2013 Alternate Oscars

If you haven't seen it, Gravity is the story of an astronaut (Sandra Bullock) who is marooned in space after a catastrophe destroys her ship and kills her crewmates. Armed with nothing but her wits, a spacesuit and the oxygen on her back, she makes one harrowing leap after another into the unknown, searching for a way home before she runs out of air or burns up in the atmosphere.

That's the plot.

What it's about, though, is a woman who's been marking time since the death of her daughter, drowning in a pool of grief she can't escape. Sure, she's still active — she's an astronaut, fer Chrissake! — but she's going through the motions. Now, however, thanks to circumstances beyond her control, she has to make a choice whether she's going to get on with her life or join her daughter in the great beyond.

If you did this same story starring a woman sitting in a silent room with a ticking clock, the critics would lap it up with a spoon, but nobody would watch it. Put her in a spacesuit and play out her therapy while she's gasping for oxygen? Now you've got something.

It's like that show from a while back about a middle-aged man with mother issues who pours out his soul to his psychiatrist every week. Pretty dull stuff, right? But make him a gangster, call him Tony Soprano? The rest is television history.

All the great ones — Chaplin, Ford, Hawks, Wilder, Hitchcock, Spielberg, Tarantino, Gerwig — knew how to wrap a tasty doggie treat around the bitter pill of truth they were feeding you.

The late great Stanley Kubrick — who was absolutely never accused by anyone of being a corporate shill — once had this to say about the practical need to put the "popular" in "popular entertainment":

"However serious your intentions may be, and however important you think are the ideas of the story, the enormous cost of a movie makes it necessary to reach the largest potential audience for that story, in order to give your backers their best chance to get their money back and hopefully make a profit. No one will disagree that a good story is an essential starting point for accomplishing this. But another thing, too, the stronger the story, the more chances you can take with everything else."

Remember that the next time you're tempted to dismiss something as "merely" entertaining. Entertaining is what puts butts in the seats and make everything else possible.

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. Best animated feature winners are noted with an @. A historical winner who won in a different category is noted with a ✱.

1971 Alternate Oscars

I know some of you are big fans of A Clockwork Orange. I wish I shared your enthusiasm.

It's not that the film expects me to root for an empty-headed sociopath like Alex (Malcolm McDowell) or that I object to the film's muddled message — that in a free society, individual liberty should trump collective responsibility even when the individual in question is cheerfully guilty of rape and murder — it's the film's slack narrative pace. Somehow Stanley Kubrick has stuffed three hours of boredom into a two hour package. I never fail to check my watch, something you should never feel the need to do when watching a movie.

And this from a guy who thinks 2001: A Space Odyssey — a virtually silent film that moves so slowly, it practically runs in reverse — is one of the most exciting movies ever made.

As Roger Ebert wrote in panning A Clockwork Orange during its original run, the film commits an "unforgivable, artistic sin. It is just plain talky and boring. You know there's something wrong with a movie when the last third feels like the last half."

But maybe that's just him and me.

Instead, I voted for The Last Picture Show, a modern Western based on Larry McMurty's novel about teenagers coming of age in a small Texas town on the raggedy edge of nowhere. Nothing muddled about its message: You can either waste your life trying to live up to a myth that wasn't worth living in the first place or you can learn how to be a human being — but you can't do both so make up your mind before it's too late.

Far and away director Peter Bogdanovich's best work. Stars Jeff Bridges, Ellen Burstyn, Eileen Brennan, Cybill Shepherd, Timothy Bottoms. Features Oscar-winning turns by Ben Johnson and Cloris Leachman. Great movie, highly recommended.

Finally, I also want to mention the Academy's choice for best picture, The French Connection. It's the story of Popeye Doyle (Gene Hackman), a deeply-flawed cop obsessed with nailing a dapper French importer of high-grade heroin (played, thanks to a famous casting blunder, by Fernando Rey, a Spanish actor who spoke no French).

It's a good movie and boasts Hackman's most iconic performance, but if you haven't seen it (or haven't seen it lately), I strongly urge you to skip the version of it currently streaming within U.S. borders. The film's owner, Disney, is only showing a censored copy (even on the Criterion Channel!) excising a scene establishing Popeye's undeniable racism.

