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Bonnie & Clyde at the Oscars

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  • Sab227
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    #119335

    Bonnie & Clyde remains an amazing classic, but should have the film won more Oscars than just Supporting Actress and Cinematography? Should it have won major categories, acting, directing, writing, picture and some technical categories?

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    Scottferguson
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    #119337

    Picture, Director, Actress (although Edith Evans was a reasonable alternative), Supporting Actor (Hackman), Original Screenplay, Editing, Costumes along with the two it did

    In one of the most  staggering oversights in Academy history was the Film Editing Oscar – it wasn’t even on the preliminary list of 10 (which tech categories had in those days) 

    This was the fourth Oscars I watched, but the first I had a strong interest in. I was smart enough to realize it was too radical a film to win BP, but Hackman’s and Penn’s losses made me angry.   

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    RobertPius
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    #119338

    Was Estelle Parsons a surprise? Who were they predicing?

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    babypook
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    #119339

    Bonnie & Clyde remains an amazing classic, but should have the film won more Oscars than just Supporting Actress and Cinematography? Should it have won major categories, acting, directing, writing, picture and some technical categories?

    This is one of my favorite films; difficult to watch, a show case of acting, a stark and riveting screenplay;iconic.
    I dont know if it “should” have, but it could have. The film was ground breaking on several levels, not least of which was the graphic violence of the final scenes. Arthur Penn’s direction is on another level of excellence imo.

    Outside of Estelle’s win, I dont agree with any of the other acting wins, although I dont begrudge any of them for it. I’m not sure how it missed an editing nomination but my winner would have been Dede Allen.

    Bonnie and Clyde would have been an extremely worthy winner for Sound, Editing, Best Picture, Best Director, and Screenplay. But time is a great leveller more often than not, and I believe the film is seen by many as a masterwork of film making.

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    Jason Travis
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    #119340

    I am also a huge supporter of Bonnie and Clyde and the fact that it wasn’t even nominated for Oscars in the Film Editing and Special Effects category was mind-boggling.

    Along with Supporting Actress and Cinematography, this should have been Best Picture and Best Actress. Faye Dunaway was amazing in this film- not only as a suave and sympathetic companion to Beatty, but incredibly sexual and captivating. I am guessing her and Bancroft split votes, giving Katharine Hepburn the edge that year in Guess Who’s Coming to Dinner? (though sentimental voters might have been prone to give Hepburn her second Oscar due to it being the last pairing of her and Spencer Tracy; but if that was the case, why did Tracy lose?) I read in Dunaway’s autobiography that she had been told by a lot of people she was the frontrunner to win. But that could also be a case of her ego as well. I think she should have taken it. 

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    Macbeth
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    #119341

    Can somebody please tell me how Estelle Parsons won? I found nothing Oscar-worthy about her performance 

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    streepfan
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    #119342

    The weakest part of the movie won the Oscar IMO, Parsons was stagey and mannered, in a totally different movie from the rest of the flawless cast. Best film of the 60s.

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    vozas
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    #119343

    Faye was such an amazing actress. Her career is very bizarre but her 3 biggest roles and respective performances (B&C, Chinatown and Network), plus Mommie Dearest (which I have yet to see, shame on me) are SO different but she’s knocks it out of the park in every single one of them. Her acting was very classic and reminiscent of the older days of cinema but she managed to make those roles fresh and seemingly tailor made for her. I can’t imagine anyone doing any of them. Chinatown is one of my favorite movies of all time and I LOVE her Oscar win for Network.

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    benbraddock
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    #119344

    For me personally. THE GRADUATE  is the greatest film ever
    to lose best picture, so I wouldve given The Graduate
    Picture, Actress (Bancroft)Actor (Hoffman), screenplay…plus the best director
    which it did win..
    Having said that, Bonnie and Clyde is one of the great films of the 60’s
    and I would have given it Supporting actor (Hackman), costumes, and film editing
    which I believe it was NOT even nominated for….quite the oversight.
    I didnt love Steiger’s win…but Hoffman was brilliant and Beatty to me was not
    worthy of the win either..I loved Mildred Natwick in Barefoot in the Park,
    but I think Parsons win was expected oscar night…and as with Tilda Swinton
    in Michael Clayton, they needed to give B&C a big award, so why not
    supporting actress?? 

