#charlotte mineau

[chaplinfortheages]

"The Count" 1916

[makeitquietly]

Motion Picture News, 23 October 1926

[letterboxd-loggd]

The Vagabond (1916) Charlie Chaplin

June 8th 2024

[travsd]

Charlotte Mineau: From Michigan to "Monkey Business"

Towering over Fin in an Early Comedy Thanks, Matthew Coniam, of The Marx Brothers Council Podcast and The Annotated Marx Brothers, who made me aware of Charlotte Mineau (1886-1979). I’d noticed her in Monkey Business (1931) and remarked that she was a kind of Margaret Dumont substitute, as that as one of the few of the brothers’ films that lacks their customary female foil. Mineau appears during…

[vintagedreamsofsennett]

FordPhyllis in Hearts and Flowers (1919)

Kalla Pasha, Ford Sterling, Charlotte Mineau, Phyllis Haver in His Last False Step (1919)

Mack Sennett Weekly (October 13, 1919) from Internet Archive

[don-lichterman]

Charlie Chaplin: His New Job (1915) | Ben Turpin & Charlotte Mineau | Silent comedy film

Charlie Chaplin: His New Job (1915) | Ben Turpin & Charlotte Mineau | Silent comedy film

His New Job (1915) silent comedy film 😂 Starring Charles Chaplin, Ben Turpin and Charlotte Mineau 😂 The film was written and directed by Charlie Chaplin 😂 The title is an inside reference to this being Chaplin’s first film after leaving Keystone Studios for Essanay Studios. 💖 CLICK here to GET NOTIFIED about new uploads: https://bit.ly/Subscribe_Feature_Film 🤣 More COMEDIES and Charlie Chaplin…

[dweemeister]

Sparrows (1926)

In the silent era, actress Mary Pickford became one of the first female producers in Hollywood. Her influence allowed her to co-found United Artists with Douglas Fairbanks, Charlie Chaplin, and D.W. Griffith, and to become one of the few women charter members of the Academy of Motion Picture Arts and Sciences (AMPAS; an organization that earlier this week invited hundreds of women and non-white figures working in cinema to address diversity concerns). Yet during the peak of her career, audiences had expected “America’s Sweetheart” to be just that – a sweetheart. See, Pickford – even in her young adulthood – had been typecast by her adoring fans as the earnest young child with the curls trying to do the right things for others. The Poor Little Rich Girl (1917) and Rebecca of Sunnybrook Farm (1917), among others exemplified that typecasting. And by the mid-1920s, Pickford had grown fatigued of these similar roles. Yet when she asked her fans through Photoplay magazine what would they like to see next from her, their answer was near-unanimous: “give us back our Little Mary!” Pickford obliged.

Enter Sparrows, directed by William Beaudine (and Tom McNamara in the final days of production, but he is uncredited) and also starring Gustav von Seyffertitz, Charlotte Mineau, Roy Stewart, and an endearing bunch of children. This would be one of the last Mary Pickford silent films, the last time Pickford would play a child. With Southern Gothic fiction (derived from literature, this includes twisted plotlines amid nefarious, oftentimes eccentric, and morally flawed characters) influences mixed with German expressionism (derived from silent films, this includes distorted geometries and highly stylized sets displaying intense juxtapositions of lights and darks), Sparrows is one of the finest Mary Pickford vehicles – poorly dated only if the viewer is unaware of the constraining public expectations heaped upon one of the silent era’s most important stars.

Somewhere in the Southern United States, surrounded by an alligator-infested swamp is the farm of Mr. and Mrs. Grimes (von Seyffertitz and Mineau). The Grimes’ farm is a “baby farm”, in which the children – mostly orphans – there are tasked with backbreaking physical labor. Whenever a stranger comes to the Grimes’ farm for business, the children are ordered to hide. The oldest child, Molly (Pickford), is a teenager and acts as a maternal figure to the fellow children. Molly and the others are starved, beaten, berated, manipulated, abused. So, to keep spirits up and to answer the many questions from the children why no one is coming to help them, Molly’s bedtime stories and motivational lines to the children borrow heavily from the Bible – that sound you heard was Cecil B. DeMille shedding a tear or two.