I don't know whether Disney's decision was driven by left-wing censors who want past works of art to reflect modern sensibilities; or by right-wing censors who want to stamp out any hint that Black Lives Matter might just have a point. Either way, they remind me of those (no doubt, apocryphal) Victorian prigs who put pantaloons on piano legs for fear that the instrument's shapely curves might inspire lustful habits.

I suggest you get thee hither to your local library and check out an old-school Blu-ray or even older school DVD. If your town still has a library, that is. The Puritans are everywhere — and they're coming for you!

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 ✱.

Sergio Leone and the Infield Fly Rule Revisited

One of my favorite bloggers, Dennis Cozzalio of Sergio Leone and the Infield Fly Rule, has seemingly gone silent. It's been nearly two years since his last post which means no more of those semi-annual movie quizzes I always enjoyed. So in lieu of something new, I decided to revisit a few questions from old quizzes I'd answer differently this time around.

In the order I rediscovered the questions:

A Clockwork Orange — yes or no?

I avoided answering the question the first time around — too many fans of Kubrick read my blog. This time, I will unequivocally say No. I saw it back in the day, saw it again at a revival theater with Katie-Bar-The-Door, then watched it yet again for this blog, and found myself checking my watch every time, begging for it to end. I feel that way about every movie Stanley Kubrick directed after 2001: A Space Odyssey (conversely, I love his movies up through 2001. Did something happen? Did acclaim happen? Did he no longer feel in any way compelled to engage his audience?)

Favorite actress of the silent era

Mary Pickford, followed closely by Louise Brooks. Three to see starring Mary Pickford: The Poor Little Rich Girl, Stella Maris, My Best Girl.

Favorite first line from a movie

Is a guitar chord an opening line? Because the opening chord of A Hard Day's Night sucks me into the movie every time.

Other contenders: William Holden's opening monologue while floating face down in a swimming pool (Sunset Boulevard), Julie Andrews singing "The hills are alive ..." (The Sound of Music), George C. Scott's rousing speech in Patton, Jack Nicholson's cynical world-weary introduction in Chinatown ("All right, Curly, enough's enough. You can't eat the Venetian blinds. I just had 'em installed on Wednesday."), the clop-clopping of the coconuts in Monty Python and the Holy Grail, the voice over in Apocalypse Now ("Saigon. Shit. I'm still only in Saigon."), the "Chapter One" business in Manhattan, Danny DeVito's voice over in L.A. Confidential, Sam Elliott's voice over in The Big Lebowski ...

Henry Cavill or Armie Hammer?

When I first answered this question, I'd seen Guy Ritchie's version of The Man From UNCLE once and it hadn't made much of an impression on me. Since then, I've seen it several times and it's on a short list of my favorite Guy Ritchie movies. And given that Guy Ritchie is on a short list of my favorite active film directors, that's saying something.

Of the two, I prefer Henry Cavill and, given the self-destruction of Armie Hammer's career, he's the only one I'm ever likely to see on the big screen again. But I liked them both in UNCLE. A good team, and Hammer had good chemistry with Alicia Vikander.



By the way, I have a feeling Ritchie's recent effort Operation Fortune: Ruse de Guerre was originally intended to be the sequel to The Man from UNCLE but after holding off for years, Ritchie finally rewrote it with a new cast of characters (Jason Statham, Aubrey Plaza) because he knew he'd never be able to make an UNCLE sequel with Armie Hammer. Pity, but I get it. It's hard to sell a movie these days starring a guy with a cannibal fetish ...

Elizabeth Debicki or Alicia Vikander?

Again, a Man from UNCLE question. Alicia Vikander was the political football in the middle of the scrum between Napoleon Solo and Illya Kuryakin; Elizabeth Debicki was the villain. Alicia Vikander has grown on me and I think she was great in UNCLE, so I'm going with her. But Debicki makes a good femme fatale.

Second favorite Wong Kar-wai movie

My favorite is In the Mood for Love so my second favorite would be Chungking Express. If you haven't seen In the Mood for Love, I highly recommend it.

Johnny Flynn or Timothée Chalamet?

When this question was first asked, I'd never heard of either of them but since then Timothée Chalamet has been in Dune, Little Women, A Rainy Day in New York and Lady Bird, an impressive body of work.

