2  –  The Discreet Charm of the Bourgeoisie  (reviewed here)

The young Cockney upstart faces off against the master of British acting.

The young Cockney upstart faces off against the master of British acting.

3  –  Sleuth –  dir. Joseph L. Mankiewicz

How to talk about this film without giving up the major surprise of the film?  The film itself does an impressive job of keeping it a secret and the Roger Ebert review is commendable for the way he did it.  I will do my best to not reveal it because I think it is genuinely brilliant, but if you have never seen this film, you need to stop reading this review and go see it, irregardless of whether or not I keep the secret.

This film is an example of getting the right people.  The director, Joseph L. Mankiewicz, had been wandering in the wilderness for a while – he was thought of more at this point for directing Cleopatra than the back-to-back Oscars he won in 1949 and 50.  But, working with Oswald Morris, who had been one of the top British cinematographers for years, he creates a great framework of moving over hedges, through intricately designed rooms and around a magnificent English country house following the lead actors.  John Addison, who had won an Oscar for Tom Jones, composes a wonderful score that works in time with the action, as it goes from lightly comedic, to suspenseful to deathly dramatic.  The Oscars would add the score as the fifth nominee after The Godfather was declared ineligible but it really should have been in there in the first place.  Anthony Shaffer, who had written the original play and would later show his deftness with movie mysteries by writing several Agatha Christie adaptations keeps things from ever getting bogged down, and when you look up and realize that more than two hours have gone by you’re stunned.

But the really remarkable thing here is in the two lead performances.  We have here the young Cockney upstart, who had earned an early Oscar nomination and then had been doing a lot of action and crime films (remember that the original Get Carter and the original The Italian Job both starred Michael Caine between Alfie and Sleuth).  He is in love with another man’s wife and is determined to get her free of him and marry her, even if he doesn’t have much money.  But he hasn’t reckoned on Laurence Olivier, the pre-eminent British actor of the 20th Century.  He’s willing to let his wife go if he can be assured she won’t come crawling back for money.  Or maybe he won’t let her go.  Maybe he’s setting things up.  Maybe he’s being generous.  We can’t quite really tell what Olivier is up to and his performance is masterful.  I can’t quite make clear in this review why I rate Caine slightly higher than Olivier, but they are both so brilliant that I rank them above Marlon Brando’s Oscar win.

Sleuth has never really gotten quite the reputation I think it deserves.  It’s based on a play but is so well-made it never feels like it.  There’s a lot of talking and not a whole lot actually happens but you don’t finish it and think that.  It managed to be passed over for Best Picture though it earned a Best Director nomination and was only the ninth film to receive multiple Best Actor nominations.  Yet, it doesn’t even rate a spot in the TSPDT’s Top 1000.  It deserves to be there.  It is a great film and not appreciated enough.  There I did it.  Now go watch the film and realize how brilliant it is.

4  –  Cabaret  (reviewed here)

5  –  Deliverance  (reviewed here)

5 Worst Films  (#1 being the worst):

  1. The Thing with Two Heads
  2. Grave of the Vampire
  3. Night of the Lepus
  4. Hercules in New York
  5. Bluebeard

note:  It feels a little strange to pick The Thing with Two Heads.  Not that it doesn’t deserve to be in last – it absolutely does.  It’s just that there is also Night of the Lepus, one of the most ridiculous ideas ever turned into a film.  Wild Nature films were a subgenre of Horror that thrived in the 70’s, obviously reaching their peak with Jaws.  But some animals that appeared in those films (tarantulas, sharks, piranha, crocodiles) are clearly terrifying.  Rabbits, not so much.

It's a pretty long drop from being an Oscar winner to this.

It’s a pretty long drop from being an Oscar winner to this.

The Thing with Two Heads  (dir. Lee Frost)

Once upon a time, Ray Milland won an Oscar.  And it wasn’t the Academy being dumb, like with Cliff Robertson or John Wayne.  Milland absolutely deserved his Oscar.  Fast forward 27 years, and you have him as a head attached to a black man’s body in an exploitation film.  This is the kind of the thing that only could have happened in the 70’s.  It’s pretty much the kind of thing that AIP excelled at, if excelling is the right word when a film is this bad.

