These are actually all of Katharine Graham's men. But they're gonna take down the president's men.

These are actually all of Katharine Graham’s men. But they’re gonna take down the president’s men.

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. All the President’s Men  **
  2. Network  *
  3. Taxi Driver  *
  4. Solyaris
  5. Carrie
  6. Face to Face
  7. The Outlaw Josey Wales
  8. The Mystery of Kaspar Hauser
  9. Ali: Fear Eats the Soul
  10. Seven Beauties

Analysis:  With three critics wins and Oscar, Globe and BAFTA noms, All the President’s Men has the highest Consensus score since 1966 and the highest without winning the Oscar to-date (it won’t be surpassed until 1990).  Only five films since have had a higher total without winning either the Oscar, BAFTA or Globe (Pulp Fiction, Fargo, LA Confidential, There Will Be Blood, Zero Dark Thirty) and all of those will benefit from the PGA and all but Pulp will benefit from the BFCA.
There are only seven **** films on this list, a drop from the previous few years.  This is the weakest Top 5 in six years and the weakest Top 10 in four years, but that’s not the fault of the top three films which are magnificent.  I talked about this year on a forum I used to go on as a “split year”.  There are years where everyone agrees with the Academy (1943, 1957, 1972), there are years where everyone agrees that the Academy got it wrong and what film should have won (1941, 1980, 1990).  Then there is a year like this.  I think there are very strong supporters of each of the top three films and I wouldn’t try to argue someone out of picking Taxi Driver or Network, even though they are not my #1 choice.  But the Oscar winner, of course, was Rocky, which I don’t think is the top choice of many serious film people.  I think 1985 may be another example of this – where many people would split between Ran, Brazil and maybe Purple Rose of Cairo, but I think very few serious film people would pick Out of Africa.
Carrie was not originally my #5.  If you look on my original Year in Film post, it was #7, but I rewatched it before doing this year and decided to bump it up.
Because Bound for Glory and Rocky are ***.5 films, this year ends up with the second best score in this category to date (78.1).

  • pakulaBest Director
  1. Alan J. Pakula  (All the President’s Men)  **
  2. Martin Scorsese  (Taxi Driver)  *
  3. Sidney Lumet  (Network)  *
  4. Andrei Tarkovsky  (Solyaris)
  5. Brian De Palma  (Carrie)
  6. Clint Eastwood  (The Outlaw Josey Wales)
  7. Werner Herzog  (The Mystery of Kaspar Hauser)
  8. Ingmar Bergman  (Face to Face)
  9. John Schlesinger  (Marathon Man)
  10. Rainer Werner Fassbinder  (Ali: Fear Eats the Soul)

Analysis:  Lina Wertmuller, who is my #11 for Seven Beauties, becomes the first female ever nominated for an Oscar for Best Director and is also a Consensus nominee (she was DGA nominated and earned placement at the NYFC).
Brian De Palma earns his only nomination.  Pakula earns his first nomination.  Scorsese and Tarkovsky earn their second.  Sidney Lumet earns his fourth.
It is tempting to pick Scorsese and I almost do.  But the direction is so perfect in APM, that I stick with it.  It doesn’t hurt that Marty will win several Nighthawk Awards, but I don’t actually factor that in.

  • Best Adapted Screenplay:
  1. All the President’s Men  **
  2. Solyaris
  3. Carrie
  4. Voyage of the Damned  *
  5. The Outlaw Josey Wales
  6. Marathon Man  *
  7. The Last Tycoon
  8. The Bingo Long Traveling All-Stars and Motor Kings
  9. The Seven-Per-Cent Solution  *
  10. Bound for Glory  *

Analysis:  An easy win for All the President’s Men, both on my list, and at the Consensus, where it won the Oscar and WGA and was both Globe and BAFTA nominated (the only script with more than two nominations).
William Goldman wins both his second Nighthawk and his second Oscar.  He also comes in 6th place, adapting his own novel.
This is the weakest Top 5 since 1945 which is ironic, since the winner is one of the best adapted scripts ever written.  There’s just a big drop-off after that – Solyaris is the weakest #2 in this category since 1955.
I have read three of the original sources – All the President’s Men, Carrie and The Last Tycoon.

  • Best Original Screenplay:
  1. Network  **
  2. Face to Face
  3. The Front  *
  4. Taxi Driver
  5. Seven Beauties
  6. Cousin Cousine
  7. Silver Streak
  8. Trafic
  9. Silent Movie
  10. Rocky  *

Analysis:  Network becomes the first script in either category to ever win five awards (Oscar, WGA, Globe, NYFC, LAFC) and also earned a BAFTA nom.  It’s a pretty easy win – it’s a brilliant script and even Bergman isn’t quite up to that level in this year.
Ingmar Bergman earns his 15th nomination; he’s now at 880 points, only 80 behind Billy Wilder.

  • Best Actor:
  1. Robert De Niro  (Taxi Driver)  **
  2. William Holden  (Network)  *
  3. Peter Finch  (Network)  *
  4. Giancarlo Giannini  (Seven Beauties)
  5. Woody Allen  (The Front)
  6. Dustin Hoffman  (Marathon Man)
  7. El Hedi ben Salem  (Ali: Fear Eats the Soul)
  8. David Carradine  (Bound for Glory)  *
  9. Donatas Banionis  (Solyaris)
  10. Robert Redford  (All the President’s Men)

Analysis:  It’s the only nomination for Giannini.  It’s the first nomination for Allen.  It’s the second for Finch, which he earns posthumously.  It’s the fifth and final nomination for Holden.  It’s only the fourth nomination for De Niro, but it’s already his third win (his only loss is to himself).
For a long time, Holden was actually my winner, but like with The Wild Bunch, this time he ends up getting bumped off.
Peter Finch becomes the only actor in history to win the Oscar, BAFTA and Globe but nothing else (Eddie Redmayne would be the only other person to win all three and no critics awards, but he would win SAG).  De Niro becomes the third actor to win three critics awards, but the first to do so and lose the Oscar (it won’t happen again until 1981).
There’s a big drop-off from the top three to #4.  As a result, this is the weakest Top 5 in eight years.
With four of the Oscar nominees as my Top 4, this category scores at a 94.3, the fourth time this decade the score has been over 90.