Name the last 10 movies you've seen, either theatrically or at home

I'll limit it to the last ten movies I saw for the first time (otherwise, you're going to get TCM's Alfred Hitchcock marathon).

In reverse order, Francois Truffaut's Shoot the Piano Player (which I saw immediately after reading the source novel Down There by David Goodis) (thumbs up), Pineapple Express (thumbs up, after avoiding it for years), Guy Ritchie's The Covenant (thumbs up), A Star Is Born (2018) (thumbs up, especially Lady Gaga's singing), Enola Holmes 2 (thumbs up — a sequel to the pandemic era Enola Holmes, which was my favorite movie of a year with no movies), Barbie (very enthusiastic thumbs up), An American Dream (based on a mediocre Norman Mailer novel) (thumbs most decidedly down), Mission: Impossible — Dead Reckoning Part One (thumbs up — love me some Mission Impossible), Oppenheimer (another very enthusiastic thumbs up), Indiana Jones and the Dial of Destiny (thumbs up).

Favorite movie location you've visited in person

Most recently, the John Wick steps at the base of Sacré-Cœur in Montmartre, Paris, France (if you've seen John Wick Chapter Four, you know what I mean.) Unlike John Wick, though, I had the good sense to go down them instead of trying to go up. They are seemingly endless.

I always get a kick out seeing a location in a movie that I recognize from real life ...

Emma Stone or Margot Robbie?

At the time, Emma Stone was a lock, but since then, Margot Robbie has made Once Upon a Time in Hollywood and Barbie. She's now ahead in my book.

Which movie would you have paid to see remade by Howard Hawks?

High Road to China, starring Tom Selleck and Bess Armstrong. I've written about China before — pardon me if I quote myself:

A flapper-heiress (Armstrong as Eve Tozer) has to find her long-lost father or lose her fortune, so she hires a drunk flying ace (Selleck as Patrick O'Malley) to squire her hither and yon, from Egypt to Afghanistan to Nepal and finally to China, dodging bombs and bullets every step of the way.

As with all good romances, the ending is bittersweet — Evie gets the money but by then doesn't care. O'Malley gets the money, too, but probably never cared. In the meantime, they've each lost the only things they ever really loved — him, his airplane; her, the fantasy of a father who would give up his thrill-seeking wanderlust if only she could make him notice her.

They damn near miss out on each other, too — a few awkward words, a pat on the knee, and the promise of a long, uphill walk back to Nepal, before a deep breath, a steeled nerve and a long-overdue declaration of intent. To allow yourself to fall in love when everyone you've ever cared about has up and flown away or spiraled nose down into the sod requires an act of courage that by comparison makes fighting warlords and German flying aces a stroll in the park.

This sort of thing was Howard Hawks's meat — think Only Angels Have Wings, To Have and Have Not and even Man's Favorite Sport. His men are no nonsense professionals, facing death on a daily basis with grace and good humor. And his leading ladies — so uniquely tough and independent they were dubbed "Hawksian women" — time and time again prove to be equal partners in whatever task is at hand. I think he would have had a field day with this sort of thing, one last great movie to cap a career full of them.

Okay, that's it. Hopefully, there will be more Sergio Leone and the Infield Fly Rule in the future, but if not, it was a helluva lot of fun while it lasted.

The Katie-Bar-The-Door Awards (1968)

Question: Is anybody other than me enjoying this daily edition of the Katie-Bar-The-Door Awards?

I ask because come Friday I can either keep going with the 1970s, or I can stop and begin promoting Monty's March Madness Best Actress Tournament—the Monkey is hosting the Silent Era/1930s bracket (with voting to begin on March 5).

Either way, you will get a daily dose of your favorite stars' photos. They'll just either have names like Jane Fonda, Gene Hackman and Al Pacino, or Mary Pickford, Carole Lombard and Irene Dunne.

It's up to you.