Here is the basic premise: Milland is an old rich bigot who wants his head transplanted to keep himself alive but it turns out a black man on death row is the only person available at the time so they go ahead and stick his head.  Then the two-headed man escapes and starts terrorizing people and it gets really stupid from there.  Some films you don’t have to really review – you only need to describe the basic premise.  But I will say three more things about this film.

The first is that I was ready to write that this is the worst performance ever given by an Oscar winning actor; however, I have been watching my way through Razzie nominees lately so that when I get to 1980 and beyond I can be definitive when writing about the worst film of the year.  To that purpose, I saw Anaconda today and Jon Voight most assuredly gives the worst performance ever by an Oscar winning actor, also letting Sean Connery in The Avengers off the hook.  I can’t even say this is the worst film ever starring an Oscar winner because I already named Caligula the worst film ever made and it has Helen Mirren.  The second thing is that there is a ridiculous scene that seems to last forever in this film involving police cars chasing the two headed man on a motorcycle.  They crash in all sorts of ridiculous and nonsensical ways and remind me of a Twisted Toyfare Theatre strip where the editor yelled at them for having Thor and Iron Man crash into the only tree – in this film cops randomly crash into nothing or drive down hills they should have seen.  It’s just all so incompetently done.  The third is a quote from Roger Ebert’s review of this film: “”The Thing with Two Heads” is on a double-bill with another new horror movie, “Baron Blood,” about which the best that can be said is that it isn’t as awful as “The Thing with Two Heads.””  I agree with him.  I rank Baron Blood as a * film and at #143 in this year while this film is a .5 and at #156.

Points:

  • Most Nighthawk Nominations:   The Godfather  (18)  **
  • Most Nighthawk Awards:  The Godfather  (11)
  • Most Nighthawk Points:  The Godfather  (815)
  • Worst Film Nominated for a Nighthawk Award:  Alice’s Adventures in Wonderland
  • 2nd Place Award:  The Discreet Charm of the Bourgeoisie  (Picture, Director, Editing, Foreign Film)
  • 6th Place Award:  Fellini’s Roma  (Cinematography, Art Direction)
  • Most Nighthawk Drama Nominations:  The Godfather  (9)  **
  • Most Nighthawk Drama Awards:  The Godfather   (4)
  • Most Nighthawk Drama Points:  The Godfather   (485)
  • Worst Film Nominated for a Nighthawk Drama Award:  The Poseidon Adventure
  • Most Nighthawk Comedy Nominations:  The Discreet Charm of the Bourgeoisie  /  Cabaret  (6)
  • Most Nighthawk Comedy Awards:  The Discreet Charm of the Bourgeoisie  (3)
  • Most Nighthawk Comedy Points:  The Discreet Charm of the Bourgeoisie  (365)
  • Worst Film Nominated for a Nighthawk Comedy Award:  Lady Sings the Blues

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

Note:  Cabaret actually had more 2nd place finishes, but Discreet’s 2nd place finishes totaled up to far more points.  In fact, even Sleuth‘s three 2nd place finishes are worth more points than Cabaret‘s five.

Progressive Leaders:

  • Most Nighthawk Nominations:  The Wizard of Oz  /  The Godfather  (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:  Katharine Hepburn  (560)
  • Director:   Billy Wilder  (585)
  • Writer:  Billy Wilder  (960)
  • Cinematographer:  Arthur Edeson  /  Gregg Toland / Sven Nykvist  (200)
  • Composer:  Max Steiner  (450)
  • Foreign Film:  Akira Kurosawa  (440)

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

  • Foreign:  53  –  The Discreet Charm of the Bourgeoisie  (61.6)
  • Drama:  50 (25)  –  Murmur of the Heart  (62.1)
  • Comedy:  27 (8)  –  The Discreet Charm of the Bourgeoisie  (61.0)
  • Horror:  24 (8)  –  Don’t Torture a Duckling  (37.8)
  • Western:  15 (2)  –  Jeremiah Johnson  (61.2)
  • Musical:  9 (4)  –  Cabaret  (67.3)
  • Crime:  9 (1)  –  The Godfather  (64.8)
  • Suspense:  6 (2)  –  Frenzy  (52.2)
  • Adventure:  3 (1)  –  Deliverance  (66.3)
  • Kids:  3  –  Snoopy Come Home  (63)
  • Sci-Fi:  3  –  Silent Running  (37)
  • Mystery:  2  –  Sleuth  (71)
  • War:  2 (1)  –  Slaughterhouse-Five  (62.5)
  • Action:  2 (1)  –  The Poseidon Adventure  (62)
  • Fantasy:  1  –  Fritz the Cat  (51)