That frustration from the children is sometimes palpable. “A whole month ago you said the Lord would help us get away – what’s He been doing all month,” asks one. After reciting from a verse referring to God – some of these verses seem misplaced in the film – watching over sparrows, another child asks how come sparrows are receiving preferential treatment from God. The use of Christian allegories in Sparrows is a clumsy narrative tactic that only works in one of the film’s most surreal moments. One night after briefly mentioning Jesus’ story to the children, a sleep-deprived Molly must tend to an ailing baby in a barn. As soon as Molly falls asleep, this scene contains a wonderful, dreamy special effect (perhaps double exposure?) where a shepherd – Jesus Christ – takes the baby from Molly’s arms and to whatever lies beyond, where there might be less suffering. The poignancy here, the deliberate timing of this effect, and the realization by Molly – once she awakens to find the baby, not shown within the frame, has passed – that this young one need not suffer anymore is an emotional groundswell that Sparrows never recaptures.

Throughout the course of Sparrows, there is talk – among Mr. and Mrs. Grimes and among the children, separately – of a mass escape. Yet Molly, who could plausibly escape on her own, is duty-bound to her friends, her surrogate family of younger siblings. No harm should come to them. All Molly wants is that the children are spared additional torment beyond what has already characterized too many of their respective childhoods. For some viewers, I imagine this may appear to be silent film hokiness; no reasonable, able-bodied, self-interested person might keep themselves in this situation for so long. But that’s just the appeal of these melodramas that first appeared in the final years of the silent era (melodramas, by their very construction, require longer running times than what a short film could offer) – that the characters involved symbolize an ideal aspired to. That ideal is an affective one, and viewers are perhaps closer to that ideal than they might realize.

It is Mary Pickford, in this final role as a child, that makes this work. At thirty-four years old when Sparrows was first released, this film also marks Pickford’s delicate balance from being a crowd-pleasing waif to a singular girl with her own self-interests, not always wearing a bullish determination on her face. Again, I go back to the scene where Molly sleeps with the dying baby in her hands. Those few seconds looking at the departed baby say everything – surprise, sadness, solace – in just a brief moment. Such a turn needs no words, and has been rarely seen since synchronized sound in movies became the norm.

Meanwhile, Gustav von Seyffertitz and Charlotte Mineau are adequate as Mr. and Mrs. Grimes. From Mr. Grimes’ cartoonish appearance and the couple’s exaggerated bickering, these roles probably should have been played as straight as possible to heighten the dread and drama that I think Beaudine was intending in the final half-hour.

Credit cinematographers Charles Rosher (1927′s Sunrise: A Song of Two Humans, 1946′s The Yearling), Karl Struss (Sunrise: A Song of Two Humans, 1940′s The Great Dictator), and Hal Mohr (1927′s The Jazz Singer, 1935′s Captain Blood), and especially art director Harry Oliver (1925′s Ben-Hur: A Tale of the Christ, 1937′s The Good Earth) for beautifully shooting and designing a set that never seems stagebound. Hundreds of large trees and several hundred pounds of Spanish moss were ordered and used for the set – built on four acres of Pickford’s United Artists studio. Oliver even aged the wood before using it to build the Grimes’ abode and the children's’ shack, in addition to employing an aluminum powder to simulate a moonlight sparkling effect – cameras in the 1920s could not shoot at night without astronomically expensive lighting. This effort creates a gnarled, swampy forest that serves as the atmospheric backdrop to a climax that looks realistic, even if it is hard to believe the events onscreen.

That climax also included Mary Pickford carrying a baby surrounded by alligators. Beaudine, forgetting to take his common sense with him to the movie set that day, proposed that Pickford carry a real baby with real alligators snapping at her ankles. This plan almost became reality, if it weren’t for the irate intervention of Pickford’s husband at the time, Douglas Fairbanks. So though real alligators were used in some of the shots in Sparrows, Mary Pickford was probably never in any real danger during the climax, if you believe the account of Hal Mohr – most accounts claim that real alligators were attempting to bite Pickford’s legs off.

