Unofficial Academy Awards Discussion Board

nightwingnova wrote:Just saw The Exorcist. Burstyn gives an adequate performance of a nearly empty role. Don't understand the love here.

We had a ballot-stuffer a month or so ago and that's why Burstyn has so many votes. Discount 8 of her votes.

Just saw The Exorcist. Burstyn gives an adequate performance of a nearly empty role. Don't understand the love here.

Joanne Woodward for me =)

mojoe92 wrote:Where is Diahnn Carroll for Claudine in the voting? That's who deserved it. Where is she?

You have the wrong year. Claudine was 1974.

Where is Diahnn Carroll for Claudine in the voting? That's who deserved it. Where is she?

The complete Burstyn shut-out – something I agree with, by the way, given my total dislike of the film and the verging-on-nondescript nature of her character – is interesting. I wasn't around at the time, but I wonder how much The Exorcist figured in the critics' groups voting that year (it didn't win anything, of course, but I wonder to what extent the film factored into any of the circles' voting).

Also, how lovely to see Sharmila Tagore on that list for a performance in a Satyajit Ray film. Even if she got one vote.

When you look at that balloting, it becomes easier to understand why Tatum O'Neal wasn't nominated for lead actress that year. With all those names, not a single vote -- this in a year when O'Neal's performance had received massive critical praise, including from some of the critics voting here.

And I'm not saying they were wrong. I think there was justifiable skepticism over whether O'Neal -- however wonderfully she worked in the film -- was really responsible for her performance; whether any actress so young could possible be credited for the work more than her director or simple serendipity.

The Academy's solution -- to sort of half-accept her as an actress by declaring her clear lead role supporting -- maybe have been the stupidest sort of compromise (the kind that pleases no one whatever), but it didn't spring from nowhere.

National Society of Film Critics Best Actress Award tally for 1973-4

Liv Ullman - The New Land - 19 Points - Winner

Mari Torocsik - Love - 14 Points (also received 16 Points for Supporting Actress. She finished second in both categories)

Lili Darvas - Love - 9 Points
Joanne Woodward - Summer Wishes, Winter Dreams - 9 Points

Maria Schneider - Last Tango in Paris - 8 Points

Marsha Mason - Cinderella Liberty - 7 Points

Vivien Merchant - The Homecoming - 6 Points
Sarah Miles - The Hireling - 6 Points

Julie Christie - Don't Look Now - 5 Points

Barbra Streisand - The Way We Were - 4 Points
Glenda Jackson - A Touch of Class - 4 Points
Susan Anspach - Blume in Love - 4 Points

Rachel Roberts - O lucky Man! - 1 Point (also received 1 Point for Supporting Actress)
Sharmila Tagore - Days and Nights in the Forest - 1 Point
Hanna Schygulla - The Merchant of Four Seasons - 1 Point

Big Magilla wrote:I wouldn't call it a battle. I only brought up only as a "people who live in glass houses" response to Flipp's harrumph at Tatum O'Neal and Timothy Hutton's supporting nominations (and wins).

I don't recall bringing it up last week unless it was in counterpoint to his nominating Candy Darling for her walk-on (dance-on, actually) in Klute.

Anyway it wasn't anything I was upset over. It wasn't like rescuing Elizabeth Taylor in BUttterfield 8 at the expense of Greer Garson in Sunrise at Campbello. That's the only time Flipp actually gave me a "what the fuck?" moment over one of his choices, which I have to say are usually on the mark.

Geez, I'm glad that when the game started up the rules seemed too arcane for me to join in.

What a relief....somebody voted for Jackson before me. I'm not the only one here with a fondness for her performance.

My Top 5:

Glenda Jackson, A Touch of Class
Ellen Burstyn, The Exorcist
Julie Christie, Don't Look Now
Joanne Woodward, Summer Wishes, Winter Dreams
Barbra Streisand, The Way We Were



Edited By Reza on 1256183024

I wouldn't call it a battle. I only brought up only as a "people who live in glass houses" response to Flipp's harrumph at Tatum O'Neal and Timothy Hutton's supporting nominations (and wins).

I don't recall bringing it up last week unless it was in counterpoint to his nominating Candy Darling for her walk-on (dance-on, actually) in Klute.

Anyway it wasn't anything I was upset over. It wasn't like rescuing Elizabeth Taylor in BUttterfield 8 at the expense of Greer Garson in Sunrise at Campbello. That's the only time Flipp actually gave me a "what the fuck?" moment over one of his choices, which I have to say are usually on the mark.



Edited By Big Magilla on 1256171143

FilmFan720 wrote:

Damien wrote:Wait, Fox pushed Bankhead for Supporting Actress in Lifeboat? That's a new one on me, and I can't believe Talluh stood for it.

I believe they are referring to our Nomination Elimination Game, when Flipp nominated Bankhead as Supporting Actress (wasn't it also after the actress category had filled up quickly?). It has been quite the ongoing battle between the two of them.

Well, a one-sided battle, really. I completely forgot about having done that until Big Magilla brought it up again last week.

Damien wrote:Wait, Fox pushed Bankhead for Supporting Actress in Lifeboat? That's a new one on me, and I can't believe Talluh stood for it.

I believe they are referring to our Nomination Elimination Game, when Flipp nominated Bankhead as Supporting Actress (wasn't it also after the actress category had filled up quickly?). It has been quite the ongoing battle between the two of them.

Damien wrote:

flipp525 wrote:The dour, stiff upper-lipped Jackson, lets her hair down in this 70's comedic romp that, while seeming tame by today's standards, must've been fairly scandalous at the time (I'm sure Mister Tee and others will pipe in with their 18-year-old, or 22-year-old perspectives).

The Old Guard in Hollywood were undoubtedly tittilated by it (it was produced by Brut, a company with which Cary Grant was associated, but we of the Younger Generation (I was 18) knew it was phoney reactionary crap.

As I've said, no doubt too many times, I loathed the movie for precisely that reason: its pretense of with-it-ness while it offered up the same old Hays Code-ish morality. In movies like that, people only try to have sex; something always conveniently stops them from consummating.

I only recently saw The Facts of Life on TCM, by, I believe, the same writers, and it's essentially the same formula, only without the bell-bottoms.