A lot of great winners, unlike their male counterparts.
Katharine Hepburn's third Oscar was indeed her best, but that tie was underwhelming, because Joanne Woodward, Vanessa Redgrave and Patricia Neal were much better options than Barbra Streisand's funny and tiresome Fanny Brice.
Maggie Smith's Jean Brodie is a wonderful creation and a serious contender for my vote.
Glenda Jackson's second Oscar was worst than her first one, but not a disgrace by any means either. Great actress.
Ellen Burstyn's Alice remains fresh today, but Gena Rowlands and Faye Dunaway would have been better winners.
Louise Fletcher's category placement never bothered me as much as leading performers winning in supporting, and we would have to agree that without her there would be no movie whatsoever. And she's great as Nurse Ratched.
Faye Dunaway's unhinged caricature has always been and remained exhilarating to watch.
Klute is not a great film, but Jane Fonda's performance is. She's my runner-up. My third place is split between Maggie Smith, Louise Fletcher and Diane Keaton's Annie Hall.
My winner is Liza Minnelli, not only the most iconic of them all, but the most memorable performance as well, in my opinion.
1968-1977 Best Actress Winners
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CalWilliam
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Re: 1968-1977 Best Actress Winners
"Rage, rage against the dying of the light". - Dylan Thomas
Re: 1968-1977 Best Actress Winners
A very easy vote for Hepburn.
Followed by Glenda (her first), Jane Fonda, Streisand, Liza Minnelli, Keaton, Burstyn & Glenda (her second).
Fletcher was not lead.
Glad Dunaway has an Oscar but she should have won instead for Mommie Dearest.
I prefer Maggie in her other Oscar winning role. Find her extremely annoying as Jean Brodie.
Followed by Glenda (her first), Jane Fonda, Streisand, Liza Minnelli, Keaton, Burstyn & Glenda (her second).
Fletcher was not lead.
Glad Dunaway has an Oscar but she should have won instead for Mommie Dearest.
I prefer Maggie in her other Oscar winning role. Find her extremely annoying as Jean Brodie.
Re: 1968-1977 Best Actress Winners
Voted for Fonda
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Big Magilla
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1968-1977 Best Actress Winners
It was the best of times, it was the worst of times, for leading actresses in films of the era.
Of the eleven winners, I agreed with 6 and disagreed with 5.
That Barbra Streisand would win an Oscar for reprising her stage role in Funny Girl was foreseeable even though she lost the 1964 Tony to Carol Channing in Hello, Dolly!, a role she herself would fail miserably at the following year. She was, however, the popular new star in town, a position that had resulted in wins over the years for many from Janet Gaynor to Julie Andrews and Julie Christie.
That Katharine Hepburn would win a third Oscar the year after winning her long-delayed second, was astonishing. That she would win in a tie with Streisand was even more remarkable even though The Lion in Winter contains the best of her eventual four Oscar-winning performances. Both she and Streisand won over New York Film Critics award champion Joanne Woodward in Rachel, Rachel and Patricia Neal in a powerful performance following a near fatal series of strokes in The Subject Was Roses. The world shared Ingrid Bergman's shock at opening the envelope and saying "it's tie!"
Maggie Smith was the underdog in a race with second generation stars Jane Fonda in They Shoot Horses, Don't They? and Liza Minnelli in The Sterile Cuckoo, but her magnetic performance in The Prime of Miss Jean Brodie couldn't be denied.
Glenda Jackson beat predicted winner Ali MacGraw in Love Story to win for the year-old British film, Women in Love, largely on the strength of her TV role in Elizabeth R being broadcast during Oscar season. That they would even consider the grating performance MacGraw gave in the sappy Love Story over Jackson's brilliant turn in Ken Russell's film of the D.H. Lawrence novel is a headscratcher for many.
Jackson in Sunday Bloody Sunday was Jane Fonda's toughest competition for Klute when both actresses were nominated for the second time. Jackson already having won, it seemed like a sure bet that Fonda would win this time for her high-class call girl in jeopardy over Jackson's sharing bisexual stud Murray Head with Peter Finch, and she did.
The other second generation star, Liza Minnelli seemed like a sure thing to win for Cabaret as soon as the film was released. As the year went on, though, she faced stiff competition from Diana Ross in Lady Sings the Blues, Cicely Tyson in Sounder, and Liv Ullmann in The Emigrants, all of whom were nominated. In the end, though, it was smooth sailing for Liza with a Z.
Joanne Woodward seemed poised to win a second Oscar for Summer Wishes, Winter Dreams, but Glenda Jackson shockingly beat her to a second win for the classless A Touch of Class.