Actor endangerment or not (and this includes a scene about a perilous tree branch where I’m not convinced those alligators were fake), Sparrows is a good, moody silent film that united elements of German expressionism with Southern Gothicism. In a time when she was expressing her independence through her business transactions at United Artists and the roles she would later play, Mary Pickford is near the pinnacle of her enormous talent here, showing audiences then and today what silent film acting could be.

My rating: 7.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

[jimrmoore]

Charlie Chaplin's 'Easy Street'.

Charlie Chaplin’s ‘Easy Street’.

EASY STREET

Originally released in 1917.

A reviewer from Variety wrote, “The resultant chaos and several new stunts will be bound to bring the laughter, and the star’s display of agility and acrobatics approaches some of the Douglas Fairbanks pranks. Chaplin has always been throwing things in his films, but when he ‘eases’ a cook stove out of the window onto the head of his adversary on the…

[ulrichgebert]

Wenn wir hungrig sind, zeigen wir manchmal mit dem Finger auf unseren offenen Mund und sagen “Empty!”. Das haben wir Mary Pickfords armen, hungrigen Schützlingen in Mr. Grimes schauerlicher Kinderfarm in Sparrows abgeschaut. Die Farm liegt in einem gruseligen Sumpf im Süden, der der Beitrag des Teufels zur Schöpfung war, mit bodenlosen Schlammlöchern und Alligatoren, und der gemeine Mr. Grimes ist dort, um ihn noch schauerlicher zu machen. Gott hat den Sumpf so gelassen, weil er gute Arbeit zu schätzen weiß, scheint die Kinderchen aber vergessen zu haben, und kümmert sich lieber um die Spatzen (aber immerhin tritt der Heiland einmal durch die Scheunenwand, um das kleinste Baby abzuholen). Wird es ihnen gelingen, trotzdem zu entkommen?

[beautifulactres]

Charlotte Mineau (1886-1979)

[chaplinfortheages]

[manualstogo]

For just $3.99 Released on February 1, 1915: Charlie Chaplin wants to be an actor in a movie, and when the leading man is late he gets his chance, but creates enough havoc to ruin the picture. Genre: Short Duration: 31min Director: Charles Chaplin Actors: Charles Chaplin (film extra), Gloria Swanson (stenographer), Billy Armstrong (extra), Ben Turpin (extra in anteroom), Agnes Ayres (extra and secretary), Arthur W. Bates (carpenter), Robert Bolder (studio president), Frank J. Coleman (manager), Charles Hitchcock (leading man), Charles Inslee (director), Charlotte Mineau (film star), Jess Robbins (cameraman), Charles J. Stine (director), Leo White (Actor as Hussar Officer) *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact me so we can solve this or any other questions. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item. This product complies with rules on compilations, international media, and downloadable media. All items are supplied on CD or DVD.

[vintagedreamsofsennett]

Charlie Murray, Ford Sterling, Eddie Gribbon, Marie Prevost, Charlotte Mineau in His Youthful Fancy (1920)

Mack Sennett's Fun Factory by Brent E. Walker

[klausming]

A Night in the Show (1915) US 24m, B&W, Silent Director: Charlie Chaplin; Cast: Charles Chaplin, Charlotte Mineau, Dee Lampton, Edna Purviance, Leo White… 96 more words

[assetgalore-blog]

Charlie Chaplin's "The Floorwalker" from Francis Powell on Vimeo.

Charlie Chaplins 51st Film Released May 15 1916 The Floorwalker was Charlie Chaplin's first Mutual Film Company made in 1916. It starred Chaplin as a customer in a department store who finds out the manager is stealing money from the store. It was noted for the first 'running staircase' used in films. Edna Purviance played a minor role as a secretary to the store manager, played by Eric Campbell.

