The Winners of the 1962 Retro Hollmann Awards

Wrapping things up with the winners of the 1962 Retro Hollmann Awards. Make sure you refer back to the nominations for full context, as well as the Top Ten for further insight.

Let us begin:

Best Ensemble

The End of Summer

2. Long Day's Journey Into Night; 3. The Connection; 4. Billy Budd; 5. Victim

Every character, no matter how brief their turn, is perfectly performed. Not just the sisters and their father, but the aunt who shows up in two scenes, the mistress's daughter and her American boyfriend, the potential suitor, the woman who runs the bar, the two farmers at the end: all of them have their own stories happening off-screen, and the glimpse we get makes them just as compelling as our leads.

The remaining 17 categories after the jump...

Nominees for the 1962 Retro Hollmann Awards

I screened 69 movies for the 1962 retrospective:

Advise & Consent

Billy Budd

Billy Rose's Jumbo

Birdman of Alcatraz

Blast of Silence

Bon Voyage!

The Cabinet of Caligari

Cape Fear

The Case of Patty Smith

Carnival of Souls

The Connection

Confessions of an Opium Eater

Creature from the Haunted Sea

Damn the Defiant!

David and Lisa

Days of Wine and Roses

Divorce Italian Style

Electra

The End of Summer

Experiment in Terror

Eyes Without a Face

Fallguy

A Flame in the Streets

Freud

Gigot

Girls! Girls! Girls!

Hatari!

Horror Hotel

In Search of the Castaways

The Interns

Jack the Giant Killer

Jules and Jim

Last Year at Marienbad

Lawrence of Arabia

Lolita

Long Day's Journey Into Night

The Longest Day

The Man Who Shot Liberty Valance

The Manchurian Candidate

The Miracle Worker

Mr. Arkadin

Mr. Hobbs Takes a Vacation

Mothra

Murder She Said

The Music Man

Mutiny on the Bounty

Peeping Tom

Period of Adjustment

Phaedra

The Phantom of the Opera

Premature Burial

The Road to Hong Kong

Satan Never Sleeps

State Fair

Sweet Bird of Youth

Tales of Terror

Taras Bulba

A Taste of Honey

Tender is the Night

That Touch of Mink

Through a Glass Darkly

To Kill a Mockingbird

Tower of London

Two for the Seesaw

Victim

A View from the Bridge

Walk on the Wild Side

What Ever Happened to Baby Jane?

The Wonderful World of the Brothers Grimm

From that batch of films comes this slate of nominees - 32 films in 18 categories, all after the jump:

My Top Ten of 1962

A month late it may be, but I think that extra reflection gave me a more accurate read on which movies really knocked my socks off. Some faded a little after the initial excitement, while others that just wouldn't leave me be. Apologies to the nine that just missed out: Blast of Silence, The Connection, In Search of the Castaways, The Man Who Shot Liberty Valance, The Miracle Worker, Mr. Hobbs Takes a Vacation, Mothra, Phaedra, and Taras Bulba.

Now, without further blah-blah: my top ten films of 1962, in alphabetical order:

Cinema '62: Best Picture

And here we have it - the finale! The nominees for Best Picture of the Year are:

Cinema '62: Best Actor

This is my last post on a Peter O'Toole Oscar nomination! I've managed to watch them all, my thoughts on each are linked below (except for Venus, which I think I reviewed on my long-defunct LiveJournal; at the first-ever Hollmann Awards, its one acting nomination went to Leslie Phillips in Supporting). Naturally, I saved his first for last, because...well, that's just the way it worked out.

Indeed, I've managed to discuss all these actors before. They are favorites of Oscar: a total of 28 nominations, an average of 5.6 noms per actor! Not that those always translated to wins: only four statues among all five, and two of them were Jack Lemmon's. Still, compare that to 1962's Supporting Actor, a five-wide race of one-and-doners; or Supporting Actress, where both first-time nominees were also one-time nominees; or Lead Actress, where...oh, we're talking about that tomorrow. 

In the meantime, the nominees for Best Actor:

Cinema '62: Best Original Score

Each category always seems to have one lone nominee, the sole representative of a film that, perhaps, had greater Oscar dreams. I'm sure the lone nominee in this category had higher aspirations: Taras Bulba.

Based on the novel by Nikolai Gogol, Taras Bulba is the story of a family. Taras is a proud Cossack, a ferocious military leader, an enemy of the Poles, a friend as well a father to his sons. His sons Andriy and Ostap are educated in Kyiv, where Andriy falls in love with a Polish noblewoman. This leads to some tensions when the Cossack take arms against the Polish government. Exciting battle scenes, with so many horses, extras, and pyrotechnics, you'll thrill even as you worry for everyone's safety! A bear pit! Lots of drinking and singing! Great performances!