Ellen Burstyn had her first starring role in The Exorcist for which she was nominated the year before, but was even better in her follow-up role in Alice Doesn't Live Here Anymore for which she won in a close race with Gena Rowlands in A Woman Under the Influence.
Louise Fletcher was a popular winner for what was really a supporting turn in One Flew Over the Cuckoo's Nest, even though critics' favorite Isabelle Adjani should have won for her amazing performance in The Story of Adele H.
Faye Dunaway seemed to impress a lot of people with her cold fish role in Network and was the expected winner over the amazing Sissy Spacek in Carrie.
Diane Keaton was the star of the year in 1977 and won for basically playing herself in Annie Hall, although she was better in a much more complex role in Looking for Mr. Goodbar.
I agreed with Hepburn, Smith, the first Jackson win, Fonda, Minnelli, and Burstyn. I disagreed with Streisand, the second Jackson win, Fletcher, Dunaway, and Keaton who got it for the wrong film. Choosing between Hepburn and Smith for the best of the decade is a difficult one for me, but I have to go with Smith in the more complex role of the two.
Of the eleven winners, I agreed with 6 and disagreed with 5.
That Barbra Streisand would win an Oscar for reprising her stage role in Funny Girl was foreseeable even though she lost the 1964 Tony to Carol Channing in Hello, Dolly!, a role she herself would fail miserably at the following year. She was, however, the popular new star in town, a position that had resulted in wins over the years for many from Janet Gaynor to Julie Andrews and Julie Christie.
That Katharine Hepburn would win a third Oscar the year after winning her long-delayed second, was astonishing. That she would win in a tie with Streisand was even more remarkable even though The Lion in Winter contains the best of her eventual four Oscar-winning performances. Both she and Streisand won over New York Film Critics award champion Joanne Woodward in Rachel, Rachel and Patricia Neal in a powerful performance following a near fatal series of strokes in The Subject Was Roses. The world shared Ingrid Bergman's shock at opening the envelope and saying "it's tie!"
Maggie Smith was the underdog in a race with second generation stars Jane Fonda in They Shoot Horses, Don't They? and Liza Minnelli in The Sterile Cuckoo, but her magnetic performance in The Prime of Miss Jean Brodie couldn't be denied.
Glenda Jackson beat predicted winner Ali MacGraw in Love Story to win for the year-old British film, Women in Love, largely on the strength of her TV role in Elizabeth R being broadcast during Oscar season. That they would even consider the grating performance MacGraw gave in the sappy Love Story over Jackson's brilliant turn in Ken Russell's film of the D.H. Lawrence novel is a headscratcher for many.
Jackson in Sunday Bloody Sunday was Jane Fonda's toughest competition for Klute when both actresses were nominated for the second time. Jackson already having won, it seemed like a sure bet that Fonda would win this time for her high-class call girl in jeopardy over Jackson's sharing bisexual stud Murray Head with Peter Finch, and she did.
The other second generation star, Liza Minnelli seemed like a sure thing to win for Cabaret as soon as the film was released. As the year went on, though, she faced stiff competition from Diana Ross in Lady Sings the Blues, Cicely Tyson in Sounder, and Liv Ullmann in The Emigrants, all of whom were nominated. In the end, though, it was smooth sailing for Liza with a Z.
Joanne Woodward seemed poised to win a second Oscar for Summer Wishes, Winter Dreams, but Glenda Jackson shockingly beat her to a second win for the classless A Touch of Class.
Ellen Burstyn had her first starring role in The Exorcist for which she was nominated the year before, but was even better in her follow-up role in Alice Doesn't Live Here Anymore for which she won in a close race with Gena Rowlands in A Woman Under the Influence.
Louise Fletcher was a popular winner for what was really a supporting turn in One Flew Over the Cuckoo's Nest, even though critics' favorite Isabelle Adjani should have won for her amazing performance in The Story of Adele H.
Faye Dunaway seemed to impress a lot of people with her cold fish role in Network and was the expected winner over the amazing Sissy Spacek in Carrie.
Diane Keaton was the star of the year in 1977 and won for basically playing herself in Annie Hall, although she was better in a much more complex role in Looking for Mr. Goodbar.
I agreed with Hepburn, Smith, the first Jackson win, Fonda, Minnelli, and Burstyn. I disagreed with Streisand, the second Jackson win, Fletcher, Dunaway, and Keaton who got it for the wrong film. Choosing between Hepburn and Smith for the best of the decade is a difficult one for me, but I have to go with Smith in the more complex role of the two.