The Floorwalker was Charlie Chaplin first Mutual Film Corporation film, made in 1916 in film. The film stars Chaplin, in his traditional The Tramp, as a customer who creates chaos in a department store and becomes inadvertently entangled in the nefarious scheme of the store manager, played by Eric Campbell (actor), and the store's floorwalker, played by Lloyd Bacon, to embezzle money from the establishment. Cast Charles Chaplin - Tramp Eric Campbell (actor) - Store manager Edna Purviance - Manager's secretary Lloyd Bacon - Assistant manager Albert Austin - Shop assistant Charlotte Mineau - Beautiful store detective

[dweemeister]

2017 Movie Odyssey Awards

For all my followers out there, I have two final posts left for this year’s Movie Odyssey. This is the penultimate one and the second-most important of all: the awards ceremony. Based on 230+ feature- and short-films that I saw this year for the first time in their entirety, here is an Oscar-like ceremony celebrating twenty-six categories of filmmaking completed over a hundred years. The ten best motion pictures of the year that I saw this year lead us off.

Thanks again for everyone’s support. A Happy New Year to you and your loved ones, and the full list for the 2017 Movie Odyssey will be out at around 8 PM Pacific!

Best Pictures (I'm naming ten, I'm not distinguishing one above the other nine)

A Brighter Summer Day (1991, Taiwan)

Captain Blood (1935)

Friendly Persuasion (1956)

In the Mood for Love (2000, Hong Kong)

The Lady Vanishes (1938)

Lonely Are the Brave (1962)

A Man There Was (1917, Sweden)

Sweet Smell of Success (1957)

Tokyo Twilight (1957, Japan)

A Touch of Zen (1971, Taiwan)

In the Mood for Love, The Lady Vanishes, Sweet Smell of Success, Tokyo Twilight, and A Touch of Zen received 10/10 ratings. All others received 9.5/10.

Best Comedy

Blackbeard’s Ghost (1968)

Destry Rides Again (1939)

Dr. Jack (1922)

The Great Muppet Caper (1981)

Kung Fu Hustle (2004, Hong Kong/China)

Mr. & Mrs. ’55 (1955, India)

Much Ado About Nothing (1993)

Porco Rosso (1992, Japan)

The Sandlot (1993)

Yoyo (1965, France)

Hey, I’m just looking for the movie that made me laugh the most here.

Best Musical

Coco (2017)

Funny Face (1957)

The Great Muppet Caper

It’s Always Fair Weather (1955)

Kid Galahad (1962)

Mr. & Mrs. ‘55

Nashville (1975)

Pink Floyd – The Wall (1982)

Take Me Out to the Ball Game (1949)

You Were Never Lovelier (1942)

It’s not a fully original musical, but it contains some of the best arrangement of George and Ira Gershwin music you could find. You Were Never Lovelier and Mr. & Mrs. ‘55 and It’s Always Fair Weather also threatened here.

Best Animated Feature

The Breadwinner (2017)

Castle in the Sky (1986, Japan)

Fantastic Planet (1973, France/Czechoslovakia)

My Life as a Zucchini (2016, Switzerland)

My Neighbor Totoro (1988, Japan)

Ponyo (2008, Japan)

Porco Rosso

The Red Turtle (2016, France/Belgium/Japan)

Your Name (2016, Japan)

A much stronger year for animation this year than the previous Movie Odyssey. Fantastic competition, with what I think is a great winner.

Best Documentary

Don’t Look Back (1967)

The Horse with the Flying Tale (1960)

Jungle Cat (1959)

Life, Animated (2016)

Monterey Pop (1968)

The Statue of Liberty (1985)

Swim Team (2016)

The Tattooed Police Horse (1964)

Tyrus (2015)

Best Non-English Language Film

Aguirre, the Wrath of God (1972), West Germany

A Brighter Summer Day, Taiwan

Charulata (1964), India

In the Mood for Love, Hong Kong

My Life as a Zucchini, Switzerland

My Neighbor Totoro, Japan

The Salesman (2016), Iran

Sound of the Mountain (1954), Japan

Tokyo Twilight, Japan

A Touch of Zen, Taiwan

Best Silent Film

Camille (1921)