And, of course, a sweeping, epic score - let's discuss further:

Cinema '62: Best Adapted Screenplay

All five Best Picture nominees were adaptations, yet the Adapted Screenplay category is a better side-by-side match with Best Director. The only exception is Divorce Italian Style, an original screenplay, which we'll discuss later. Otherwise, all the best-directed films also appear to be among the best-written, with Lolita in the fifth slot.

"How did they ever make a movie of Lolita?" That was the original ad copy, and it was a fair question - this was, after all, the controversial novel about a middle-aged pedophile defending his lust for his stepdaughter. The discerning reader can see Nabakov's disdain for his subject, as well as his distress at the elements that enable their exploitation. And he does it all with a dark, sly sense of humor - Stanley Kubrick proved a perfect match for that sensibility.

Anyway, the nominees:

Cinema '62: Best Director

Although we've seen this before, rare indeed is the Best Director lineup where the majority of nominees are representing films not nominated for Best Picture. Indeed, I believe since the category went five-wide in 1936, three lone directors have only occurred five times: 1954, 1955, 1962, 1963, 1966. Curious that they're all within a 12-year span, coinciding with the winnowing-away of the Hays Code and the growing appreciation for international cinema. 

The lone directing nominees here represent David and Lisa, a drama about youths in a residential home for mental health issues; Divorce Italian Style, an Italian comedy about a man who plots the death of his wife so he can seduce his teenage cousin; and The Miracle Worker, a surprise Best Picture snub, about Anne Sullivan teaching Helen Keller how to communicate. The directors "snubbed" are The Longest Day's triumvirate of Ken Annakin, Andrew Marton, and Bernhard Wicki (with significant though uncredited contributions from Gerd Oswald and Darryl F. Zanuck); The Music Man's Morton DaCosta; and Mutiny on the Bounty's Lewis Milestone (with uncredited filming from Carol Reed, who was fired mid-production). Here's who made it:

Cinema '62: Best Supporting Actor

Yesterday, we looked at the Adapted Scores of 1962. Today, it's the Best Supporting Actor lineup. All of these actors were here for the first time; none of them would be back for a second nomination (although...one of them still could, one day). We'll talk about many of these films again, but there is one film for which this was the lone nomination: Billy Budd.

Have you seen Billy Budd, co-written and directed by Peter Ustinov, adapted from the novel by Herman Melville and a play by Louis O. Coxe and Robert H. Chapman? It's a beautifully done movie whose conversations about interpreting justice, shortcomings of the law, and the decision to believe in and behave the best in the face of the worst could be dull or didactic; instead, the intelligent screenplay and complex performances make for an exciting two hours. Good year for boat films!

The nominees:

Casting Coup: Lawrence of Arabia

*Oh, man, this is so funny. I call Alec Baldwin under-appreciated, I ask if Javier Bardem is going to win the Oscar, and I even use the phrase "whatever happened to..." in regards to Colin Firth. These are just three cast members in my remake of Lawrence of Arabia. I hadn't looked at this in a long time, but I like it. I don't think I'd change it at all.*

CASTING COUP MONTH finally gets to all-male epics, proving you don't need romance to be a great movie.

Lawrence of Arabia came out the same year as the first Bond flick, Dr. No. Clearly, 1962 was a bad-ass year, as this was also the time of To Kill a Mockingbird and Whatever Happened to Baby Jane?.

The film is a legend, and rightly so. First of all, despite its three hour-plus length, it goes by quickly and leaves you wanting more. It's the movie that made Peter O'Toole a star, and Lord knows that can never be considered a sin. And also, Anthony Quinn, Anthony Quinn, Anthony Quinn. HE IS AMAZING.

Let's just say it scored big at the Oscars. That it almost made Oscar its sobbing bitch. Can we say that? I think so. After all, it was nominated for ten Academy Awards, winning seven. Film Editing went to Anne Coates (well-earned), Sound to John Cox (thumbs up), Art Direction to John Box, John Stoll and Dario Simoni (hell yes), Score to Maurice Jarre (THERE IS NO GREATER SCORE IN ALL OF HUMANITY), Cinematography to Fred A. Young (of course), Direction to David Lean (he has a BAFTA named for him--that's how bad-ass he is), and Best Picture of the Year. Which it undoubtedly was.

Yet much is made of its losses. Not that people complain--that's the remarkable thing. Well, okay, some people want to crucify Ed Begley (Sweet Bird of Youth) for beating out Omar Sharif for Best Supporting Actor, but I can't judge that myself. I should, however, say whether or not I agree Horton Foote (To Kill a Mockingbird) beating out Robert Bolt in the Adapted Screenplay category, or if I'm pissed about Peter O'Toole losing Best Actor to Gregory Peck for To Kill a Mockingbird.