PICTURE (Drama)
winner: 2001: A Space Odyssey (prod. Stanley Kubrick)
nominees: Faces (prod. Maurice McEndree and John Cassavetes); The Lion in Winter (prod. Martin Poll); Night of the Living Dead (prod. Karl Hardman and Russell Streiner); Planet of the Apes (Arthur P. Jacobs); Rosemary's Baby (prod. William Castle); Targets (prod. Peter Bogdanovich)

PICTURE (Comedy/Musical)
winner: The Producers (prod. Sidney Glazier)
nominees: Chitty Chitty Bang Bang (prod. Albert R. Broccoli); The Odd Couple (prod. Howard W. Koch); Oliver! (prod. John Woolf); Pretty Poison (prod. Marshall Backlar and Joel Black); Yellow Submarine (prod. Al Brodax)

PICTURE (Foreign Language)
winner: C'era una volta il West (Once Upon a Time in the West) (prod. Fulvio Morsella)
nominees: Baisers volés (Stolen Kisses) (prod. Marcel Berbert and François Truffaut); Il grande silenzio (The Great Silence) (prod. Adelphia Compagnia Cinematografica and Les Films Corona); Skammen (Shame) (prod. Lars-Owe Carlberg)

ACTOR (Drama)
winner: Steve McQueen (Bullitt)
nominees: Tony Curtis (The Boston Strangler); Charlton Heston (Planet of the Apes and Will Penny); Peter O’Toole (The Lion in Winter); Cliff Robertson (Charly); Max von Sydow (Skammen a.k.a. Shame)

ACTOR (Comedy/Musical)
winner: Zero Mostel (The Producers)
nominees: Dean Jones (The Love Bug); Jack Lemmon (The Odd Couple); Walter Matthau (The Odd Couple); Ron Moody (Oliver!); Peter Sellers (The Party)

ACTRESS (Drama)
winner: Katharine Hepburn (The Lion in Winter)
nominees: Claudia Cardinale (C'era una volta il West a.k.a. Once Upon a Time in the West); Julie Christie (Petulia); Mia Farrow (Rosemary's Baby); Gena Rowland (Faces); Liv Ullmann (Skammen a.k.a. Shame); Joanne Woodward (Rachel, Rachel)

ACTRESS (Comedy/Musical)
winner: Tuesday Weld (Pretty Poison)
nominees: Julie Andrews (Star!); Jane Fonda (Barbarella); Sally Ann Howes (Chitty Chitty Bang Bang); Barbara Streisand (Funny Girl)

DIRECTOR (Drama)
winner: Stanley Kubrick (2001: A Space Odyssey)
nominees: Ingmar Bergman (Skammen a.k.a. Shame); John Cassavetes (Faces); Sergio Leone (C'era una volta il West a.k.a. Once Upon a Time in the West); Roman Polanski (Rosemary's Baby); George A. Romero (Night of the Living Dead)

DIRECTOR (Comedy/Musical)
winner: Mel Brooks (The Producers)
nominees: Carol Reed (Oliver!)

SUPPORTING ACTOR
winner: Henry Fonda (C'era una volta il West a.k.a. Once Upon a Time in the West)
nominees: Jack Albertson (The Subject Was Roses); Anthony Hopkins (The Lion in Winter); Boris Karloff (Targets); Kenneth Mars (The Producers); Roddy McDowell (Planet of the Apes); Oliver Reed (Oliver!); Jason Robards (C'era una volta il West a.k.a. Once Upon a Time in the West); Gene Wilder (The Producers)

SUPPORTING ACTRESS
winner: Ruth Gordon (Rosemary's Baby)
nominees: Lynn Carlin (Faces); Kim Hunter (Planet of the Apes); Sondra Locke (The Heart Is a Lonely Hunter); Estelle Parsons (Rachel, Rachel); Delphine Seyrig (Baisers volés a.k.a. Stolen Kisses); Estelle Winwood (The Producers)

SCREENPLAY
winner: Sergio Leone and Sergio Donati (screenplay), from a story by Dario Argento, Bernardo Bertolucci and Sergio Leone, English translation by Mickey Knox (C'era una volta il West a.k.a. Once Upon a Time in the West)
nominees: John Cassavetes (Faces); James Goldman, from his play (The Lion in Winter); Neil Simon, from his play (The Odd Couple); Michael Wilson and Rod Serling, from the novel by Pierre Boulle (Planet of the Apes); Mel Brooks (The Producers); Roman Polanski, from the novel by Ira Levin (Rosemary's Baby); Stanley Kubrick and Arthur C. Clarke (2001: A Space Odyssey)