  • Best Actress
  1. Faye Dunaway  (Network)  *
  2. Sissy Spacek  (Carrie)  *
  3. Liv Ullmann  (Face to Face)  **
  4. Brigitte Mira  (Ali: Fear Eats the Soul)
  5. Marie-Christine Barrault  (Cousin, Cousine)
  6. Talia Shire  (Rocky)  *
  7. Barbra Streisand  (A Star is Born)
  8. Rita Moreno  (The Ritz)  *

Analysis:  Shire comes in second at the Consensus because she actually wins the NYFC and NBR for Supporting Actress.  There’s a good case to be made there, but the Academy put her in lead, so that’s where I keep her.
These are the only nominations for Mira and Barrault.  It’s the second nomination for Spacek.  It’s the third (and third win) for Dunaway; it is also her last.  It’s the 7th nomination for Ullmann in a decade; she’s now at 280 points and moves into 6th place.
With all five Oscar nominees in my Top 6, this is the third straight year this category has scored over a 90 (96.8).

  • robardsBest Supporting Actor:
  1. Jason Robards  (All the President’s Men)  **
  2. Laurence Olivier  (Marathon Man)  *
  3. Robert Duvall  (Network)  *
  4. Martin Balsam  (All the President’s Men)  *
  5. Harvey Keitel  (Taxi Driver)
  6. Ned Beatty  (Network)  *
  7. Zero Mostel  (The Front)  *
  8. Jack Warden  (All the President’s Men)
  9. Burgess Meredith  (Rocky)  *
  10. Erland Josephson  (Face to Face)

Analysis:  It’s the first nomination for Keitel.  It’s the third, and final nomination for Balsam.  It’s the second for Duvall.  It’s the second for Robards (and first of back-to-back).  It’s the 11th nomination for Olivier (his third in Supporting), giving him 435 points and moving him past Claude Rains and into 2nd place.
There are so many Consensus nominees because Robards dominates the awards (NYFC, NSFC, NBR, Oscar winner, BAFTA, Globe nominee), followed by Olivier (Globe win, Oscar nom).  The rest of the spots at the Oscars (Beatty, Meredith, Burt Young for Rocky – my #16), the BAFTAs (Duvall, Balsam, Mostel) and the Globes (Ron Howard for The Shootist – my #17, Oskar Werner for Voyage of the Damned and Marty Feldman for Silent Movie – neither of which even made my list) went to nine different actors.  And Keitel was nominated by none of them, so shows what they know.  Robards ties Ben Johnson (from 1971) for most Consensus points and is the first to earn 6 noms – the points total won’t be exceeded until 1983.

  • taxi-driver-jodie-fosterBest Supporting Actress:
  1. Jodie Foster  (Taxi Driver)  **
  2. Piper Laurie  (Carrie)  *
  3. Beatrice Straight  (Network)  *
  4. Lee Grant  (Voyage of the Damned)  *
  5. Jane Alexander  (All the President’s Men)
  6. Katharine Ross  (Voyage of the Damned)
  7. Natalya Bondarchuk  (Solyaris)
  8. Betty Buckley  (Carrie)
  9. Shelley Winters  (Next Stop Greenwich Village)  *

Analysis:  This is a year with an oddity that has happened only one other time – the Oscar winner (Straight) failed to earn even a nomination from the Globes, while the Globe winner (Ross) failed to earn an Oscar nom.  The other year was 1974.
It’s the only nomination for Straight.  It’s the first for Foster and the second for Laurie and Alexander.  After a 24 year gap between her first and second nominations, Grant earns her second in a row.
This is the fourth time that the Academy Awards have scored a perfect 100 in this category, the only acting category with more two perfect scores to-date.

  • Best Editing:
  1. All the President’s Men
  2. Solyaris
  3. Network
  4. Taxi Driver
  5. Carrie
  6. Face to Face
  7. The Front
  8. The Outlaw Josey Wales
  9. The Mystery of Kaspar Hauser
  10. Rocky

Analysis:  This is the weakest Top 5 in six years.  A year after the best score ever in this category, it drops all the way to a 54.8.

  • Best Cinematography:
  1. All the President’s Men  *
  2. Taxi Driver
  3. Bound for Glory  **
  4. Carrie
  5. The Outlaw Josey Wales
  6. The Mystery of Kaspar Hauser
  7. Marathon Man
  8. Face to Face
  9. Network  *
  10. Solyaris

Analysis:  Bound for Glory wins the Oscar and both critics groups that give this award (LAFC, NSFC).  No other film earns more than one nomination, with the Oscars and BAFTAs completely disagreeing.  And neither group feels the need to nominate Taxi Driver.
Gordon Willis, still without an Oscar nomination at this point, wins his third Nighthawk Award in five years.  He is now tied for 5th place with 150 points.

  • Best Original Score:
  1. Taxi Driver
  2. Rocky
  3. The Omen
  4. The Outlaw Josey Wales
  5. Voyage of the Damned
  6. All the President’s Men
  7. The Seven-Per-Cent Solution
  8. Family Plot
  9. The Mystery of Kaspar Hauser
  10. Fellini’s Casanova

Analysis:  Bill Conti (Rocky) earns his first nomination.  Jerry Goldsmith (The Omen) wins the Oscar, but only earns a nomination here (his fourth).  Bernard Herrmann wins his final Nighthawk Award posthumously.  It’s his fourth award and he finishes with 350 points and in second place all-time.  This is the last time until 1985 that John Williams does not earn a nomination.
This is the best Top 5 in seven years.  It says something about the Academy that they not only nominated but gave the award to The Omen, an otherwise terrible horrible film that really does have a very good score.  The Academy scores a 76.5 in this category, the best in eight years and tied for the best since 1960.

  • Best Sound:
  1. All the President’s Men
  2. The Outlaw Josey Wales
  3. Solyaris
  4. Taxi Driver
  5. Rocky
  6. Carrie
  7. Silver Streak
  8. Network
  9. A Star is Born
  10. Bound for Glory

Analysis:  Well, this is part of the improvement in this category.  The score is a 75.8, the third highest to-date, with four of the five Oscar nominees in my Top 9.

  • all_the_presidents_men_redford_1Best Art Direction:
  1. All the President’s Men
  2. Solyaris
  3. Taxi Driver
  4. The Seven-Per-Cent Solution
  5. Bugsy Malone
  6. Network
  7. The Last Tycoon
  8. Fellini’s Casanova
  9. Bound for Glory
  10. Voyage of the Damned

Analysis:  Kudos definitely to the Academy for recognizing the great work done in re-creating the Washington Post newsroom in APM, even going so far as to import trash from the Post itself.

