I liked Denholm Elliott fine in A Room With A View, but I'd say that it was Simon Callow and Rupert Graves who deserved nominations over both Elliott and Daniel Day-Lewis.
And about the school thing from below: I actually went to a private school.
Dennis Hopper in Blue Velvet
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Mister Tee
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My god -- were we all at the same show? I and my friends had tried to see it at the Tower East and been sold out, so we hopped over to the later (10 or so) show at the State.
Magilla, I'm totally with you on Day-Lewis vis a vis Elliott -- I assumed the latter getting the nod (when the former had had all the ink) was tribute to his long career.
Magilla, I'm totally with you on Day-Lewis vis a vis Elliott -- I assumed the latter getting the nod (when the former had had all the ink) was tribute to his long career.
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Damien, I was also there on opening night for Goodbar. Having read the book I was most disppointed, as I've said many times, bu the "any city. USA" feel of the film., filmed mostly on location in L.A., with some scenes filmed in downtown San Francisco, whereas the Bronx/Manhattan locations of the novel were central to its plot. Keaton's performance, though, was terrrific and the one she should have bneen nominated and won for.
The Hoosiers vs. Blue Velvet thing is still a head scratcher these many years later. Hopper was good in the former, but he was brilliant in the latter. Just as strange, though, was Denholm Elliott's nomination over Daniel Day-Lewis' performance in A Room With a View. That performance contrasted with his equally find work in My Beautiful Laundrette the same year should have been catnip for awards givers.
Edited By Big Magilla on 1193864732
The Hoosiers vs. Blue Velvet thing is still a head scratcher these many years later. Hopper was good in the former, but he was brilliant in the latter. Just as strange, though, was Denholm Elliott's nomination over Daniel Day-Lewis' performance in A Room With a View. That performance contrasted with his equally find work in My Beautiful Laundrette the same year should have been catnip for awards givers.
Edited By Big Magilla on 1193864732
To elaborate on Tee's post a bit, the highly anticipated Mr. Goodbar was ridiculed by young, hip audiences in 1977. It seemed hopelessly out of touch and out of date (there was even a cut to a spinning Op Art wheel to express the decadence of a club which looked like something out of an AIP hippie movie from a decade earlier), and, as Tee mentions, was perceived as another piece of male menopausal disgruntleness about the turns society had taken (a la Paddy Chayefsky). The Irish working class family scenes were also Chayefsky-esque phony.
By the time of the Oscar nominations, there was such a stench of embrassing failure about Goodbar that it was highly unlikely Keaton would be nominated for it. (That Tuesday Weld received a nomination can be attributed to the fact that a cult had grown around this once condescendingly-dismissed actress and the weakness of the category in '77 [Leslie Browne? Quinn Cummings?]) It has been postulated (accurately, I believe), however, that Keaton probably wouldn't have won if she didn't also have Goodbar, for it showed that she did indeed have range, and that she really was acting in Annie Hall and not playing herself.
I saw Goodbar its opening night on Times Square, and we laughed derisively throughout. The best part of the show was when Boz Scaggs's "Lowdown" came on the soundtrack and all these girls ran into the aisle and started dancing. Ahhh, it was the old Times Square.
By the time of the Oscar nominations, there was such a stench of embrassing failure about Goodbar that it was highly unlikely Keaton would be nominated for it. (That Tuesday Weld received a nomination can be attributed to the fact that a cult had grown around this once condescendingly-dismissed actress and the weakness of the category in '77 [Leslie Browne? Quinn Cummings?]) It has been postulated (accurately, I believe), however, that Keaton probably wouldn't have won if she didn't also have Goodbar, for it showed that she did indeed have range, and that she really was acting in Annie Hall and not playing herself.
I saw Goodbar its opening night on Times Square, and we laughed derisively throughout. The best part of the show was when Boz Scaggs's "Lowdown" came on the soundtrack and all these girls ran into the aisle and started dancing. Ahhh, it was the old Times Square.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Mister Tee
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To be fair, Hoosiers --while not a patch on Blue Velvet -- was a popular, pleasant and less-cornball-than-most sports movie. And Hopper's performance, again not in the ballpark with his Lynch work, had been Globe-nominated (doubled along with Velvet), and might well have got him a sentimental mention had the Lynch film not existed.
As Damien mentions, Hopper himself was flabbergasted. Entertainment Tonight was with him as he watched the nominations. First he lurched forward at hearing "Den-" -- only to realize the nomination was for Denholm Elliott. Then his name finally was read, along with the unexpected film...and he just kept incredulously repeating "Hoosiers...Hoosiers".
flipp, I'm kind of ambivalent about Keaton's '77 nomination/win, because of having lived through the various stages of it. To begin with, Annie Hall opened in Spring and was a complete breakthrough for Keaton -- where, in films like Sleeper and Love and Death, Keaton had been a sort of second-Woody, here she emerged as truly her own personality for the first time. The scene at the tennis club alone made audiences fall hopelessly in love with her. Yet there was some feeling -- the sort that always works against comedies at the Oscars -- that it was a bit lightweight for awards. Besides, everyone knew she had Looking for Mr. Goodbar coming later in the year, and the assumption was, that would be the powerhouse performance to put her over the top with the Academy.
