1967's Oscar Nominees (inspired by "Pictures at a Revolution")

I couldn't finish rewatching Two For the Road a few months ago.

yeah, that's a pretty good list but I didn't like Two for the Road either.

Stanley Donen also did Bedazzled that year, which is nominally British but was produced by Donen and Fox; whatever it is, it's not much more British than 2ftR.

Who's That Knocking at My Door was technically '67, although just a film festival screening. That'd be on my list, probably Titicut Follies, too, even though Wiseman got much better. It was a dire year:

http://en.wikipedia.org/wiki/List_of_American_films_of_1967

the dirty dozen was much better than any of the Oscar-nominated American films from this year, IMHO.

(tho' i do like in the heat of the night, the graduate and bonnie & clyde well enough)

i love reflections in a golden eye more than any of these films with the exception of Point Blank

Stanley Donen also did Bedazzled that year, which is nominally British but was produced by Donen and Fox; whatever it is, it's not much more British than 2ftR.

― Literal Facepalms (Dr Morbius), Sunday, February 12, 2012 8:29 AM (15 hours ago) Bookmark Flag Post Permalink

that's true, but like you said somehow bedazzled is considered a UK film b/c of financing.

in honesty i haven't seen 24tR in a few years. i remember being very impressed by it -- thinking its resnais-inspired scrambled timeline and elliptical editing was both virtuosic and put to good purpose. but i may just have come in w/ low expectations.

as a sort of supplement to his book, Mark Harris has a biweekly Film Comment column on '67 in film

Blowup (Dec '66) first up

http://www.filmcomment.com/blog/cinema-67-revisited-blow/

Harris on Preminger and Ritt's topical race movies

https://www.filmcomment.com/blog/cinema-67-revisited-hurry-sundown-hombre/

thought you were gonna post that terrible Beatty-Kael piece

rong year, silly

Not really -- B&C is a linchpin of the essay.

I think the Netflix series of Five Came Back is released tomorrow.

the 4K Criterion of The Graduate on Blu Ray is a thing of absolute beauty. not having seen it for a good 10-15 years or so i'd not thought of it as an especially good looking film, nor particularly well photographed. couldn't have been more wrong.

Some of it is (intentionally) grotesque--the first party scene, the wedding--but I agree that there's soft-focus stuff that's beautiful: Elaine leaving for Berkeley, the zoo, the "April Come She Will" sequence.

'67 best-ofs, including Mama Cass's

http://lwlies.com/articles/best-film-lists-of-1967/

I threw together my best-of for L'boxd; Weekend came closer to making it than any of the Oscar nominees.

1. PlayTime
2. Point Blank
3. Belle de Jour
4. Mouchette
5. Le Samouraï
6. The Red and the White
7. David Holzman’s Diary
8. Titicut Follies
9. Bedazzled
10. Wavelength
11. The President’s Analyst
12. The Two of Us

I had BDJ and Weekendp on my '68 list:

Playtime (Jacques Tati)
La Chinoise (Jean-Luc Godard)
Le Samourai (Jean-Pierre Melville)
Bonnie and Clyde (Arthur Penn)
Point Blank (John Boorman)
Branded to Kill (Seijun Suzuki)
Reflections in a Golden Eye (John Huston)
La Collectionneuse (Eric Rohmer, France)
Mouchette (Robert Bresson)
Love Affair; Or the Case of the Missing Switchboard Operator (Dusan Makavejev)

Reflections is close for me, Brando possible best actor (if not Marvin or Tati)

doctor doolittle is *the worst*, yet it contains cinema's greatest minute pic.twitter.com/nZRgY3Db9b

— Neely O'Horror (@_katiestebbins_) September 17, 2019

otm

have we rethought these?

I don’t think I was here for the first round, but those numbers look about right to me (still have never seen GWCtD, though).

The vote distribution almost perfectly parallels how the book views the films, I'd say--#2 and #4 could maybe add a couple of more votes each. Still think '75 would make a great sequel: two popular critical successes (Dog Day and winner Cuckoo's Nest), two sprawling auteur films (Nashville and Barry Lyndon--great ones, before the debacles that mark the turn of the decade), and, pointing the way to the future (and a greater film than almost all the massive box-office fare that follows), Jaws.