  • Best Visual Effects
  1. King Kong
  2. Logan’s Run
  3. Solyaris

Analysis:  With three solid nominees, this is the best this category has had to offer in eight years.  King Kong is the best winner since 2001, even if it does have inferior effects to the original.  The Academy gave out two special awards this year, which is why there are two winners.

  • Best Sound Editing
  1. The Outlaw Josey Wales
  2. Solyaris
  3. King Kong
  4. All the President’s Men
  5. Carrie
  6. Rocky
  7. Taxi Driver
  8. Silver Streak
  9. Logan’s Run

Analysis:  The Academy skipped this category this year, which is too bad because there continued to be better and better films that deserved the award.

  • Best Costume Design:
  1. The Last Tycoon
  2. Fellini’s Casanova
  3. The Seven-Per-Cent Solution
  4. Bugsy Malone
  5. The Outlaw Josey Wales
  6. Voyage of the Damned
  7. The Incredible Sarah
  8. The Bingo Long Traveling All-Stars and Motor Kings
  9. Nickelodeon
  10. Bound for Glory

Analysis:  This is the weakest Top 5 in 15 years.  The Last Tycoon is the weakest winner in 23 years.  The score is a 68.0, which isn’t that bad, it’s just that there wasn’t much to go with.

  • Best Makeup
  1. Carrie
  2. Taxi Driver
  3. Solyaris
  4. The Seven-Per-Cent Solution
  5. Rocky
  • Best Original Song:
  1. “The Madame’s Song”  (The Seven-Per-Cent Solution)
  2. “Gonna Fly Now”  (Rocky)
  3. “Evergreen”  (A Star is Born)
  4. “Ave Satani”  (The Omen)
  5. “Bugsy Malone”  (Bugsy Malone)
  6. “Come to Me”  (The Pink Panther Strikes Again)

Analysis:  The semi-finalists are in orange.  Again, there are none this year.
To get an idea of how bad these songs are, I think the Top 5 for the year before is better and it only had four songs.
Because the Academy does a pretty good job of picking the best of a pretty weak bunch, the score for this category is an 85.7, the best since 1949.

  • Best Animated Film:
  1. none

Analysis:  There was only one eligible film – Jack and the Beanstalk, a Japanese film originally from 1974.  It’s pretty mediocre.

  • Face_to_face_movie_posterBest Foreign Film:
  1. Face to Face  **
  2. Seven Beauties  *
  3. Jacob the Liar
  4. Black and White in Color  *
  5. Cousin Cousine  *

note:  Films in green were submitted to the Academy but not nominated (none this year among my list).

Analysis:  The Ivory Coast and East Germany earn their only nominations (the same goes for the Oscars).  We have four directors earning their only nominations while Ingmar Bergman wins his 8th award, earns his 15th nomination and moves into a tie with Kurosawa for 1st place with 460 points.
The Academy actually nominated four of my Top 5 films, a true rarity in this category where it’s rare for that many to have even been submitted.

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.

  • All the President’s Men  (590)
    • Picture, Director, Adapted Screenplay, Supporting Actor, Supporting Actor, Supporting Actress, Editing, Cinematography, Sound, Art Direction, Sound Editing
  • Taxi Driver   (445)
    • Picture, Director, Original Screenplay, Actor, Supporting Actor, Supporting Actress, Editing, Cinematography, Original Score, Sound, Art Direction, Makeup
  • Network  (400)
    • Picture, Director, Original Screenplay, Actor, Actor, Actress, Supporting Actor, Supporting Actress, Editing
  • Carrie  (290)
    • Picture, Director, Adapted Screenplay, Actress, Supporting Actress, Editing, Cinematography, Sound, Makeup
  • Solyaris  (270)
    • Picture, Director, Adapted Screenplay, Editing, Sound, Art Direction, Visual Effects, Sound Editing, Makeup, Foreign Film
  • The Outlaw Josey Wales  (165)
    • Adapted Screenplay, Cinematography, Original Score, Sound, Sound Editing, Costume Design
  • Face to Face  (115)
    • Original Screenplay, Actress, Foreign Film
  • Voyage of the Damned  (95)
    • Adapted Screenplay, Supporting Actress, Original Score
  • Seven Beauties  (95)
    • Original Screenplay, Actress, Foreign Film
  • The Front  (75)
    • Original Screenplay, Actor
  • Rocky  (65)
    • Original Score, Sound, Makeup, Original Song
  • The Seven-Per-Cent Solution  (65)
    • Art Direction, Costume Design, Makeup, Original Song
  • King Kong  (60)
    • Visual Effects, Sound Editing
  • Ali: Fear Eats the Soul  (55)
    • Actress, Foreign Film (1973)
  • Cousin, Cousine  (55)
    • Actress, Foreign Film
  • Bugsy Malone  (45)
    • Art Direction, Costume Design, Original Song
  • The Mystery of Kaspar Hauser  (40)
    • Foreign Film (1975)
  • The Omen  (35)
    • Original Score, Original Song
  • Marathon Man  (30)
    • Supporting Actor
  • The Last Tycoon  (30)
    • Costume Design
  • Bound for Glory  (25)
    • Cinematography
  • Logan’s Run  (20)
    • Visual Effects
  • Fellini’s Casanova  (15)
    • Costume Design
  • A Star is Born  (10)
    • Original Song

Analysis:  It’s rare for things to work out that three different films have over 400 points, especially when the top film dominates in the way that All the President’s Men does.

Best Film Not Nominated for Any Nighthawk Awards:

  • The Shootist

Analysis:  John Wayne’s last film is actually a pretty good film, a low level ***.5.  It has six Top 20 finishes but not a single Top 10.  It’s the first ***.5 film not to earn a single Top 10 since 1969.

Biggest Awards Film Not Nominated for Any Nighthawk Awards:

  • The Ritz

Analysis:  It’s only the #12 film in awards points, with less than 200 points (Globe noms – Picture, Actor, Actress – all Comedy, BAFTA nom for Actress, WGA nom), but everything above it earned at least one nomination.