Analysis:  Though there are 50 Dramas, they account for only 32% of all the films, tied for the 5th lowest to date.  Overall, Dramas, Comedies and Musicals only account for 55% of all films, the lowest in 11 years and the third lowest to date.  Meanwhile, Foreign films bounce back, accounting for over a third of all films.  The 24 Horror films are way more than in any previous year; but they’re terrible, as they have their worst average since 1964, and with Horror films that’s saying a lot.   This is the first year any genre other than Foreign, Drama or Comedy has more than 20 films. Likewise, the 15 Westerns are a new high as well.  The Adventure films are decent for once – the 66.3 is the highest average since 1960.  But the Comedies are terrible, hitting their second lowest average since 1945.  The same goes for Dramas which are at their third lowest since 1934.  Foreign films, meanwhile, have their lowest average ever.  But Musicals, lead by Cabaret, earn their highest average since 1931.
There are a couple of Horror subgenres that thrive a bit here.  The first is Vampire films, of which I have seen six and not a single one places in my Top 100.  Worse are the Wild Nature films, all three of which (Frogs, Ben, Night of the Lepus) place in my bottom 10.
Deliverance becomes the first Adventure film since 1951 and only the second since 1939 to make the Top 10.  It’s even the first Top 20 film since 1953.  Mystery and Crime both have their first Top 10 films in five years.  The Godfather becomes only the fourth Crime film to win the Nighthawk and only the second since 1933.

Studio Note:  Columbia leads for the second year in a row, this time with 13 films.  It’s followed by Fox, with 12 films.  Paramount is not one of the top two for the only time from 1968 to 1977.  I’ve only seen United Artists films – the fewest since 1956.  No studio is better than Paramount’s 66.5 average.  But MGM becomes the first studio to have an average below **.5, with a 43.0 average for its 7 terrible films; Travels with My Aunt is the studio’s only film in my Top 85.  Overall, the majors only account for 44.9% of the films I’ve seen, the lowest to date, although lower scores are coming.  AIP continues to feature itself with 9 terrible films that average a dreadful 38.7.
Paramount, now in its glorious reign under Robert Evans, has multiple Top 10 films for only the second time since 1954 and wins its fifth Nighthawk Award for Best Picture, but its first since 1950.  Travels with My Aunt really is the glorious film for MGM – it’s the studio’s first Top 20 films in four years.  Fox, meanwhile, scores 5 films in the Top 20, the first time any studio has done that in eight years and the first time Fox has done it since 1950.

50 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):

  • Alfredo Alfredo  (Germi, Italy)
  • Baron Blood  (Bava, Italy)
  • The Bitter Tears of Petra Van Kant  (Fassbinder, West Germany)
  • The Blood Spattered Bride  (Aranda, Spain)
  • The Canterbury Tales  (Pasolini, Italy)
  • Cesar and Rosalie  (Sautet, France)
  • Chloe in the Afternoon  (Rohmer, France)
  • Cries and Whispers  (Bergman, Sweden)
  • Cruel Sea  (Al Siddiq, Kuwait)  *
  • The Dawns Here are Quiet  (Rostotsky, USSR)  **
  • Diary of Forbidden Dreams  (Polanski, Italy)
  • Dirty Money  (Melville, France)
  • The Discreet Charm of the Bourgeoisie  (Buñuel, France)  ***
  • Don’t Torture a Duckling  (Fulci, Italy)
  • Ecstasy of the Angels  (Wakamatsu, Japan)
  • Execution in Autumn  (Lee, Taiwan)  *
  • Fellini’s Roma  (Fellini, Italy)  *
  • Four Flies on Grey Velvet  (Argento, Italy)
  • The Goat Horn  (Andonov, Bulgaria)  *
  • How Tasty Was My Little Frenchman  (dos Santos, Brazil)  *
  • I Love You Rosa  (Mizrahi, Israel)  **
  • L’aventure, c’est l’aventure  (Lelouch, France)
  • Lone Wolf and Cub: Baby Cart to Hades  (Misumi, Japan)
  • Lone Wolf and Cub: Sword of Vengeance  (Misumi, Japan)
  • Ludwig  (Visconti, Italy)
  • Ludwig: Requiem for a Virgin King  (Syberberg, West Germany)
  • The Master and Margaret  (Petrovic, Yugoslavia)  *
  • Mirage  (Robles Godoy, Peru)  *
  • My Dearist Señorita  (de Arminan, Spain)  **
  • My Name is Joker  (Kapoor, India)
  • My Wife and the Dog  (Marzouk, Egypt)  *
  • Nathalie Granger  (Duras, France)
  • National Mechanics  (Alcoriza, Mexico)
  • The New Land  (Troell, Sweden)  **
  • Pakeezah  (Amrohi, India)
  • Pearl in the Crown  (Kutz, Poland)  *
  • Pinjra  (Shantaram, India)
  • Le Rendezvous  (Saito, Japan)
  • La Salamandre  (Tanner, Switzerland)  *
  • The Seduction of Mimi  (Wertmuller, Italy)
  • Seven Blood Stained Orchids  (Lenzi, Italy)
  • Solyaris  (Tarkovsky, USSR)
  • State of Siege  (Costa-Gavras, France)
  • Such a Gorgeous Kid Like Me  (Truffaut, France)
  • Tout va Bien  (Godard, France)
  • The True Nature of Bernadette  (Carle, Canada)  *
  • Under the Flag of the Rising Sun  (Fukasaku, Japan)  *
  • Uphaar  (Roy, India)  *
  • La Vallee  (Schroeder, France)
  • Who Saw Her Die  (Lado, Italy)