SPECIAL AWARDS
"Springtime for Hitler" (The Producers) music and lyrics by Mel Brooks (Song); Ennio Morricone (C'era una volta il West a.k.a. Once Upon a Time in the West) (score); Claudio Maielli, Elio Pacella and Fausto Ancillai (C'era una volta il West a.k.a. Once Upon a Time in the West) (Sound); Anthony Masters, Harry Lange and Ernest Archer (2001: A Space Odyssey) (Art Direction-Set Decoration); Ray Lovejoy (2001: A Space Odyssey) (Film Editing); Stanley Kubrick (2001: A Space Odyssey) (Special Effects); William A. Fraker (Bullitt) (Cinematography); John Chambers (Planet of the Apes) (Make-up); Morton Haack (Planet of the Apes) (Costumes); Yellow Submarine (Animated Feature); Winnie the Pooh and the Blustery Day (Animated Short)

The Katie-Bar-The-Door Awards (1964)

As a lifelong Lennon man, it pains me a bit to choose a McCartney tune, "Can't Buy Me Love" from A Hard Day's Night, as the best song of 1964, even if Sir Paul is his generation's Cole Porter, Irving Berlin and Hoagy Carmichael all rolled into one. I mean, the guy has already collected every accolade ever invented by man—does he really need one more from me?

Still, you've got to give the devil his due: "Can't Buy Me Love" is the best use of an original song in a movie in 1964.

This is what Roger Ebert wrote about it—with a straight face—in his review of A Hard Day's Night for his Great Movies series:

The most powerful quality evoked by A Hard Day's Night is liberation. ... When the boys are freed from their "job," they run like children in an open field, and it is possible that scene (during "Can't Buy Me Love") snowballed into all the love-ins, be-ins and happenings in the park of the later '60s. The notion of doing your own thing lurks within every scene.

He might be overstating his case—then again, he might not—but that he can make such a statement and not sound like an idiot doing it is a testament to the influence of the Beatles. I only wish I could pile up even more Katies in their honor.

PICTURE (Drama)
winner: Goldfinger (prod. Albert R. Broccoli and Harry Saltzman)
nominees: Fail-Safe (prod. Max E. Youngstein); A Fistful Of Dollars a.k.a. Per un pugno di dollari (prod. Arrigo Colombo and Giorgio Papi); Marnie (prod. Alfred Hitchcock); The Night of the Iguana (prod. Ray Stark); Nothing But A Man (Michael Roemer, Robert Rubin and Robert M. Young); Seance On A Wet Afternoon (prod. Richard Attenborough); Seven Days In May (prod. Edward Lewis)

PICTURE (Comedy/Musical)
winner: Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb (prod. Stanley Kubrick)
nominees: The Americanization of Emily (prod. Martin Ransohoff); A Hard Day's Night (prod. Walter Shenson); Mary Poppins (prod. Walt Disney); My Fair Lady (prod. Jack L. Warner)

PICTURE (Foreign Language)
winner: Les parapluies de Cherbourg (The Umbrellas of Cherbourg) (prod. Mag Bodard)
nominees: Bande à part (Band of Outsiders) (prod. Anouchka Films and Orsay Films); Kaidan (Kwaidan) (prod. Shigeru Wakatsuki); Onibaba (prod. Hisao Itoya, Tamotsu Minato and Setsuo Noto); Suna no onna (Woman In The Dunes) (prod. Kiichi Ichikawa and Tadashi Ôno); Il vangelo secondo Matteo (The Gospel According To St. Matthew) (prod. Alfredo Bini)

ACTOR (Drama)
winner: Anthony Quinn (Alexis Zorbas a.k.a. Zorba the Greek)
nominees: Richard Attenborough (Seance on a Wet Afternoon); Richard Burton (Becket and The Night of the Iguana); Sean Connery (Goldfinger); Ivan Dixon (Nothing But A Man); Henry Fonda (The Best Man and Fail-Safe); Burt Lancaster (Seven Days In May); Lee Marvin (The Killers)

ACTOR (Comedy/Musical)
winner: Peter Sellers (Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb)
nominees: The Beatles (A Hard Day's Night); James Garner (The Americanization of Emily); Cary Grant (Father Goose); Rex Harrison (My Fair Lady); Rock Hudson (Man's Favorite Sport?)