Nighthawk Golden Globes:

Drama:

  • Best Picture
  1. All the President’s Men
  2. Network
  3. Taxi Driver
  4. Solyaris
  5. Carrie

Analysis:  It’s a strong Top 5, averaging a 93.8.

  • Best Director
  1. Alan J. Pakula  (All the President’s Men)
  2. Martin Scorsese  (Taxi Driver)
  3. Sidney Lumet  (Network)
  4. Andrei Tarkovsky  (Solyaris)
  5. Brian De Palma  (Carrie)

Analysis:  De Palma earns his only nomination.  Pakula, Tarkovsky and Scorsese earn their second.  Lumet earns his fifth – he joins William Wyler and Hitchcock as the only directors with more than four Drama nominations without a win.

  • Best Adapted Screenplay:
  1. All the President’s Men
  2. Solyaris
  3. Carrie
  4. Voyage of the Damned
  5. The Outlaw Josey Wales
  • Best Original Screenplay:
  1. Network
  2. Face to Face
  3. The Front
  4. Taxi Driver
  5. Rocky

Analysis:  Bergman earns his 18th Drama writing nomination.  He’s now at 960 points and in 1st place by a long way.

  • robert-de-niro-taxi-driver_110379-1600x1200Best Actor:
  1. Robert De Niro  (Taxi Driver)
  2. William Holden  (Network)
  3. Peter Finch  (Network)
  4. Woody Allen  (The Front)
  5. Dustin Hoffman  (Marathon Man)

Analysis:  This is the only Drama nomination for Allen.  It’s the second nomination for Finch, the third for Hoffman, the fourth for De Niro (and third win) and the fifth for Holden.

  • dunawayBest Actress
  1. Faye Dunaway  (Network)
  2. Sissy Spacek  (Carrie)
  3. Liv Ullmann  (Face to Face)
  4. Brigitte Mira  (Ali: Fear Eats the Soul)
  5. Talia Shire  (Rocky)

Analysis:  It’s the only nomination for Mira, the second for Shire and Spacek and the fourth for Dunaway.  It’s the eighth for Ullmann, who, with her two wins, is at 350 points and in 5th place, all done in just ten years.

  • Best Supporting Actor:
  1. Jason Robards  (All the President’s Men)
  2. Laurence Olivier  (Marathon Man)
  3. Robert Duvall  (Network)
  4. Martin Balsam  (All the President’s Men)
  5. Harvey Keitel  (Taxi Driver)

Analysis:  It’s the only Drama nomination for Balsam, the first for Keitel, the second for Robards, the third for Duvall and the 11th for Olivier (he’s passes Rains here as well and moves into 2nd place).

  • Best Supporting Actress:
  1. Jodie Foster  (Taxi Driver)
  2. Piper Laurie  (Carrie)
  3. Beatrice Straight  (Network)
  4. Lee Grant  (Voyage of the Damned)
  5. Jane Alexander  (All the President’s Men)

Analysis:  The Globe winner was Katharine Ross, who is my #6.
It’s the only nomination for Straight.  It’s the first for Foster, the second for Laurie and Alexander and the third for Grant.

Points:

  • All the President’s Men  (390)
    • Picture, Director, Adapted Screenplay, Supporting Actor, Supporting Actor, Supporting Actress
  • Network  (375)
    • Picture, Director, Original Screenplay, Actor, Actor, Actress, Supporting Actor, Supporting Actress
  • Taxi Driver  (295)
    • Picture, Director, Original Screenplay, Actor, Supporting Actor, Supporting Actress
  • Carrie  (200)
    • Picture, Director, Adapted Screenplay, Actress, Supporting Actress
  • Solyaris  (135)
    • Picture, Director, Adapted Screenplay
  • The Front  (75)
    • Original Screenplay, Actor
  • Face to Face  (75)
    • Original Screenplay, Actress
  • Rocky  (75)
    • Original Screenplay, Actress
  • Voyage of the Damned  (70)
    • Adapted Screenplay, Supporting Actress
  • Marathon Man  (65)
    • Actor, Supporting Actor
  • The Outlaw Josey Wales  (40)
    • Adapted Screenplay
  • Ali: Fear Eats the Soul  (35)
    • Actor

Analysis:  There are four fewer films than the year before, thanks to the domination from the top three films.

Best Drama Not Nominated for Any Nighthawk Golden Globes:

  • The Mystery of Kaspar Hauser

Analysis:  Herzog’s very good film is #8 in Drama and #7 in Director – Drama, but can’t make the Top 5 anywhere.

Comedy / Musical:

  • Best Picture
  1. Seven Beauties
  2. Bound for Glory
  3. Cousin Cousine
  4. Silver Streak

Analysis:  Bound for Glory was nominated as a Drama.  Cousin and Seven Beauties were both nominated for Foreign Film.
Just a really weak year for Comedy.  I include Bound for Glory, because it’s a biopic of a musician, but most people wouldn’t include it and that would just make this year even weaker.  Seven Beauties is the first winner in this category since 1965 not to be a **** film.  Bound for Glory is the weakest #2 in this category since 1951.  Overall, the top 5 in this category (the fifth is Jacques Tati’s Traffic) is the weakest since 1957.  Silver Streak will definitely be an RCM post at some future point.
Because the Dramas are strong and this category is weak, the difference between the two averages is 16.2, the highest since 1957.

  • Best Director
  1. Lina Wertmuller  (Seven Beauties)
  2. Hal Ashby  (Bound for Glory)

Analysis:  Wertmuller, who I don’t think is a particularly good director outside of this film, earns her only nomination.  Ashby (nominated in Drama at the Globes), earns his third Comedy nomination (and second straight).

  • Best Adapted Screenplay:
  1. The Bingo Long Traveling All-Stars and Motor Kings
  2. The Seven Per-Cent Solution
  3. Bound for Glory
  4. Family Plot

Analysis:  The weakest since 1958, which is especially bad since some of the years in between had fewer than four nominees.

  • Best Original Screenplay:
  1. Seven Beauties
  2. Cousin Cousine
  3. Silver Streak
  4. Trafic
  5. Silent Movie

Analysis:  Jacques Tati earns his 5th and final Comedy writing nomination.  Mel Brooks also earns his 5th and final Comedy writing nomination.