Note:  For the only time from 1969 to 1978, France is not the top country – its 10 films fall behind Italy’s 11.  Italy will be the last country other than France to reach double-digits again until the late 80’s.  With those films, Italy finally passes Japan and is now in second place with 189 films, almost 100 behind France.  Cruel Sea is my first film from Kuwait.  I have my first film from Taiwan in five years.
With no Chabrol and no Spaghetti Westerns, I have no Suspense films and no Westerns for the first time since 1961.  I do have four Musicals, as many as the previous five years combined, all of which are Bollywood films.

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

  • Belgium:  The Lonely Killers  (dir. Szulzinger)
  • Denmark:  Oh, to Be on the Bandwagon  (dir. Carlsen)
  • Hungary:  Present Indicative  (dir. Bacso)
  • West Germany:  Trotta  (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 18 for 22.
I am of course missing Denmark, as is the case almost every year.  It’s the fourth time Belgium has submitted and I’m missing three of them.  It’s only the second time I’m missing Hungary (in their seventh submission).  It’s the third time I’m missing West Germany.
Five countries submitted this year that didn’t the year before while three didn’t that had submitted the year before.  This includes the first submission from Kuwait (who will only submit once more to date), only the fourth from Taiwan and only the third from Peru (who won’t submit again until 1983).

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

  • Dragnet Girl  (1933)
  • Utamaru and His Five Women  (1946)
  • Late Spring  (1949)
  • Early Summer  (1951)
  • Limelight  (1952)
  • Tokyo Twilight  (1957)
  • The Shooting  (1965)
  • Thomas the Imposter  (1965)
  • Intimate Lighting  (1966)
  • The Nun  (1966)
  • Ride in the Whirlwind  (1966)
  • Case of the Naves Brothers  (1967)
  • La Collectionesse  (1967)
  • Commandos  (1968)
  • Frankenstein’s Bloody Terror  (1968)
  • The Girl from Rio  (1968)
  • Tower of Screaming Virgins  (1968)
  • The Violent Four  (1968)
  • Une Femme Douce  (1969)
  • The Green Wall  (1969)
  • Cleopatra: Queen of Sex  (1970)
  • Hercules in New York  (1970)
  • Mark of the Devil  (1970)
  • To Die of Love  (1970)
  • A Bay of Blood  (1971)
  • Le Beoucher  (1971)
  • Bloomfield  (1971)
  • Companeros  (1971)
  • Countess Dracula  (1971)
  • The Decameron  (1971)
  • Dracula vs. Frankenstein  (1971)
  • The Emigrants  (1971)
  • A Fistful of Dynamite  (1971)
  • Kidnapped  (1971)
  • Mon Oncle Antoine  (1971)
  • Murmur of the Heart  (1971)
  • Ramparts of Clay  (1971)
  • Red Sun  (1971)
  • Smic Smac Smoc  (1971)
  • Ten Days Wonder  (1971)
  • Tombs of the Blind Dead  (1971)
  • Uncle Vanya  (1971)
  • Under Milk Wood  (1971)

Note:  These 43 films average a 58.2.  They account for 10 Nighthawk nominations, all from the three films which featured in my Top 10: Murmur of the Heart, The Emigrants and Limelight.  Two others make my Top 20 (Intimate Lighting, Early Summer) while three more are my #21, 22 and 23 (Late Spring, Mon Oncle Antoine, Le Beoucher).  But five of these films are ** films and another four of them are even worse than that.

