Forum Replies Created
December 2, 2019 at 10:22 am #1203211850
Jason Robards, Faye Dunaway and Peter Finch were all expected to win. William Holden had some momentum but people loved Finch. Btw, he died after the voting deadline, so there was no sympathy vote cast.
Beatrice Straight was most certainly an upset, but who was actually the frontrunner? It’s nearly impossible to say as most of the nominated performances have very vocal admirers who usually do not/do not want to accept the difference between of “most likely to win” and “my favorite performance”. Piper Laurie and Jodie Foster were not going to win, no matter what people say now and no matter how hard their fanboys insist. The academy wasn’t ready for this; them being nominated and their movies being honoured was their prize. That leaves Lee Grant, who most certainly was not going to win after winning for Shampoo (and whose co-star won the Globe) and Jane Alexander, an actress incredibly beloved by the academy. In the 70s and early 80s they basically nominated her for anything. However, she is not really singled out for the movie and her one scene does not seem to be as baity as Straight’s. So, who was the frontrunner? I am reluctantly saying ‘no one’ and as most members watched Network, they probably just cast their vote for Straight thinking that there probably was no other worthy contender anyway.
Let me add my personal opinion: Incredibly weak year for acting, I couldn’t care less who won. I know I am in the minority here, but to me it’s the nominated roles that were groundbreaking (child prostitutes, mothers from hell, heartless tv producer), not really the performances. The fact they included Barrault for a nothing performance in a weird film says a lot. Network’s cast is impressive, Ullmann is captivating as usual and Roberts did his thing. Next.November 7, 2019 at 10:42 am #1203169943
Has anybody read Liv Ullmann’s autobiography? She writes about that night. I read it three-four years ago and my sole memory is that she really disses Diana Ross. In every discussion on that race, people point out that Diana Ross was campaigning aggressively. Liv Ullmann, too, presents her as quite hungry for an Oscar.
That’s interesting, thank you for this piece of trivia.
I suppose it has something to do with different values. Europeans appreciate humbleness. Yes, we want people to be ambitious and generous, but at the same time they need to be humble otherwise it rubs us the wrong way. Ullmann probably considered her behaviour off-putting from an European point-of view; for an American, Ross probably just did what was expected: Everything to get to the top.November 5, 2019 at 1:03 pm #1203167315
For me it was a rather weird movie – felt a little bit like a failed sitcom pilot with some serious undertones; very uneven and confusing (I wasn’t too sure what the point was). However, I saw it probably 12 years ago, I might appreciate it more now. It might also have been a cultural issue as it felt like an American movie for an American audience and me as a European might not have been the target group.November 5, 2019 at 12:59 pm #1203167307
Diana Ross led quite an aggressive campaign and people were quite impressed with her performance. I am fairly certain that she came in second (though we will never know). Ullmann might have won the Globe, but the Globes were not a big barometer for Oscars back then.
Ullmann third, then probably Tyson and Smith (whose film wasn’t all that popular, her nomination quite surprising).
Minnelli won fair and square though. Personally, I consider the line-up rather weak which is too bad as it could have been an awesome line-up when including Joanne Woodward and Goldie Hawn instead of Smith and Tyson.October 30, 2019 at 4:34 am #1203158620
As mentioned, pure speculation. I think Geraldine Page was in a Glenn Close type of situation where she was respected by her peers but never really liked too much (if I dare say so). Let’s look at her nominations.
1953 Hondo — this is actually quite a weird nomination; I don’t think many people would have given an Oscar to a movie like Hondo back then. Donna Reed was in the best picture winner and is usually cited as one of the most deserved winners in the category. And consider that the academy loved this type of suffering wife/girlfriend/prostitute role in this category. If anyone came close, it was Ritter.
1961 Summer & Smoke — quite an obscure movie but it did manage to get two acting nominations, so they probably saw the film. I am really not sure here. Laurie & Wood were probably behind her; question is whether Hepburn came in 2nd or 3rd and how close the race actually was. I suppose, if she was ever close to winning before 1985, this was the year.
1962 Sweet Bird of Youth – a notorious oscar race; probably third after Davis.
1966 You’re a Big Boy Now – Sandy Dennis won and nobody else had a chance in hell. Even less Page, for a rather weird un-oscary movie.
1972 Pete n Tillie – same as above, only that Heckart might have been beaten by Tyrell or Winters but never by Page in another weird un-oscary movie.
1978 Interiors – I never understood the discussion about her category placement. The discussion started a couple of years ago, I think; this has never been a scandal in the category fraud discussion. I agree with the others that Maggie Smith would have won anyway (and she beat Stapleton who also had a narrative). I don’t think she was close too winning, the movie being a bit too artsy for Oscars and if they wanted artsy, they would have given Bergman her fourth Oscar (which was discussed a possibility given her popularity). Then there was Clayburgh who probably got more votes than we think. No, Page was not winning here.