  • sevenbeautiesBest Actor:
  1. Giancarlo Giannini  (Seven Beauties)
  2. David Carradine  (Bound for Glory)
  3. Richard Dreyfuss  (Inserts)
  4. Kris Kristofferson  (A Star is Born)
  5. James Earl Jones  (The Bingo Long Traveling All-Stars and Motor Kings)

Analysis:  These are the only nominations for everyone except Dreyfuss.  It’s the second for Dreyfuss and the first of back-to-back.
Surprisingly, not only is this the one acting category I was able to fill, but I had to leave off Gene Wilder in Silver Streak.

  • barraultcosncousBest Actress
  1. Marie-Christine Barrault  (Cousin Cousine)
  2. Barbra Streisand  (A Star is Born)
  3. Rita Moreno  (The Ritz)

Analysis:  It’s the only nomination for Barrault.  It’s the second Comedy nom for Moreno, 15 years after she won Supporting Actress.  It’s Streisand’s third nomination.
Sadly, even with only three nominees, this is the best in this category in four years.

  • Best Supporting Actor:
  1. Richard Pryor  (Silver Streak)

Analysis:  It’s the only nomination for Pryor.

  • Best Supporting Actress:
  1. Shelley Winters  (Next Stop Greenwich Village)

Analysis:  It’s the second time Winters has won the Comedy Supporting Actress award.

Points:

  • Seven Beauties  (340)
    • Picture, Director, Original Screenplay, Actor
  • Bound for Glory  (170)
    • Picture, Director, Adapted Screenplay, Actor
  • Cousin, Cousine  (160)
    • Picture, Original Screenplay, Actress
  • Silver Streak  (150)
    • Picture, Original Screenplay, Supporting Actor
  • The Bingo Long Traveling All-Stars and Motor Kings  (115)
    • Adapted Screenplay, Actor
  • A Star is Born  (70)
    • Actor, Actress
  • Next Stop Greenwich Village  (60)
    • Supporting Actress
  • The Seven Per-Cent Solution  (40)
    • Adapted Screenplay
  • Family Plot  (40)
    • Adapted Screenplay
  • Trafic  (40)
    • Original Screenplay
  • Silent Movie  (40)
    • Original Screenplay
  • Inserts  (35)
    • Actor
  • The Ritz  (35)
    • Actress

Analysis:  Overall, this is the worst group of nominees in Comedy since 1965.

Best Comedy Not Nominated for any Nighthawk Golden Globes:

  • Freaky Friday

Analysis:  Freaky Friday is good, solid fun.  It’s my #24 for the year and my #8 for Comedy, but it’s really only that high because after the first group of films, things drop quite a bit.

Roundup for the Year in Film:

Eligible Films I Have Seen:  121

By Stars:

  • ****:  7
  • ***.5:  11
  • ***:  45
  • **.5:  25
  • **:  20
  • *.5:  3
  • *:  8
  • .5:  2
  • Average Film Score for the Year, out of 100:  58.83

Analysis:  A very slight dip, of less than half a point.  The 3 fewer **** films are counter-balanced by the five more ***.5 films.  The 121 total films are the lowest since 1954.  The 7 **** films are the fewest in four years, but the 11 ***.5 films are the highest in eight years.  Overall, the films above *** account for almost 15%, the highest in nine years.  So why isn’t the average better?  Because the *** and **.5 only account for 57% of the films, the lowest to date (there won’t be a lower year until 1985) and the films below **.5 account for over a quarter of the films, the second highest to date.

Oscar-Nominated Films I Have Not Seen:

  • Half a House  (Best Song)

note:  This is the most recent nominee not nominated for Foreign Film that I haven’t seen.

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

  • none

Oscar Quality:

Best Picture:  When people talk about the daring film-making of the 1970’s, it spreads into the Oscars.  Prior to 1972, the best year for Best Picture was 1961, which ranks #31 overall.  From 1972 to 1976, we have five straight years which are all still in the Top 25.  This is the fourth time in five years that the five nominees average **** (the average here is 88.8, the second highest to date).  Overall, this year ranks 15th.  Bound for Glory, a ***.5, is the weakest of the nominees, making this the first year in the 5 BP Era where all five nominees are at least ***.5 (it won’t happen again until 1982).

The Winners:  The winners are solid, but definitely a drop from the year before.  They average a 2.00 among the nominees, with only Picture (4th) and Director (5th) ranking below 3rd.  Among all films, it’s a solid 3.67.  The three wins for Rocky (Picture, Director, Editing) are the only ones that don’t finish in the Top 4 in their categories and I agree completely with 8 winners.

The Nominees:  This year doesn’t set a new high score, because in a bizarre mathematical coincidence, it has exactly the same score as the year before – 74.7.  It actually has a slight drop in Tech (60.1) and a slight drop in the majors (74.8), though both those scores are better than the majority of the years to this point.  But it has a phenomenal acting score – 93.8, tied for the second highest to date and it won’t be beaten again until the 90’s (at least).  It joins 1972 as the only year to date with three acting categories with scores over 94, including a perfect 100 in Supporting Actress.  Even with all that, the reason it catches the year before is because of the two categories that don’t fit into the three groupings above – Foreign Film (perfect score of 100) and Song (85.7 – the highest score since 1949).

Golden Globe Best Picture – Comedy / Musical:  This is a terrible year for nominees, the worst in seven years and the fifth worst ever (not to-date but ever).  There are several reasons for this.  The first, is that this isn’t a very good years for Comedies in the first place.  My own Top 5 is the weakest in almost 20 years.  Second, four of my Top 5 aren’t even eligible for this award at the Globes – three of them are Foreign films (Seven Beauties, Cousin Cousine, Trafic) and a fourth they classify as a Drama (Bound for Glory).  But, aside from those two problems, the Globes still don’t make particularly good choices.  Even eliminating the films that weren’t eligible, they only nominate two of the top seven films (Silent Movie, A Star is Born), even though three others (Silver Streak, Freaky Friday, Family Plot) earned acting nominations.  And aside from those three, they went with really weak choices like The Pink Panther Strikes Again and Bugsy Malone rather than good films like The Bingo Long Traveling All-Stars and Motor Kings of The Seven Per-Cent Solution.  The five actual nominees (The Ritz is the fifth) average a 65, a very low-range ***.  There won’t be a worse group of nominees until 2010.