When Time put her on the cover in October, citing Goodbar, it seemed the scenario would play out. But then the movie opened and, though it made money (piggybacking on the book's popularity), alot of audiences just hated it. I have to put myself in that category: I thought it was a shrill, hysterical piece of work -- the equivalent of some old guy shouting "These kids today!" for two hours. And, though I admired Keaton's work in the film, I said to myself (this was opening night) There's no way she'll win an Oscar for this.
I did, however, think she'd win the critics' awards, and maybe lose the Oscar to Jane Fonda, who'd made a triumphant return in Julia. I hadn't counted on the critics going back to Spring and voting for Keaton's Annie performance instead (in NY, I believe Keaton took first place for Annie and third for Goodbar). That, combined with the unexpected best picture run by Annie, gave her a very stong awards run, leading to an Oscar. I don't think anyone doubts the award was for both performances...and you can probably still get arguments over which was more deserving.
As Damien mentions, Hopper himself was flabbergasted. Entertainment Tonight was with him as he watched the nominations. First he lurched forward at hearing "Den-" -- only to realize the nomination was for Denholm Elliott. Then his name finally was read, along with the unexpected film...and he just kept incredulously repeating "Hoosiers...Hoosiers".
flipp, I'm kind of ambivalent about Keaton's '77 nomination/win, because of having lived through the various stages of it. To begin with, Annie Hall opened in Spring and was a complete breakthrough for Keaton -- where, in films like Sleeper and Love and Death, Keaton had been a sort of second-Woody, here she emerged as truly her own personality for the first time. The scene at the tennis club alone made audiences fall hopelessly in love with her. Yet there was some feeling -- the sort that always works against comedies at the Oscars -- that it was a bit lightweight for awards. Besides, everyone knew she had Looking for Mr. Goodbar coming later in the year, and the assumption was, that would be the powerhouse performance to put her over the top with the Academy.
When Time put her on the cover in October, citing Goodbar, it seemed the scenario would play out. But then the movie opened and, though it made money (piggybacking on the book's popularity), alot of audiences just hated it. I have to put myself in that category: I thought it was a shrill, hysterical piece of work -- the equivalent of some old guy shouting "These kids today!" for two hours. And, though I admired Keaton's work in the film, I said to myself (this was opening night) There's no way she'll win an Oscar for this.
I did, however, think she'd win the critics' awards, and maybe lose the Oscar to Jane Fonda, who'd made a triumphant return in Julia. I hadn't counted on the critics going back to Spring and voting for Keaton's Annie performance instead (in NY, I believe Keaton took first place for Annie and third for Goodbar). That, combined with the unexpected best picture run by Annie, gave her a very stong awards run, leading to an Oscar. I don't think anyone doubts the award was for both performances...and you can probably still get arguments over which was more deserving.
I haven't seen Hoosiers since it was in movie theaters. But, then, I'm not into sports, so it made no impact on me whatsoever.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
A fine testament for the Alabama public school system.dws1982 wrote:flipp525 wrote:Who's even seen Hoosiers more than the one time it took to knock it off your Best Supporting Actor nominations list?
It seems to be pretty popular among the general population. Voted by USA Today readers as the greatest sports movie ever, etc. And when I was in high school there always seemed to be a copy of the video laying around that we would watch whenever a teacher was out, or whenever they didn't want to actually teach us anything.
It seems to be pretty popular among the general population. Voted by USA Today readers as the greatest sports movie ever, etc. And when I was in high school there always seemed to be a copy of the video laying around that we would watch whenever a teacher was out, or whenever they didn't want to actually teach us anything.flipp525 wrote:Who's even seen Hoosiers more than the one time it took to knock it off your Best Supporting Actor nominations list?
Damien wrote:it was oh so typical of the Academy to go with a sentimental characterization in asentimental film rather than a ferociously scary performance in a cutting edge movie.
Especially in the 80's when it seemed that sentimentality and shmaltz reigned supreme. Who's even seen Hoosiers more than the one time it took to knock it off your Best Supporting Actor nominations list? Blue Velvet, on the other hand, is a cult classic.
When has this also happened in the past? To a lesser extent, I'd cite Diane Keaton's nomination for Annie Hall making it in over her more daring performance that year in the Dustin Hoffman-maligned Looking for Mr. Goodbar. I thought she truly extended herself in that film, although I can't really argue with the love for her character in Allen's classic.
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"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Hopper himself was amazed about which performance he was nominated for, but as BJ points out, it was oh so typical of the Academy to go with a sentimental characterization in asentimental film rather than a ferociously scary performance in a cutting edge movie.
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