Friday, March 2, 2018

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The 1982 Retro Hollmann Awards, Part Two

Yesterday, Victor/Victoria and Poltergeist led the pack with two wins each out of the nine categories. Today, we conclude our trip back to 1982. Again, check out the 1982 Retro Hollmann Awards Nominations and Top Ten for more context.

Now - on with the show!

Best Editing

The Best Little Whorehouse in Texas
David Bretherton / Nicholas Eliopoulos / Walt Hannemann / Pembroke J. Herring / Jack Hofstra

2. Tootsie; 3. The Road Warrior; 4. The Long Good Friday; 5. Edo Porn

Everything hits at the right time in The Best Little Whorehouse in Texas: every dance step, musical sting, double entendre. It takes its time for "Hard Candy Christmas" and the date night between Mona and Ed Earl, then ramps up the energy for "The Aggie Song", "Little Bitty Pissant Country Place" and the encounter between Ed Earl and Melvin P. Thorpe. Not a wasted moment.

In second, the laughs and confusion of Tootsie. In third, the high-speed action of The Road Warrior. In fourth, the violence of The Long Good Friday. In fifth, the erotic exuberance of Edo Porn.

Best Original Song

1. Victoria/Victoria - "Le Jazz Hot"
music by Henry Mancini
lyrics by Leslie Bricusse

2. Victor/Victoria - "Crazy World"
music by Henry Mancini
lyrics by Leslie Bricusse

3. Cat People - "Cat People (Putting Out Fire)"
music by Giorgio Moroder
lyrics by David Bowie

4. The Best Little Whorehouse in Texas - "Sneakin' Around"
music and lyrics by Dolly Parton

5. Fast Times at Ridgemont High - "Somebody's Baby"
music and lyrics by Jackson Browne & David Kortchmar

Best Supporting Actress 
Sudie Bond as Juanita
Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean

2. Audra Lindley in Best Friends; 3. Jessica Tandy in Best Friends; 4. Glenn Close in The World According to Garp; 5. Kanako Higuchi in Edo Porn

Sudie Bond feels like she was born in that five and dime, already aged 70, relishing her weariness. She's a fixed presence, both reassuring and annoying. Bond doesn't overplay the cracks in her facade, either - when confronted with some ugly truths about her beloved late husband, she shuts down, lashes out, and doesn't seem to have taken any of it in - but we know she knows. She just didn't think anyone else did, or if so, would at least be decent enough not to tell her. Love that Bond and Altman make sure Juanita doesn't fully come around to things she earlier objects to; she may be an open-hearted woman, but she's got her ways, and she likes it that way.

In second, Audra Lindley's barely-disguised Southern feelings. In third, Jessica Tandy's confusion. In fourth, Glenn Close's calm confidence. In fifth, Kanako Higuchi's two roles: the knowing, cunning prostitute and the wide-eyed, naive fangirl.

Best Original Screenplay
Making Love
Barry Sandler
story by A. Scott Berg

2. Tootsie; 3. Lola; 4. The Long Good Friday; 5. Best Friends

As I said before: I recognized the people in this movie; I recognized the situations, too, right down to getting cold feet while cruising. It's genuine, respectful, empathic, and all around wonderful.

In second, Tootsie's sex politics and showbiz send-up. In third, Lola's wicked morality. In fourth, The Long Good Friday's twisty crime drama. In fifth, Best Friends' comic family dynamics.

Best Adapted Screenplay
The Best Little Whorehouse in Texas
Larry L. King & Peter Masterson and Colin Higgins
based on the musical play by Larry L. King & Peter Masterson

2. The Thing; 3. Victor/Victoria; 4. Edo Porn; 5. Fast Times at Ridgemont High

Gone are all the subplots focusing on the actual workers of the whorehouse; in its place is a larger focus on the romance between Miss Mona and Sheriff Ed Earl Dodd, a story so fully realized, you can hardly believe it wasn't the central plot from the very beginning! Funny and sexy, with easy transitions from book to song.