Top 5 Films of the Year:

1  –  All the President’s Men  (reviewed here and here)

2  –  Network  (reviewed here)

3  –  Taxi Driver  (reviewed here)

4  –  Solyaris  (reviewed here)

Stephen King done right on film. It doesn't happen a lot.

Stephen King done right on film. It doesn’t happen a lot.

5  –  Carrie  (dir. Brian De Palma)

What does it say that Carrie is easily one of the best films ever made from a Stephen King novel (even more so when you eliminate the non-Horror films made from Different Seasons), yet it is one of his worst books?  It says a lot of things, some of which are applicable to any adaptation and some of which really only have something to say about this particular adaptation.

Carrie is a first-rate Horror film partially because of the talent involved which is rare for this kind of thing, but happened in the midst of a stretch where Horror books of questionable quality that became best sellers because of their ability to scare the crap out of everybody were attracting young talented filmmakers.  In the 50’s this might have been made by Hammer (though they preferred works out of copyright protection) and in the 60’s it would have been AIP; neither of them would have had much of a budget (in the 40’s it wouldn’t have been made at all).  But, after the massive critical, and even more massive commercial success that William Friedkin and Steven Spielberg had found in The Exorcist and Jaws, you could get Brian De Palma, Sissy Spacek and Piper Laurie combining for a film like this.

But what makes these books, none of which are good, into films that are great?  It’s because of what scares us.  The unknown frightens us, whether it’s the unknowable metaphysical, the monster under the sea or even the uncertainty of maturity and adulthood.  These things can take shape in even a pretty bad book and a talented director can bring them to life in a crabwalk, a fin in a lagoon or a hand coming out of the ground.

But all of this begs a question, of course.  Why is King’s first novel, which is, let’s face it, not very good, the source for a great film when so many of his later works ended up reduced to so little on screen if they even got to the screen in the first place?  As books, they have the ability to terrify us much more than Carrie did and they did with considerable more artistry to them.  There are several answers to the question.  The first is in the length.  Carrie is an extremely short book (The Stand has more pages after the climax than this one has in the whole book).  You can make use of the whole book without needing to eliminate anything, especially anything that might impact the story.  The second is that because this is King’s first book he didn’t develop it that much and so it’s easy to cut simply to the horror at the core of it and not worry about the characterization that he would later be so much better at.  The third part is a unique aspect of the development of King’s novels.  The books would increasingly rely on supernatural horror elements that can be difficult to represent on film.  It isn’t just length that relegated The Stand and It to television, but how to develop the concept of the evil that percolates through the books.  Even in King novels that aren’t as long or complicated, that supernatural aspect impacts the film.  The horror in this film is Carrie White’s power and the way she unleashes it after the traumas she endures.  So much of that relies on the performance of Sissy Spacek, by far the best teen-age performance ever acted on screen by a 26 year old.  You can realy believe that she’s this is traumatized teenager who’s just had her first period.  Now compare that to the car in Christine, the dog in Cujo or the dead toddler in Pet Semetary.  This film is such a success because it has set up a supernatural horror that can be embodied in an acting performance.  This is why this the best King Horror adaptations also fit that mold (The Shining, Misery).

The success of adapting both a good King book (The Shining) and a bad King book (Carrie) so early on probably gave a lot of false hope to filmmakers, but except for the Different Seasons films, the King adaptations have been mostly not been very good (Misery is the prominent exception).  But this one, like so many Hitchcock films, takes a dubious source and turns out a great film.

If this seems like a long review in which I don’t actually say much about the film itself, well, I’ve been reading a lot of Pauline Kael lately.

5 Worst Films  (#1 being the worst):

  1. Squirm
  2. The Giant Spider Invasion
  3. The Food of the Gods
  4. Sweet Movie
  5. God Told Me To

note:  Two AIP films (Squirm, The Food of the Gods) and the worst three films are all “Wild Nature” films.  Yep, it’s the 70’s.

Skip the creepy and go straight to disgusting.

Skip the creepy and go straight to disgusting.

Squirm  (dir. Jeff Lieberman)

Ah, yet another terrible terrible AIP film.  Better yet, a film that appeared on MST3K, always a good sign that you’re watching one of the worst films of any year.  It’s also part of the trend in the decade to make “Wild Nature” films.  They have their beginning in early AIP films like Attack of the Giant Leeches and even Hitchcock’s The Birds.  But in the 1970’s, there were a lot of them: Night of the Lepus, Frogs, Empire of the Ants, Kingdom of the Spiders, Piranha, The Swam, and the three worst films listed here.  These give you an idea of how bad a film Jaws might have been if Spielberg hadn’t directed it.

Of all the terrible Wild Nature films (of the 21 films I have seen and classified in this subgenre, 7 of them are * and 8 of them are .5), this is the worst.  I could say that’s because this film is made with complete ineptness.  The acting is beyond terrible, the cinematographer seems like they just pulled him off the street and if there was a director he should demand to take his name off the film.  But a lot of films in this subgenre are badly made – they can’t all be made by Hitchcock and Spielberg (this subgenre averages a 25 but if you take out those two films it averages an 18).  What makes this one the worst?

Well, there are two things about it that really stand out.  Hitchcock took what seemed to be harmless animals and made them terrifying.  Spielberg took what was already a frightening animal and reminded us that we are its mercy and we don’t know when it might come to get us.  Some of the other films in the genre are bad, but have genuinely scary animals at their heart, animals like tarantulas and piranhas and bees.  But this film is like Night of the Lepus or Frogs – taking an animal that really isn’t dangerous or scary or even concerning, and tries to make a Horror film out of it.  It just simply becomes ridiculous – oooh, look out for the killer worms!  But then it adds another layer that the previous two films hadn’t – it’s utterly disgusting.  Worms coming out of the shower.  Worms in your cream.  Worms eating your face.  It’s bad enough when the animal isn’t frightening, but to also be repulsively disgusting?  Well, that’s why this film sucks so bad.