Dr. Jack

Ducks and Drakes (1921)

The Last of the Mohicans (1920)

A Man There Was

Now or Never (1921 short)

Sparrows (1926)

Strike (1925, Soviet Union)

Tokyo Chorus (1931, Japan)

West of Zanzibar (1928)

Personal Favorite Film

Akeelah and the Bee (2006)

Coco

Destry Rides Again

The Goonies (1985)

The Great Muppet Caper

Lady Bird (2017)

The Lady Vanishes

Lonely Are the Brave

My Life as a Zucchini

Pollyanna (1960)

It might be one of the best neo-Westerns I have ever seen. Kirk Douglas said it was his personal favorite movie, and it’s obvious and you can see why.

Best Director

Michael Curtiz, Captain Blood

Stanley Donen, Funny Face

Alfred Hitchcock, The Lady Vanishes

King Hu, A Touch of Zen

Rex Ingram, The Four Horsemen of the Apocalypse

Alexander Mackendrick, Sweet Smell of Success

Jean Renoir, The Southerner (1945)

Victor Sjöström, A Man There Was

Wong Kar-wai, In the Mood for Love

Edward Yang, A Brighter Summer Day

Holy hell this is a strong field. I desperately wanted to find an excuse to put in Greta Gerwig as Best Director for Lady Bird, but I never found it. Congrats to Hitchcock, for may be the best-directed work I’ve seen from him.

Best Acting Ensemble

A Brighter Summer Day

Caged (1950)

Fences (2016)

Friendly Persuasion

Pollyanna

Road to Perdition (2002)

Sense and Sensibility (1995)

Sound of the Mountain

Sweet Smell of Success

Tokyo Twilight

Now, none of the actors from Fences are going to win an individual award as you seen down below. But together, they were outstanding and surpassed all comers this year.

Best Actor

Gary Cooper, Friendly Persuasion

Tony Curtis, Sweet Smell of Success

Kirk Douglas, Lonely Are the Brave

Charles Laughton, Island of Lost Souls (1932)

Gregory Peck, Twelve O’Clock High (1949)

Edward G. Robinson, Scarlet Street (1945)

Andy Serkis, War for the Planet of the Apes (2017)

Victor Sjöström, A Man There Was

Denzel Washington, Fences

Robin Williams, What Dreams May Come (1998)

I’ve already commented how brilliant Douglas is here. Also in prime contention were Robinson, Serkis, and, yes, Robin Williams.

Best Actress

Ineko Arima, Tokyo Twilight

Leslie Caron, Lili (1953)

Maggie Cheung, In the Mood for Love

Viola Davis, Fences

Olivia de Havilland, Captain Blood

Chôko Iida, Record of a Tenement Gentleman (1947, Japan)

Dorothy McGuire, Friendly Persuasion

Madhabi Mukherjee, Charulata

Eleanor Parker, Caged

Mary Pickford, Sparrows

As a lonely wife, Mukherjee does so much with so little dialogue. You almost wonder if she could have excelled in silent film, too. Cheung, de Havilland, and Iida were also considered the strongest contenders here.

Best Supporting Actor

Dan Duryea, Scarlet Street

Henry Gibson, Nashville

Stephen Henderson, Fences

Burt Lancaster, Sweet Smell of Success

Paul Newman, Road to Perdition

Anthony Perkins, Friendly Persuasion

Alan Rickman, Sense and Sensibility

Patrick Stewart, Logan (2017)

Gustav von Seyffertitz, Sparrows

Mykelti Williamson, Fences

Supporting categories love a villain. And as the immoral columnist J.J. Hunsecker, Burt Lancaster commands Sweet Smell of Success whenever he is on screen. A terrific performance.

