1960 Alternate Oscars

My choices are noted with a ★. A tie is indicated with a ✪. Historical Oscar winners are noted with a ✔. Best foreign-language picture winners are noted with an ƒ. A historical winner who won in a different category is noted with a ✱.

Alternate Oscars: Best Picture and Director of 1960 (Re-Do)

My favorite movie of 1960 is The Apartment, closely followed by The Magnificent Seven, but after much to-ing and fro-ing, I finally decided Psycho was the best picture of the year because if you make a stabbing motion with your hand and go "ekk-ekk-ekk" nearly any movie fan will know what you're talking about. There's no other movie from 1960 with that kind of impact on the culture.

But I went with Jean-Luc Goddard for best director because Breathless had the biggest impact on the movies. Basically, every time you see a movie or television show shot with a hand-held camera, you're looking at Breathless ...

Note: I originally had La Dolce Vita down as a 1960 movie — which made sense since I have been nominating foreign movies (including British movies) in the year they were released in their home country while nominating Hollywood movies in the year they were Oscar eligible.

But then I wound up nominating Sophia Loren for best actress in 1961 even though the movie Two Women was released in its home country in 1960 — she won the Oscar for best actress in 1961, the first time an actor or actress won a competitive Oscar and that seemed like reason enough to make an exception.

So I've decided the same rule should apply for La Dolce Vita, which was a big hit in Europe in 1960 but which won an Oscar for best costume design and received three other nominations, including best director, in 1961. It's a great movie that might otherwise go to waste in 1960, so to 1961 it goes.

As I've said before, the real point of this exercise is to create a God's-eye view of the history of movies — what was going on at a particular moment, who was influencing what — rather than an Academy-eye view of what the marketplace deemed worthy of releasing in Los Angeles in a given year. Which is tough to pull off because I'm not God.

Anyway, I'm making an exception in this case if for no other reason than to prove that I can.

My choices are noted with a ★. A tie is indicated with a ✪. Historical Oscar winners are noted with a ✔. Best foreign-language picture winners are noted with an ƒ. A historical winner who won in a different category is noted with a ✱.

1960 Alternate Oscars

My choices are noted with a ★. Historical Oscar winners are noted with a ✔. Best foreign-language picture winners are noted with an ƒ.

Roger Ebert called Jean-Luc Godard's Breathless the greatest movie debut by a director since Orson Welles's Citizen Kane and went so far as to say, "Modern movies begin here."

Thus, Godard's nod for best director.

The Katie-Bar-The-Door Awards (1960)

Norman has mother issues. Well, don't we all. At least he can keep his in the fruit cellar.

PICTURE (Drama)
winner: Psycho (prod. Alfred Hitchcock)
nominees: Inherit The Wind (prod. Stanley Kramer); The Magnificent Seven (prod. John Sturges); Peeping Tom (prod. Michael Powell); Spartacus (prod. Edward Lewis)

PICTURE (Comedy/Musical)
winner: The Apartment (prod. Billy Wilder)
nominees: The Little Shop of Horrors (prod. Roger Corman); Ocean's Eleven (prod. Lewis Milestone); Where The Boys Are (prod. Joe Pasternak)

PICTURE (Foreign Language)
winner: À bout de souffle (Breathless) (prod. Georges de Beauregard)
nominees: L’Avventura (prod. Amato Pennasilico); La Dolce Vita (prod. Giuseppe Amato and Angelo Rizzoli); Jungfrukällan (The Virgin Spring) (prod. Ingmar Bergman and Allan Ekelund); Rocco e i suoi fratelli (Rocco and His Brothers) (prod. Goffredo Lombardo); Le Trou (prod. Serge Silberman); Les yeux sans visage (Eyes Without A Face) (prod. Jules Borkon)

ACTOR (Drama)
winner: Anthony Perkins (Psycho)
nominees: Ralph Bellamy (Sunrise at Campobello); Jean-Paul Belmondo (À bout de souffle a.k.a. Breathless); Yul Brenner (The Magnificent Seven); Kirk Douglas (Spartacus); Albert Finney (Saturday Night and Sunday Morning); Burt Lancaster (Elmer Gantry); Steve McQueen (The Magnificent Seven); Spencer Tracy (Inherit the Wind)

ACTOR (Comedy/Musical)
winner: Jack Lemmon (The Apartment)
nominees: Jerry Lewis (The Bellboy and Cinderfella); Marcello Mastroianni (La Dolce Vita)

ACTRESS (Drama)
winner: Jean Simmons (Elmer Gantry)
nominees: Marie Dubois (Tirez sur le pianiste a.k.a. Shoot The Piano Player); Greer Garson (Sunrise at Campobello); Wendy Hiller (Sons and Lovers); Deborah Kerr (The Sundowners); Sophia Loren (La ciociara a.k.a. Two Women); Jean Seberg (À bout de souffle a.k.a. Breathless); Monica Vitti (L’Avventura)

ACTRESS (Comedy/Musical)
winner: Shirley MacLaine (The Apartment)
nominees: Doris Day (Please Don't Eat The Daisies); Melina Mercouri (Pote tin Kyriaki a.k.a. Never On Sunday); Paula Prentiss (Where The Boys Are)