Points:

  • Most Nighthawk Nominations:   Taxi Driver  (12)
  • Most Nighthawk Awards:  All the President’s Men  (8)
  • Most Nighthawk Points:  All the President’s Men  (445)
  • Worst Film Nominated for a Nighthawk Award:  Fellini’s Casanova
  • 2nd Place Award:  Solyaris  (Adapted Screenplay, Editing, Art Direction, Sound Editing)
  • 6th Place Award:  Face to Face  (Picture, Editing)
  • Most Nighthawk Drama Nominations:  Network  (8)
  • Most Nighthawk Drama Awards:  All the President’s Men  (4)
  • Most Nighthawk Drama Points:  All the President’s Men  (390)
  • Worst Film Nominated for a Nighthawk Drama Award:  Rocky
  • Most Nighthawk Comedy Nominations:  Seven Beauties / Bound for Glory  (4)
  • Most Nighthawk Comedy Awards:  Seven Beauties  (4)
  • Most Nighthawk Comedy Points:  Seven Beauties  (340)
  • Worst Film Nominated for a Nighthawk Comedy Award:  Inserts

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

Note:  Rocky, of course, is quite a good film, a mid-range ***.5 film.  But there are 12 films that earn Drama nominations and Rocky, at #14, is the weakest of them.

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  (460)

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

  • Foreign:  43  –  Solyaris  (63.5)
  • Drama:  42 (21)  –  All the President’s Men  (64.3)
  • Comedy:  21 (6)  –  Silent Movie  (56)
  • Horror:  16 (5)  –  Taxi Driver  (44.8)
  • Western:  8 (1)  –  The Outlaw Josey Wales  (64)
  • Musical:  7 (1)  –  Bound for Glory  (57.4)
  • Action:  5  –  Silver Streak  (52.5)
  • Suspense:  4  –  Marathon Man  (62.5)
  • War:  3 (3)  –  Seven Beauties  (73)
  • Mystery:  3  –  The Seven-Per-Cent Solution  (67.7)
  • Sci-Fi:  3 (1)  –  Solyaris  (64)
  • Adventure:  3 (1)  –  Robin and Marian  (62)
  • Crime:  3 (3)  –  Two Men in Town  (61)
  • Kids:  2 (1)  –  Dark Star  (50)
  • Fantasy:  1  –  The Blue Bird  (36)

Analysis:  The three Crime films are the lowest since 1962.  The 42 Dramas are the lowest since 1967, but since there are so many fewer overall films, they make up a higher percentage than either of the last two years.  The 43 Foreign films are the lowest in five years but make the highest percentage in seven years.  Musicals are the lowest since 1971 and Kids the lowest since 1966.  Westerns, on the other hand, have their highest total post-1972 (they will never again get this high).
For the first time since 1965 there are no Comedies in the Top 10.  But we have the first War film in the Top 10 since 1970 (Seven Beauties), the first Sci-Fi since 1968 (Solyaris), the only Western between 1971 and 1990 (The Outlaw Josey Wales), and, for only the second time since 1933, two Horror films (Taxi Driver, Carrie).  The Horror films average is so low in spite of those two films because the bottom 3 films, four of the bottom 5 and 5 of the bottom 8 are Horror films.

Studio Note:  Columbia leads with 11 films, the first time that no major studio has at least 12 films.  It’s the fifth time in six years that Columbia has the most films.  It’s followed by Paramount with 10 films.  There are only six Warner Bros films, the lowest since 1966.  The majors account for 45% of the films, a slight increase from the year before.
Warners does win Best Picture though, its ninth award at a point where no other studio has more than six.  It’s also the studio’s fifth win in the last 11 years, although after this they won’t win again until 1990.  Paramount, which has only one Top 10 film, has four Top 20 films, giving it 17 Top 20 films in the last four years, the most by any studio in a four year stretch since MGM in 1936-39.

57 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):

  • Allegro Non Troppo  (Bozzetto, Italy)
  • Barocco  (Techine, France)
  • The Best Way to Walk  (Miller, France)
  • The Big Racket  (Castellari, Italy)
  • Black and White in Color  (Annaud, Ivory Coast)  ***
  • Canoa  (Cazals, Mexico)
  • Chinese Roulette  (Fassbinder, West Germany)
  • The Clown  (Jasny, West Germany)  *
  • Coup de Grace  (Schlondorff, West Germany)
  • Cousin Cousine  (Tacchella, France)  **
  • Cria Cuervos  (Saura, Spain)  *
  • The Desert of the Tartars  (Zurlini, Italy)
  • Dona Flor and Her Two Husbands  (Barreto, Brazil)
  • The Doom  (Nicolaescu, Romania)  *
  • Down & Dirty  (Scola, Italy)
  • Dracula and Son  (Molinaro, France)
  • Eight Hundred Heroes  (Ting, Taiwan)  *
  • Face to Face  (Bergman, Sweden)
  • Fellini’s Casanova  (Fellini, Italy)
  • The Fifth Seal  (Fabri, Hungary)  *
  • Ganito kami noon, Paano kayo ngayon?  (Romero, Philippines)  *
  • Good and the Bad  (Lelouch, France)
  • Gypsies are Found Near Heaven  (Loteanu, USSR)
  • Heart of Glass  (Herzog, West Germany)
  • High Street  (Ernotte, Belgium)  *
  • The House with Laughing Windows  (Avati, Italy)
  • Illustrious Corpses  (Rosi, Italy)
  • In the Realm of the Senses  (Oshima, Japan)
  • Insiang  (Brocka, Philippines)
  • Jacob the Liar  (Beyer, East Germany)  **
  • Jana Aranya  (Ray, India)
  • Jonah Who Will Be 25 in the Year 2000  (Tanner, Switzerland)  *
  • The Last Supper  (Gutierrez Alea, Cuba)
  • The Last Tempest  (Li, Hong Kong)
  • The Last Woman  (Ferreri, France)
  • Length of War  (Martinez Ortega, Mexico)  **
  • Mado  (Sautet, France)
  • Magic Blade  (Yuan, Hong Kong)
  • Maitresse  (Schroeder, France)
  • Man of Marble  (Wajda, Poland)
  • Manthan  (Benegal, India)
  • The Marquise de O  (Rohmer, France)
  • Max Havelaar  (Rademakers, Netherlands)  *
  • Mr Klein  (Losey, France)
  • Nights and Days  (Antczak, Poland)  **
  • Pardon Mon Affaire  (Robert, France)
  • The Rat Savior  (Yugsolavia, Papic)  *
  • The Scar  (Kieslowski, Poland)
  • Seven Beauties  (Wertmuller, Italy)  **
  • Si c’etait a refaire  (Lelouch, France)
  • A Slave of Love  (Mikhalkov, USSR)
  • Small Change  (Truffaut, France)
  • They Fought For Their Motherland  (Bondarchuk, USSR)  *
  • Who Can Kill a Child  (Serrador, Spain)
  • Whom Should We Shoot  (El Sheikh, Egypt)
  • Xica  (Diegues, Brazil)
  • Yesterday’s Guys Used No Arsenic  (Suarez, Argentina)

Note:  It’s the most films since 1969.  I have my first film from Cuba and my only film from The Ivory Coast.  For the first time, I have 2 films from The Philippines.  For only the second time, I have 3 films from Poland.  For the first time since 1950, I only have one film from Japan.  The top two, again of course, are France (13) and Italy (8).  With four more films, West Germany goes up to 53 total films, passing Sweden into 8th place.