Best Supporting Actress

Ronee Blakley, Nashville

Hope Emerson, Caged

Elsa Lanchester, The Big Clock (1948)

Charlotte Mineau, Sparrows

Agnes Moorehead, Caged

Kay Thompson, Funny Face

Lily Tomlin, Nashville

Michelle Williams, Manchester by the Sea (2016)

May Whitty, The Lady Vanishes

Kate Winslet, Sense and Sensibility

I’m usually not kind to comedic performances, but I have to give it to Kay Thompson here. She was ebullient and heavens-to-goodness hilarious in Funny Face. A great singing voice, too.

Best Adapted Screenplay

James Bernard, Roy Boulting, Paul Dehn, and Frank Harvey, Seven Days to Noon (1950)

Kenneth Branagh, Much Ado About Nothing

Sidney Gilliat and Frank Launder, The Lady Vanishes

Yasunari Kawabata and Yôko Mizuki, Sound of the Mountain

Al Morgan and José Ferrer, The Great Man (1956)

Clifford Odets and Ernest Lehman, Sweet Smell of Success

Satyajit Ray, Charulata

Bernard C. Schoenfeld and Virginia Kellogg, Caged

Céline Sciamma, Claude Barras, Germano Zullo, and Morgan Navarro, My Life as a Zucchini

Michael Wilson, Friendly Persuasion

Best Original Screenplay

Sean Baker and Chris Bergoch, The Florida Project (2017)

Guillermo del Toro and Vanessa Taylor, The Shape of Water (2017)

Asghar Farhadi, The Salesman

Greta Gerwig, Lady Bird

Tadao Ikeda and Yasujirô Ozu, Record of a Tenement Gentleman

Frances Marion, Joe Farnham, and Martin Flavin, The Big House (1930)

Yasujirô Ozu and Kôgo Noda, Tokyo Twilight

William A. Wellman, Robert Carson, Dorothy Parker, and Alan Campbell, A Star Is Born (1937)

Wong Kar-wai, In the Mood for Love

Edward Yang, Hung Hung, Alex Yang, and Mingtang Lai, A Brighter Summer Day

Best Cinematography

Hoyte van Hoytema, Dunkirk (2017)

William H. Daniels, The Far Country (1954)

John F. Seitz, The Four Horsemen of the Apocalypse

Ray June, Funny Face

Christopher Doyle and Mark Lee Ping Bin, In the Mood for Love

Karl Struss, Island of Lost Souls

Julius Jaenzon, A Man There Was

Conrad Hall, Road to Perdition

James Wong Howe, Sweet Smell of Success

Hua Hui-ying, A Touch of Zen

Best Film Editing

Lee Smith, Dunkirk

Frank Bracht, Funny Face

Norman R. Palmer, The Incredible Journey (1963)

William Chang, In the Mood for Love

R.E. Dearing, The Lady Vanishes

Gene Havlick and Gene Milford, Lost Horizon (1937)

Ray Boulting and John Boulting, Seven Days to Noon

King Hu and Wing Chin-chen, A Touch of Zen

Tom Held, San Francisco (1936)

Henri Lanoë, Yoyo

Best Adaptation or Musical Score

Richard Baskin, Nashville

Adolph Deutsch, Funny Face

Adolph Deutsch, Take Me Out to the Ball Game

Bob Dylan, Pat Garrett and Billy the Kid (1973)

Leigh Harline, You Were Never Lovelier

O.P. Nayyar, Mr. & Mrs. ‘55

Alfred Newman and Lionel Newman, There’s No Business Like Show Business

André Previn, It’s Always Fair Weather

Joe Raposo, The Great Muppet Caper

Richard M. Sherman, Robert B. Sherman, and Buddy Baker, Summer Magic (1963)

This comes to the strength of the entire adaptation or musical score, not just the best songs. As a whole, I felt like It’s Always Fair Weather had the most going for it compared to the other seen here. I didn’t care for Baskin’s or Dylan’s work outside of a single song from each. Funny Face, Mr. & Mrs. ‘55, and There’s No Business Like Show Business were next in line.