Films Not Listed at Oscars.org:

  • Adventures of Barry MacKenzie
  • A Bay of Blood
  • Bloomfield
  • Case of the Naves Brothers
  • Commandos
  • Cruel Sea
  • Don’t Torture a Duckling
  • Dragnet Girl
  • Early Summer
  • Ecstasy of the Angels
  • Execution in Autumn
  • The Girl from Rio
  • Grave of the Vampire
  • The Green Wall
  • Late Spring
  • Mirage
  • Mon Oncle Antoine
  • My Dearist Señorita
  • My Name is Joker
  • My Wife and the Dog
  • Nathalie Granger
  • National Mechanics
  • The Offence
  • Pakeezah
  • Pearl in the Crown
  • Pinjra
  • Pope Joan
  • Private Parts
  • Seven Blood Stained Orchids
  • Thomas the Imposter
  • Tokyo Twilight
  • Tombs of the Blind Dead
  • Uphaar
  • Utamaru and His Five Women
  • The Visitors
  • Who Saw Her Die

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 usually the case, most of these are Foreign films which never get an L.A. release.  This list is much longer than usual, partially because a number of them are Japanese films that the IMDb finally lists as getting a US release in this year.  Four films on the list (Execution in Autumn, My Wife and the Dog, Pearl in the Crown, Uphaar) were even submitted the Academy for the Best Foreign Film award.

Films Released This Year Originally But Eligible in a Different Year 

  • Alfredo Alfredo  (1973)
  • Carry On Abroad  (1973)
  • Cesar and Rosalie  (1973)
  • Children Shouldn’t Play with Dead Things  (1973)
  • Chloe in the Afternoon  (1973)
  • Cries and Whispers  (1973)
  • The Dawns Here are Quiet  (1973)
  • The Harder They Come  (1973)
  • How Tasty Was My Little Frenchman  (1973)
  • I Love You Rosa  (1973)
  • L’aventure, c’est l’aventure  (1973)
  • Lady Caroline Lamb  (1973)
  • Last House on the Left  (1973)
  • Last Tango in Paris  (1973)
  • Limbo  (1973)
  • Lone Wolf and Cub: Baby Cart to Hades  (1973)
  • Ludwig  (1973)
  • The Mask  (1973)
  • The New Land  (1973)
  • The Outside Man  (1973)
  • Raw Meat  (1973)
  • Le Rendezvous  (1973)
  • Savages  (1973)
  • Siddharta  (1973)
  • State of Siege  (1973)
  • Such a Gorgeous Kid Like Me  (1973)
  • Tout va Bien  (1973)
  • Under the Flag of the Rising Sun  (1973)
  • Wedding in White  (1973)
  • The Blood Spattered Bride  (1974)
  • Captain Kronos: Vampire Hunter  (1974)
  • Dead of Night  (1974)
  • The Goat Horn  (1974)
  • Horror Express  (1974)
  • Lovin Molly  (1974)
  • The Seduction of Mimi  (1974)
  • Silent Night, Bloody Night  (1974)
  • Ciao Manhattan  (1975)
  • Dirty Money  (1975)
  • The Bitter Tears of Petra von Kant  (1976)
  • Call of the Wild  (1976)
  • Solyaris  (1976)
  • The True Nature of Bernadette  (1977)
  • Diary of Forbidden Dreams  (1979)
  • King, Queen, Knave  (1979)
  • La Vallee  (1979)
  • The Canterbury Tales  (1980)
  • Ludwig: Requiem for a Virgin King  (1980)
  • The Master and Margaret  (1980)

Note:  These 49 films average a 61.2.  The three major films here are Cries and Whispers, Last Tango in Paris and Solyaris.  They will account for a number of nominations and a considerable number of wins even.  I’m glad that my way of using Oscar eligibility keeps The Godfather and Cries and Whispers out of the same year.

Advertisements