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    Ryan Earle
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    #119345

    Faye Dunaway was not being talked about at the time for a win, she won no precursor awards. Best Actress was between Anne Bancroft and Edith Evans, with Evans the front runner because of all the awards she racked up, but Hepburn won on sentiment.

    IMO, Edith Evans should have won. Her performance is a master class in acting.

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    Baby Clyde
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    #119346

    Picture, Director, Actress (although Edith Evans was a reasonable alternative)

    ‘Reasonable’???

    It should have won hands down. Best ‘Best Actress’ perf of the 60’s.

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    JayDF
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    #119347

    Classic film, deserving of it’s status in film history…that being said I only 100% give it the original screenplay category in it’s list of nominations.  It’s an increidbly close 2nd to IN COLD BLOOD for cinematography with THE GRADUATE an incredibly close 3rd.  I give it a 2nd oscar with costume design, but could just as easily give it to the musicals and Shakespeare compeition in 67.

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    babypook
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    #119348

    Looking over the results that year, I’d say many of the winners were politically motivated. They always are, and I’m not saying this is the wrong way to vote, yet 1967 is especially intriguing.

    But how much of a realistic chance did Bonnie and Clyde have to win BP and BD that year? Such a jarring, brutal, inyourface tour de force? I wonder how the film would fair if it were released in the last five years? For me that’s an interesting speculation.

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    DD
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    #119349

    B&C is a masterpiece. I first watched this film with my parents when
    I was a teenager and I have been in love with this film ever since. I
    studied this classic in film school and I’ve never tired of it. The film
    is just so well crafted on every level and it’s flat out entertaining.
    The editing in the final scene is, arguably, the greatest piece of film
    editing I have ever seen.

    Obviously, the film was too violent to win over Oscar voters, but it
    honestly doesn’t matter. After all these years, B&C is probably one
    of the most revered films of the 1967 Oscar race. The Graduate, a film I
    don’t care for at all, is the only one that probably supercedes it in
    reputation.

    I don’t think Beatty, Hackman, Pollard or Penn had a chance at winning
    that year. Steiger and Tracy were strong, sentimental favorites and
    Kennedy was the frontrunner going into Oscar night. Nichols was sure to
    get his makeup Oscar for losing for the far superior Virginia Woolf the
    previous year. And since “Heat” won BP, I’m assuming Jewison was a
    threat to win director, too.

    The actress race seems like a tossup with everyone except Audrey Hepburn
    having a shot at winning. However, Evans won the Globe, BAFTA
    (presented after the Oscars), National Board of Review, National Society
    and New York Film Critics. She was also on her third Oscar nod. If she
    were a bigger name with those accolades, she would’ve won the Oscar
    pretty easily. I’d imagine the race came down to K. Hepburn and Bancroft
    since they were in more Academy friendly films. In 1968, no way was
    newbie Dunaway winning for a controversial gangster film in which her
    character dies a very violent death. I think voters went with Hepburn
    for sentimental reasons; not only Tracy’s death but because she was a
    legend who had amassed 10 nominations and only one previous win.

    Supporting Actress was a crapshoot; there wasn’t a frontrunner on Oscar
    night. Ross didn’t deserve her nomination and Richards didn’t have
    enough to do in her film. Channing and Natwick were in lightweight films
    that didn’t get much Academy attention. I think Parsons won because her
    performance is loud and memorable and her final scene is a doozy. Plus,
    it was a way of giving the film a big consolation prize.

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    DominicCobb
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    #119350

    Really tough to say. 67 is probably one of the best years for film ever. In the Heat of the Night, oddly enough, strikes me as the weakest of the BP noms, except for Doctor Dolittle (which I have not seen). I actually might rather In Cold Blood, or Cool Hand Luke in its place (or Le Samourai or Branded to Kill which were not even nomininated for BFLF!). Still a great film, though. 

    Anyway, it’s tough to say, because B&C is my number 2 for that year, but I’d give BP to The Graduate, along with both BAs and BSActress over B&C. B&C gets original screenplay, supporting actor, and editing at least three times over.

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