And yet, I can't. Both films are too dear to me, too close to my heart for me to really give an opinion. This much I'll say: Lawrence of Arabia is getting the casting coup treatment.

GENERAL SIR ARCHIBALD MURRAY
Who is He: A real character. Not liked by his troops, he commands from Cairo as opposed to getting down and dirty in the field. He sends Lawrence to Arabia.

Originally played by: Donald Wolfit


My Choice: Willing to put up a British stiff upper lip, despite his Australian-ness.

Academy Award Winner Geoffrey Rush (Shine, Shakespeare in Love)


JACKSON BENTLEY
Who is He: A fictional character. An American reporter, Bentley follows Lawrence throughout his military career and becomes disenchanted and cynical with the whole charade. Based on Lowell Thomas, who liked Lawrence.

Originally played by: Academy Award Nominee Arthur Kennedy (Champion, Bright Victory, Trial, Peyton Place, Some Came Running)


My Choice: Yes, he is underappreciated.

Academy Award Nominee Alec Baldwin (The Cooler, The Cat in the Hat)


MR. DRYDEN
Who is He: A fictional reporter. A politician who looks at things with a dry, amused demeanor. Kind of prickish, but he's looking at the Arab Situation from a London/civilian/political point of view.

Originally played by: Academy Award Nominee/God among men Claude Rains (Mr. Smith Goes to Washington, Casablanca, Mr. Skeffington, Notorious)


My Choice: One with more luck, Oscar-wise.

Academy Award Winner Anthony Hopkins (The Silence of the Lambs, Elephant Man)


COLONEL BRIGHTON
Who is He: A fictional character. Admires Lawrence, but is a little repulsed by his showboating. Does not get along with the Arabs. David Lean called him "the only honorable character".

Originally played by: Academy Award Nominee Anthony Quayle (Anne of the Thousand Days)


My Choice: Where did this guy go?

Colin Firth (Love Actually, The Importance of Being Earnest)


TURKISH BEY
Who is He: A character who may or may not be real. Lawrence said yes, historians said they don't think so. Anyway, he captures and tortures Lawrence.

Originally played by: Academy Award Winner Jose Ferrer (Cyrano de Bergerac)


My Choice: Another Latin man, to keep with tradition.

Academy Award Nominee (Winner?) Javier Bardem (No Country for Old Men, Before Night Falls)


GENERAL LORD EDMUND ALLENBY
Who is He: A real character. Manipulative and cold, Allenby gets Lawrence involved for military glory. In real life, they were apparently great friends.

Originally played by: Jack Hawkins


My Choice:

Academy Award Winner Jim Broadbent (Iris, Moulin Rouge!)


AUDA ABU TAYI
Who is He: A real character. A Bedouin tribe leader, he helps Lawrence in Arabia, but lets blood-feuds and greed control him. The best fucking character in the movie.

Originally played by: Academy Award Winner Anthony Quinn (Viva Zapata!, Lust for Life)


My Choice: An actor of actual Middle Eastern descent!

Shaun Toub (Crash, Iron Man)


PRINCE FEISAL
Who is He: A real character. Royalty, obviously. He fights against the Ottomans, and happens to be a direct descendant of Mohammed. He wanted the Arab countries to be united and independent of the imperialists.

Originally played by: Academy Award Winner Alec Guinness (The Bridge on the River Kwai)


My Choice: Actually, this guy played Prince Feisal in the 1990 TV movie Lawrence After Arabia.

Alexander Siddig (Syriana, Poirot: Cards on the Table)


SHERIF ALI
Who is He: A fictional character. He is a loyal adviser/friend/companion to Lawrence, but is able to see him for what he truly is, and not just as some sort of deliverer.

Originally played by: Academy Award Nominee Omar Sharif (Lawrence of Arabia)


My Choice: Come on. Who the fuck else?

Naveen Andrews ("Lost", The Brave One)


T.E. LAWRENCE
Who is He: The guy who tried to unite the Arabs. A kick-ass Brit with little humility and much fighting skills.

Originally played by: Academy Award/Hollmann Nominee Peter O'Toole (Lawrence of Arabia, Becket, The Lion in Winter, Goodbye Mr. Chips, The Ruling Class, The Stunt Man, My Favorite Year, Venus, Ratatouille)


My Choice: In a perfect world?

But since he's at least five years too old for the part...

Academy Award Nominee Jude Law (Cold Mountain, The Talented Mr. Ripley)


And there you have it. I think it's relatively good. But what do you think?