Best Original Score

David Arnold, Independence Day (1996)

Elmer Bernstein, Sweet Smell of Success

Alexandre Desplat, Valerian and the City of a Thousand Planets (2017)

Patrick Doyle, Sense and Sensibility

Jerry Goldsmith, MacArthur (1977)

Joe Hisaishi, Castle in the Sky

Erich Wolfgang Korngold, Captain Blood

Thomas Newman, Road to Perdition

Dimitri Tiomkin, Friendly Persuasion

John Williams, Star Wars: The Last Jedi (2017)

Tiomkin has never won yet, but now one of my favorite movie composers has finally triumphed in this category with a gorgeous, lush score that swats away close competition from Independence Day, Castle in the Sky, and Captain Blood.

Best Original Song

“Blue Gardenia”, music and lyrics by Bob Russell and Lester Lee, arranged by Nelson Riddle, The Blue Gardenia (1953)

“Bonjour, Paris!”, music and lyrics by Roger Edens and Leonard Gershe, Funny Face

“I Like Myself”, music by André Previn, lyrics by Betty Comden and Adolph Green, It’s Always Fair Weather

“I’m Easy”, music and lyrics by Keith Carradine, Nashville

“Knockin’ on Heaven’s Door”, music and lyrics by Bob Dylan, Pat Garrett and Billy the Kid

“My Neighbor Totoro”, music by Joe Hisaishi, lyrics by Hayao Miyazaki, My Neighbor Totoro

“No Wrong Way Home”, music by Alexis Harte and J.J. Weisler, lyrics by Alexis Harte, Pearl (2016 short film)

“Remember Me (Recuérdame)”, music and lyrics by Robert Lopez and Kristen Anderson-Lopez, Coco

“San Francisco (Be Sure to Wear Flowers in Your Hair)”, music and lyrics by John Phillips, Monterey Pop

“Zenzenzense”, music and lyrics by Yôjirô Noda, Your Name

Thanks again to all those who participated!

Best Costume Design

Milo Anderson, Captain Blood

Edith Head and Hubert de Givenchy, Funny Face

Dorothy Jeakins, My Cousin Rachel (1952)

Walter Plunkett, Pollyanna

Adrian, San Francisco

Jenny Beavan and John Bright, Sense and Sensibility

Leo Bei, Gerdago, and Franz Szivats, Sissi (1955, Austria)

Leo Bei, Gerdago, and Franz Szivats, Sissi: The Young Empress (1956, Austria)

Charles LeMaire, Travilla, and Miles White, There’s No Business Like Show Business

Li Chia-Chih, A Touch of Zen

Best Makeup and Hairstyling

Roy Ashton and Frieda Steiger, Brides of Dracula (1960)

Tom Savini, Taso N. Stavrakis, Katharine Vickers, and Cecilia Verardi, Friday the 13th (1980)

Charles Gemora and Wally Westmore, Island of Lost Souls

Sarah Craig and Stephanie Ingram, It (2017)

Uncredited, Jigoku (1960, Japan)

Jordan Samuel and Paula Fleet, The Shape of Water

Fritz Jelinek, Jupp Paschke, and Heinz Stamm, Sissi

Uncredited, The Southerner

Uncredited, Sparrows

Thi Thanh Tu Nguyen and Félix Puget, Valerian and the City of a Thousand Planets

Best Production Design

Anton Grot, Captain Blood

Joseph Calder and Amos Myers, The Four Horsemen of the Apocalypse

J. Michael Riva and Rick Carter, The Goonies

Stephen Goosson and Babs Johnstone, Lost Horizon

Carroll Clark, Robert Clatworthy, Emile Kuri, and Fred M. MacLean, Pollyanna

Cedric Gibbons, San Francisco

Fritz Jüptner-Jonstorff, Sissi: Fateful Years of an Empress (1957, Austria)

Fritz Jüptner-Jonstorff, Sissi: The Young Empress

Chen Shang-Lin, A Touch of Zen

Eugenio Zanetti and Cindy Carr, What Dreams May Come

Achievement in Visual Effects (all films nominated here are winners because it’s unfair to have a 1930s film with groundbreaking visual effects compete with a 2010s film)