1984 The Pope of Greenwich Village – nothing to add. Zooey said it all.
Personally, I would have given her the supporting Oscar in 1982 for I am Dancing as Fast as I Can. A quiet touching little movie that faded into obscurity.October 30, 2019 at 4:22 am #1203158617
The race kept changing quite often. Up until the Globes, Julianne Moore was the heavy favourite to win everything. Once the Globes went for Kidman, it all changed. Then Chicago was appreciated more and more and Zellweger was brought into the discussion.
Even though Zellweger won the SAG (very weird in retrospect), there was so much love for Kidman: her role was typical Oscar bait, the movie was universally loved, she lost the year before, she came off rather well in the Cruise divorce. All factors in, she had it in the bag.
I remember, however, that it wasn’t all so unanimous as it now seems. Chicago came in hard and loud and there were many people predicting a Zellweger victory, mostly based on the immense popularity of the movie (less based on her performace).
And at the end, my two cents: Julianne Moore gave a brilliant performance and it was a pity for me that everybody had forgotten about her and it became Zellweger vs. Kidman.August 15, 2019 at 12:46 pm #1203025380
A bit late to the party but I’ve just finished watching S2.
I want to echo Robin Weigert’s sudden disappearance. There’s a lot of talk about all the other actresses on this show (almost too much, seems like it’s love/hate for every character/performance) but I think Weigert was definitely worthy of more and better material; I kept looking for her name in the opening credits and was very disappointed that she was unceremoniously dropped.
Not enough material for a Guest Actress emmy I fear!August 2, 2019 at 11:02 pm #1203008065
I am fascinated by the sheer amount of time you wasted on creating such a detailed, unnecessary and pointless list.July 30, 2019 at 12:23 pm #1203002589
Best Actor 1980s 1980 Donald Sutherland, Ordinary People 1981 Treat Williams, Prince of the City 1982 Richard Gere, An Officer and a Gentlemen 1983 Eric Roberts, Star 80 1984 Steve Martin, All of Me 1985 Gene Hackman, Twice in a Lifetime 1986 Harrison Ford, The Mosquito Coast 1987 Steve Martin, Roxanne 1988 William Hurt, The Accidental Tourist 1989 Al Pacino, Sea of Love
Good choices but I am not really seeing Pacino here. I like the movie very much but from what I remember, the movie wasn’t really liked and the kind of film that hardly gets nominated in that category.
Steve Martin’s name pops up whenever it’s about missed nominations. I am wondering whether the academy liked him enough to have him just miss the line-up or whether they really did not like that kind of performance and thus, he wasn’t even close – not easy to figure out.July 30, 2019 at 12:20 pm #1203002579
She’s actually tremendously underrated. She gives performances worthy of awards consideration every other year and each year it’s completely ignored; not ridiculoued, not called underserving, simply ignored and not discussed and that is a shame. Her performances in The Disappearance of Eleanor Rigby, The Tree of Life, Miss Sloane, Molly’s Game and The Debt should have been more talked about. Incidentally, I consider her performance in Zero Dark Thirty to be a tad overrated.July 30, 2019 at 12:17 pm #1203002575
Supporting categories have become co-lead categories. True supporting performances rarely stand a chance or get laughed at for being ‘glorified cameos’ (Ali’s first win).
For me it’s ‘if in doubt, go with lead’, just to be sure. For the Oscars, it’s ‘if in doubt, go with supporting’.July 29, 2019 at 12:57 pm #1203001323
1940: Rosalind Russell in His Girl Friday
1941: Irene Dunne in Penny Serenade
1942: I have no idea. Maybe Barbara Stanwyck or Claudette Colbert
1943: Ida Lupino in The Hard Way
1944: Tallulah Bankhead in Lifeboat
1945: Peggy Ann Gardner in A Tree Grows in Brooklyn
1946: Irene Dunne in Anna and the King of Siam
1947: Ida Lupino in Deep Valley
1948: not sure. Maybe Loretta Young for Rachel and the Stranger
1949: Ann Sothern in A Letter to Three Wives
Best Supporting Actress
1940: Mary Howard in Abe Lincoln in Illinois
1941: Paulette Goddard in Hold Back the Dawn
1942: Also no idea
1943: Gladys George in The Hard Way
1944: June Duprez in None but the Lonely Heart
1945: Anne Baxter in A Royal Scandal
1946: Cathy O’Donnell in The Best Years of Our Lives
1947: Joan Blondell in Nightmare Alley
1948: Angela Lansbury in State of the Union
1949: Thelma Ritter in A Letter to Three WivesJuly 12, 2019 at 1:53 pm #1202972803
Hill House – one of the most overpraised show on these forums. Stylish it is – rest is meh. Am I the only one who didn’t think the show made a lot of sense? Where was the horror? Eventually there was none. Hope it will be deservedly shut out come nominations day.July 11, 2019 at 12:04 pm #1202971131
Am I the only one who thinks the title of the season is incredibly misleading? I was expecting some Big Brother, big politics, paranoia and surveillance society season yet it’s about horror films of the 80s. Don’t get me wrong – great theme – but 1984 is Orwell.