ACTRESS (Drama)
winner: Ava Gardner (The Night of the Iguana)
nominees: Anne Bancroft (The Pumpkin Eater); Bette Davis (Hush ... Hush, Sweet Charlotte); Tippi Hedren (Marnie); Anna Karina (Bande à part a.k.a. Band of Outsiders); Deborah Kerr (The Night of the Iguana); Kyôko Kishida (Suna no onna a.k.a. Woman of the Dunes); Nobuko Otowa (Onibaba); Nina Pens Rode (Gertrud); Kim Stanley (Seance On A Wet Afternoon)

ACTRESS (Comedy/Musical)
winner: Paula Prentiss (Man's Favorite Sport?)
nominees: Julie Andrews (The Americanization of Emily); Catherine Deneuve (Les parapluies de Cherbourg a.k.a. The Umbrellas of Cherbourg); Audrey Hepburn (My Fair Lady); Ann-Margret (Viva Las Vegas); Geraldine Page (Dear Heart); Debbie Reynolds (The Unsinkable Molly Brown); Margaret Rutherford (Murder Most Foul and Murder Ahoy); Tippy Walker (The World Of Henry Orient)

DIRECTOR (Drama)
winner: Hiroshi Teshigahara (Suna no onna a.k.a. Woman In The Dunes)
nominees: Bryan Forbes (Seance on a Wet Afternoon); Guy Hamilton (Goldfinger); John Huston (The Night of the Iguana); Masaki Kobayashi (Kaidan a.k.a. Kwaidan); Sergio Leone (A Fistful of Dollars a.k.a. Per un pugno di dollari); Pier Paolo Pasolini (Il vangelo secondo Matteo a.k.a. The Gospel According To St. Matthew); Michael Roemer (Nothing But A Man)

DIRECTOR (Comedy/Musical)
winner: Stanley Kubrick (Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb)
nominees: George Cukor (My Fair Lady); Jacques Demy (Les parapluies de Cherbourg a.k.a. The Umbrellas of Cherbourg); Arthur Hiller (The Americanization of Emily); Richard Lester (A Hard Day's Night); Robert Stevenson (Mary Poppins)

SUPPORTING ACTOR
winner: George C. Scott (Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb)
nominees: Wilfrid Brambell (A Hard Day's Night); Gert Fröbe (Goldfinger); Sterling Hayden (Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb); Stanley Holloway (My Fair Lady); Slim Pickens (Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb); Ronald Reagan (The Killers); Harold Sakata (Goldfinger); Victor Spinetti (A Hard Day's Night); David Tomlinson (Mary Poppins); Peter Ustinov (Topkapi); Dick Van Dyke (Mary Poppins)

SUPPORTING ACTRESS
winner: Julie Andrews (Mary Poppins)
nominees: Gladys Cooper (My Fair Lady); Grayson Hall (The Night of the Iguana); Lila Kedrova (Alexis Zorbas a.k.a. Zorba the Greek); Abbey Lincoln (Nothing But A Man); Agnes Moorehead (Hush ... Hush, Sweet Charlotte)

SCREENPLAY
winner: Stanley Kubrick, Peter George and Terry Southern, from the novel Red Alert by Peter George (as "Peter Bryant") (Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb)
nominees: Paddy Chayefsky, from the novel by William Bradford Huie (The Americanization of Emily); Alun Owen (A Hard Day's Night); Richard Maibaum and Paul Dehn, from the novel by Ian Fleming (Goldfinger); Bill Walsh and Don DaGradi, from the novel by P.L. Travers (Mary Poppins); Anthony Veiller and John Huston, from the play by Tennessee Williams (The Night of the Iguana)

SPECIAL AWARDS
"Can't Buy Me Love" (A Hard Day's Night) music and lyrics by John Lennon and Paul McCartney (Song); Gilbert Taylor (A Hard Day's Night) (Cinematography); Richard M. Sherman and Robert B. Sherman (Mary Poppins) (Original Song Score); Norman Wanstall (Goldfinger) (Sound Effects); Cecil Beaton (My Fair Lady) (Costume)