DIRECTOR (Drama)
winner: Alfred Hitchcock (Psycho)
nominees: Michelangelo Antonioni (L'Avventura); Ingmar Bergman (Jungfrukällan a.k.a. The Virgin Spring); Jean-Luc Godard (À bout de souffle a.k.a. Breathless); John Sturges (The Magnificent Seven)

DIRECTOR (Comedy/Musical)
winner: Billy Wilder (The Apartment)
nominees: Jules Dassin (Pote tin Kyriaki a.k.a. Never On Sunday); Federico Fellini (La Dolce Vita)

SUPPORTING ACTOR
winner: Laurence Olivier (Spartacus)
nominees: Charles Bronson (The Magnificent Seven); James Coburn (The Magnificent Seven); Jack Kruschen (The Apartment); Charles Laughton (Spartacus); Fred MacMurray (The Apartment); Peter Ustinov (Spartacus); Renato Salvatori (Rocco e i suoi fratelli a.k.a. Rocco and His Brothers)

SUPPORTING ACTRESS
winner: Shirley Jones (Elmer Gantry)
nominees: Anouk Aimée (La Dolce Vita); Anita Ekberg (La Dolce Vita); Annie Girardot (Rocco e i suoi fratelli a.k.a. Rocco and His Brothers); Glynis Johns (The Sundowners); Janet Leigh (Psycho)

SCREENPLAY
winner: Billy Wilder and I.A.L. Diamond (The Apartment)
nominees: Joseph Stephano, from the novel by Robert Bloch (Psycho); Dalton Trumbo, from the novel by Howard Fast (Spartacus)

SPECIAL AWARDS
Elmer Bernstein (The Magnificent Seven) (Score); Alexandre Trauner and Edward G. Boyle (The Apartment) (Art Direction-Set Decoration); George Tomasini (Psycho) (Film Editing)

That's Typing Tuesday #1: An Introduction

I was chatting this last weekend with Thingy over at Pondering Life—she says she's hit a bit of a dry spell recently, blog-wise (not so's you'd notice, but I'll take her word for it), and she got to wondering what other bloggers do, whether they bank up a supply of future posts to dip into or just ride out the storm.

Me, I type up notes on movies as I think of them, but I never polish anything in advance, which is why I tend to break those long essays into six parts—otherwise, I'd wind up posting once a month. The problem for me is I have some 50,000 words worth of notes (more than a hundred typed pages) that I'm unlikely ever to get to, fragments about Hitchcock, Capra, Cary Grant, etc.

So Thingy suggested that once a week I post one of these random, unpolished fragments. Okay, I will. We'll call it "That's Typing Tuesday," from Truman Capote's famous quote—"That's not writing, that's typing"—about the novel On The Road. Which may not have been a fair reading of Jack Kerouac but is certainly a fair description of what I'll be offering up—not only future movie posts, but poems, fiction, grocery lists, what have you.

I tend to think in phrases and ellipses, which I later fill in with something we like to call grammar. Grammar will not be much in evidence here on Tuesdays. Neither will tact, which I insert along with the grammar. These are unedited thoughts transferred directly from my frontal lobes to my word processor and now to my blog. Don't choke on it.

To give you a taste of what's to come, here are the four fragments I shared with Thingy on her blog:

Cary Grant (North By Northwest)
ad man ... expedient lie—thinks it's amusing ... floats above life, untouched by it ... "rot" ... Roger O. Thornhill— "O" for "nothing" ... the CIA (or is it the FBI? "We're all part of the same alphabet soup.") teaches him the hard way the real consequences of the "expedient" lie ... and thus underneath all the movement and brilliant action sequences is the story of a man discovering he actually gives a damn ...

The Apartment
... I've read some complaints that the happy ending is contrived and tacked on, to which I say if you want to see a man sell his soul for a career in mid-level management, don't bother buying a theater ticket, just go to the office on Monday. There are millions of those guys walking around, and some of them are selling their souls for a whole lot less than a corner office with three windows. Movies—the ones we remember beyond a single award season—get made about the one in a million guy, whoever he is, and that's as it should be.

Psycho And The Problem Of Endings
I think Hitchcock was reacting to the critical and commercial drubbing Vertigo took ... "You want me to spell it out for you?" he seems to be saying, "I'll spell it out until you're begging me to stop" ... and he just keeps going and going, belaboring the issue long past the point where we care, and then he goes some more, just so Alfred Hitchcock can give his audience the finger.

It's the one significant flaw in an otherwise perfect movie ...
Psycho
Norman has mother issues. Well, don't we all. At least he can keep his in the fruit cellar.

In the future, you'll get one fragment. One fragment only, Vasili.

Next Tuesday: The Sound of Music

Postscript: I finished the final part of my essay about the films of 1915 last night, but too late to post it. I guess I could have posted it this morning, but you can't very well start a series called "That's Typing Tuesday" on Wednesday. So the 1915 essay gets pushed back, to either this afternoon or tomorrow morning.