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

  • Czechoslovakia:  One Silver Piece  (dir. Balik)
  • Denmark:  The Olsen Gang Sees Red  (dir. Balling)
  • Sweden:  City of My Dreams  (dir. Skogsberg)

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 21 for 24.  With 88%, this is the highest year outside of 1958 (when I was 9 for 10), and given how many countries submit films now, I am unlikely to ever surpass this.
After seeing their first seven, it’s the third straight year I am missing the Czech submission.  Denmark continues to be my bane: I am 3 for 17 to this point.  Sweden is the opposite – this is only the 4th time out of 17 that I haven’t seen their submission.
This year ties the high point to this date, with 24 submissions.  It is the only year in history that Japan does not submit a film.  There are also no submissions from Israel and Greece.  The other two countries from 1975 that don’t submit this year are Canada and Algeria.  Replacing those five countries are Ivory Coast (which is the most successful country in history, as it wins the Oscar the only year it submits), Sweden (back after a three year absence), Romania, Belgium (this is one of only two times in their first 10 submissions when I have seen the film), Hong Kong, Taiwan, and, for the first time in nine years and only fourth time to this date, The Philippines.

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

  • La Chienne  (1931)
  • Love Affair  (1967)
  • The Conspiracy of Torture  (1969)
  • The American Soldier  (1970)
  • The Bitter Tears of Petra von Kant  (1972)
  • Call of the Wild  (1972)
  • Solyaris  (1972)
  • The Asphyx  (1973)
  • Chino  (1973)
  • Distant Thunder  (1973)
  • The Earth is a Sinful Song  (1973)
  • Kamouraska  (1973)
  • Psychomania  (1973)
  • Trafic  (1973)
  • Two Men in Town  (1973)
  • Ali: Fear Eats the Soul  (1974)
  • The Clockmaker of Saint Paul  (1974)
  • Cockfighter  (1974)
  • Jack and the Beanstalk  (1974)
  • Un Partie de Plaisir  (1974)
  • Sweet Movie  (1974)
  • Vincent, Francois, Paul and the Others  (1974)
  • Bullet Train  (1975)
  • The Giant Spider Invasion  (1975)
  • Godzilla vs. Mechagodzilla  (1975)
  • Marco Polo  (1975)
  • The Mystery of Kaspar Hauser  (1975)
  • Shivers  (1975)
  • Terror of Mechagodzilla  (1975)
  • The Wild Party  (1975)

Note:  These 30 films average a 56.9.  They account for 13 Nighthawk nominations, but 10 of this are for Solyaris.

Films Not Listed at Oscars.org:

  • The American Soldier
  • The Big Racket
  • Bullet Train
  • Canoa
  • The Clown
  • The Conspiracy of Torture
  • The Doom
  • Eight Hundred Heroes
  • The Fifth Seal
  • Ganito Kami Noon, Paano Kayo Ngayon
  • Good and the Bad
  • The House with Laughing Windows
  • The Last Tempest
  • Length of War
  • Un Partie de Plaisir
  • The Rat Savior
  • Terror of Mechagodzilla
  • They Fought For Their Motherland
  • Two Men in Town
  • Whom Should We Shoot
  • Winstanley
  • Yesterday’s Guys Used No Arsenic

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 got an L.A. release.  The list this time is dominated by films that were submitted for Best Foreign Film: The Clown, Doom, Eight Hundred Heroes, The Fifth Seal, Ganito Kami Noon, The Last Tempest, Length of War, The Rat Savior, They Fought For Their Motherland, Whom Should We Shoot and Yesterday’s Guys.

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

  • 1900  (1977)
  • Aces High  (1977)
  • Allegro Non Troppo  (1977)
  • Black and White in Color  (1977)
  • Chinese Roulette  (1977)
  • Cria Cuervos  (1977)
  • The Eagle Has Landed  (1977)
  • Heart of Glass  (1977)
  • High Street  (1977)
  • In the Realm of the Senses  (1977)
  • Jacob the Liar  (1977)
  • Jonah Who Will Be 25 in the Year 2000  (1977)
  • Magic Blade  (1977)
  • The Marquise de O  (1977)
  • Mohammed – Messenger of God  (1977)
  • Pardon Mon Affaire  (1977)
  • The Scar  (1977)
  • The Slipper and the Rose  (1977)
  • Welcome to L.A.  (1977)
  • Alice Sweet Alice  (1978)
  • The Best Way to Walk  (1978)
  • Dona Flor and Her Two Husbands  (1978)
  • The Greek Tycoon  (1978)
  • The Last Supper  (1978)
  • The Last Woman  (1978)
  • Mado  (1978)
  • Mr Klein  (1978)
  • Sebastiane  (1978)
  • A Slave of Love  (1978)
  • Who Can Kill a Child  (1978)
  • Blue Sunshine  (1979)
  • Down & Dirty  (1979)
  • Dracula and Son  (1979)
  • Gypsies are Found Near Heaven  (1979)
  • Jana Aranya  (1979)
  • Max Havelaar  (1979)
  • Barocco  (1980)
  • Manthan  (1980)
  • Coup de Grace  (1981)
  • Man of Marble  (1981)
  • Si c’etait a refaire  (1981)
  • The Desert of the Tartars  (1982)
  • Don’s Party  (1982)
  • Xica  (1982)
  • Illustrious Corpses  (1983)
  • Nights and Days  (1984)
  • Insiang  (2011)

Note:  These 47 films average a 61.7.  There’s only one film below ** (Alice Sweet Alice) but also only two above *** (Jacob the Liar, Black and White in Color).  Mostly, it’s a bunch of okay or mediocre films.

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