Captain Blood

Dawn of the Planet of the Apes

Dunkirk

Independence Day

Kong: Skull Island (2017)

Lost Horizon

San Francisco

Star Wars: The Last Jedi

Tom Thumb (1958)

Tremors (1990)

Valerian and the City of a Thousand Planets

War for the Planet of the Apes

What Dreams May Come

Worst Picture

Ben (1972)

Beyond the Poseidon Adventure (1979)

Dr. Goldfoot and the Bikini Machine (1965)

Friday the 13th

The Happening (2008)

Independence Day: Resurgence (2016)

Olaf’s Frozen Adventure (2017 short)

Return of the Fly (1959)

Willard (1971)

The X from Outer Space (1967, Japan)

OH GOD WHY

HONORARY AWARDS

Five Came Back (TV series), for illustrating the history of WWII experiences through the prism of Hollywood

Loving Vincent (2017), for giving new meaning to the phrase “every frame a painting” – an international artistic triumph

National Film Board of Canada (NFB), for decades of delights and invention in its animated short films

June Foray (posthumously), for a long, accomplished career that made her one of the greatest voice actresses in film history

Pearl, for innovative use of virtual reality in animated filmmaking

Robert Osborne (posthumously), for many years of introducing classic movies on TCM – a calming, erudite presence to his fans and a hero to this blogger

Jack Shaheen (posthumously), for his tireless research spotlighting and critiquing portrayals of Arabs and Muslims in cinema

Tyrus Wong (posthumously), for his impactful artistry long overlooked – one of the greatest artists that ever worked in Hollywood   

FILMS WITH MULTIPLE NOMINATIONS (61... excluding Worst Picture) Eight: Funny Face; Sweet Smell of Success

Seven: Captain Blood; Friendly Persuasion; In the Mood for Love

Six: The Lady Vanishes; Nashville

Five: A Brighter Summer Day; Fences; A Man There Was; Sense and Sensibility; Sparrows; Tokyo Twilight; A Touch of Zen

Four: Caged; The Four Horsemen of the Apocalypse; The Great Muppet Caper; Lonely Are the Brave; My Life as a Zucchini; Pollyanna; Road to Perdition; San Francisco

Three: Charulata; Coco; Dunkirk; Independence Day; Island of Lost Souls; It’s Always Fair Weather; Lost Horizon; Mr. & Mrs. ‘55; My Life as a Zucchini; My Neighbor Totoro; Sound of the Mountain; There’s No Business Like Show Business; Valerian and the City of a Thousand Planets; What Dreams May Come

Two: Aguirre, the Wrath of God; The Big House; Castle in the Sky; Destry Rides Again; Dr. Jack; The Goonies; Lady Bird; Monterey Pop; Much Ado About Nothing; Pat Garrett and Billy the Kid; Porco Rosso; Record of a Tenement Gentleman; The Salesman; Scarlet Street; Seven Days to Noon; The Shape of Water; Sissi; Sissi: The Young Empress; Sound of the Mountain; The Southerner; Star Wars: The Last Jedi; Take Me Out to the Ball Game; War for the Planet of the Apes; You Were Never Lovelier; Your Name; Yoyo

WINNERS (excluding honorary awards and Worst Picture... 31) 3 wins: In the Mood for Love; Lonely Are the Brave; Sweet Smell of Success 2 wins: Captain Blood; Dunkirk; Friendly Persuasion; Funny Face; The Lady Vanishes; A Man There Was; Valerian and the City of a Thousand Planets; What Dreams May Come 1 win: Blackbeard’s Ghost; A Brighter Summer Day; Charulata; Coco; Dawn of the Planet of the Apes; Fences; Independence Day; It’s Always Fair Weather; Kong: Skull Island; Lost Horizon; Monterey Pop; The Red Turtle; Road to Perdition; San Francisco; Sissi; Star Wars: The Last Jedi; Tokyo Twilight; Tom Thumb; Tremors; War for the Planet of the Apes

111 films were nominated in 26 categories.