The Best Picture nominees of 1985:
Showing posts with label John Foreman. Show all posts
Showing posts with label John Foreman. Show all posts
Wednesday, June 30, 2021
Saturday, August 17, 2019
Day Ten: Best Picture, 1969
I mentioned it in last month's 1968 retrospective - '67 was the announcement of New Hollywood, '68 was the last gasp of Old Hollywood...and '69 is where '67 paid off.
Even Anne of the Thousand Days, a prime example of Royal Melodrama, puts such an emphasis on sex and semen that it could only have been touched by a major studio in this period (well...unless Otto Preminger had his hands on it). Even the Western, Butch Cassidy and the Sundance Kid, is a hangout buddy flick with a decidedly non-western score, unorthodox romantic trio, and a fare-thee-well to the genre. Even the standard Liberal Cause Drama is the cynical, French-language, Socialist-sympathizing Z. Only Hello, Dolly! actually stands as a prime example of the Big Studio Musical, albeit with some anarchic twists. And Midnight Cowboy...well, hell, ain't nothing like Midnight Cowboy. Maybe that's why it won:
The nominees, after the jump...
Even Anne of the Thousand Days, a prime example of Royal Melodrama, puts such an emphasis on sex and semen that it could only have been touched by a major studio in this period (well...unless Otto Preminger had his hands on it). Even the Western, Butch Cassidy and the Sundance Kid, is a hangout buddy flick with a decidedly non-western score, unorthodox romantic trio, and a fare-thee-well to the genre. Even the standard Liberal Cause Drama is the cynical, French-language, Socialist-sympathizing Z. Only Hello, Dolly! actually stands as a prime example of the Big Studio Musical, albeit with some anarchic twists. And Midnight Cowboy...well, hell, ain't nothing like Midnight Cowboy. Maybe that's why it won:
The nominees, after the jump...
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