In second, The Thing ratchets up the paranoia. In third, Victor/Victoria serves up wit. In fourth, Edo Porn artfully tells two tales: that of a struggling middle-aged man, and his success fifty years later. In fifth, Fast Times at Ridgemont High takes high school as it is: serious, and simultaneously not so.

Best Director
Blake Edwards

2. Kaneto Shindo for Edo Porn; 3. John Carpenter for The Thing; 4. Rainer Werner Fassbinder for Lola; 5. Sidney Lumet for The Verdict

I'm impressed with every element of Victor/Victoria. Edwards has made a convincingly sophisticated musical-comedy, refreshingly open to all forms of romance, and so breezy about it all! This is the polish of a veteran who knows the work: you can't imagine him breaking a sweat, yet you feel the real passion for the story in every frame. Thoughtful, funny, a damn good time.

In second, Shindo's witty tribute to creativity. In third, Carpenter's tightening noose of fear. In fourth, Fassbinder's wicked sense of humor - and morality. In fifth, Lumet's superlative story-telling.

Best Actress
Julie Andrews as Victoria Grant / Count Victor Grazinsky

2. Barbara Sukowa in Lola; 3. Yûko Tanaka in Edo Porn; 4. Dolly Parton in The Best Little Whorehouse in Texas; 5. Jessica Lange in Frances

Victor/Victoria just doesn't work without Julie Andrews. Watch "Le Jazz Hot" above and listen to that final note! Then actually watch the movie, where you'll see Andrews as Victor channeling a twink sophisticate flawlessly. The voice, the posture, the mannerisms - contrast that with her looser, more Lucy Ricardo-esque take on Victoria. Like I said before: "You may not be fooled, but you will be convinced."

In second, Barbara Sukowa's throaty, raw, ambitious prostitute. In third, Yûko Tanaka's take-charge daughter. In fourth, Dolly Parton's firecracker madame. In fifth, Jessica Lange's ferocious independence.

Best Actor
Dustin Hoffman as Michael Dorsey/Dorothy Michaels

2. Bob Hoskins in The Long Good Friday; 3. Peter O'Toole in My Favorite Year; 4. Burt Reynolds in The Best Little Whorehouse in Texas; 5. Paul Newman in The Verdict

As I said before: Great as chauvinist Michael and maternal Dorothy, and lets us see how each complements the other. ... Hoffman nails the comedy and the reality. And his manic live show monologue is one of the best scenes of the year.

In second, Bob Hoskins' over-confident gangster. In third, Peter O'Toole's alcoholic matinee idol. In fourth, Burt Reynolds' tough and romantic sheriff. In fifth, Paul Newman's alcoholic ambulance chaser.

Best Picture
Tony Adams / Blake Edwards

2. The Best Little Whorehouse in Texas; 3. Making Love; 4. Edo Porn; 5. Tootsie
6. Lola; 7. The Thing; 8. The Long Good Friday; 9. Best Friends; 10. The Verdict

The greatest surprise of 1982 was how gay everything was: Making Love, Personal Best, even the camp appeal of The Best Little Whorehouse in Texas. But Victor/Victoria stood out, not just for the quality of the production, but for focusing in on sexuality and gender while easily waving away our prejudices and precepts of both. But I don't proclaim it Best Picture just because it's gay; I proclaim it Best Picture because it's great, because it touched me as crowd-pleasing entertainment and as a serious piece of art.

And there you have it! Victor/Victoria walks away with six Hollmann Awards, including Best Picture! Two awards each for The Best Little Whorehouse in Texas, Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean, and Poltergeist! And one apiece for Blade RunnerLola, Making Love, QuartetThe Thing and Tootsie. A special congrats to Julie Andrews, Dustin Hoffman, Henry Mancini, Leslie Bricusse, and Rob Bottin, all of whom are previous winners!

I'm hoping to do a few more retrospectives this year: one more from the 80s, maybe a couple from the 90s and a few from the 60s? You'll find out soon enough.

Tomorrow, my predictions for this year's Oscars - they're Sunday you know!

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