Matt's Big Oscar Challenge Day 208: The Doctor Will See You Now

As we've seen throughout this journey, David Lean is a director who has grand vision and scope. With Bridge on the River Kwai and Lawrence of Arabia both giving a different perspective on the war film, Lean definitely excels in telling stories set around times of conflict. This is true of Doctor Zhivago, Lean's lavish adaptation of Boris Pasternak's novel, which starts in 1913 and takes in both World War I and the Russian Revolution. These events are seen through the eyes of Omar Sharif's Yuri Zhivago, a frustrated poet who becomes a doctor and therefore is witness to a lot of the bloodshed of the time. Initially Yuri is drawn to Tonya, the daughter of the couple who raised him, and they indeed have a child together. But later, Yuri meets Lara, a complicated girl who gets married to idealistic reformer Pasha Antipov. Though, Yuri and Lara serve together during the war, what happens later means he has to care for his family first. Ultimately Doctor Zhivago is set up as a love triangle with a bit of violence and revolution thrown in for good measure. Yuri's ending is a tragic one, some would say overly so, but there was a kind of a happy ending involving the supposed daughter of Yuri and Lara.

As with all of Lean's films, Doctor Zhivago is wonderfully shot and brilliantly scored. The film won five Oscars which included the prizes for Art Direction, Costume Design and Cinematography. I personally found a lot of the shots and set pieces to be first class, these include the shot of the train coming out of the tunnel following the intermission and Yuri's attempts to attract Lara's attentions for the last time. The vast expanse of sets used was amazing while the fact that Lean's team were able to transform Spain into Russia was astounding. Maurice Jarre's score also deserves a mention and in particular 'Lara's Theme' which is still an incredibly enchanting piece of film music. One of the elements that let Doctor Zhivago down was its running time, a regular bugbear of mine, as I felt the film meandered during its 200 minutes. I also wasn't a particular fan of the character of Yuri as he always seemed to be someone on the outskirts of society and somebody who could never commit to anything. This isn't anything against Sharif's performance though I do feel he lacked chemistry with both his female leads. Julie Christie was absolutely amazing as Lara and played a completely different role to her Oscar-winning turn in Darling. Similarly Rod Steiger's brutish portrayal of Komarvosky was a scene-stealing performance. However, the only acting nomination came for Tom Courtenay as the idealistic and later bloodthirsty Pasha. I found Courtenay utterly mesmerising as he played a man who truly had passion for his cause but later had lost all of this and had now realised that he was never to have a personal life.

Overall, while not one of my favourite of Lean's films, there's no denying that Doctor Zhivago is a visually spectacular piece with some interesting performances. Though I found heavy-going occasionally, Lean seemed to have a genuine love for his characters that shone through. I just wish that Doctor Zhivago's runtime had been shaved slightly as I felt this would have made a definite improvement.

Next time we come to the last 1960s film of our search.

Matt's Big Oscar Challenge Day 207: An All-Star War

Following on from How the West Was Won; we look at another ensemble action film in the form of The Longest Day. Unlike the western though, The Longest Day isn't an all-colour rambling epic but rather it's a focused study on the events that led up to the D-Day Landing. The entire film was the vision of producer Darryl F. Zanuck who employed four directors to tell every side of the story. Employing a documentary style and shot completely in black-and-white, The Longest Day sees the D-Day landings plotted by both the Germans and the Allies. Unusually for the time, the film used German and French actors to speak in their own language, rather than using English actors to put on dodgy accents a la 'Allo 'Allo. It appeared to me as if Zanuck wanted to get events as realistic as possible so had a lot of the events play out in real time. These events included the British glider missions to secure the Pegasus Bridge and the counter attack that was planned by the American paratroopers. The film itself ends with the iconic Normandy Landings as troops on both sides are quickly shot down. For me, this was where the film really got going and I felt that Zanuck had paced the movie well up to this point.

The main problem I had with The Longest Day was there wasn't any major plots, instead this was more of a docu-drama focusing on one specific event. As there were so many characters, it was impossible to keep up with who was who and a lot of famous faces popped up briefly, most-notably Sean Connery, who was just about to become a household name courtesy of a certain spy. While there are indeed some recurring plots, including one involving a card game, it is obviously the battle that takes priority and therefore this comes across as more of a documentary than a fictional piece. What I felt that Zanuck did well was the set-pieces, especially the aforementioned landings themselves, and I'm not surprised that the film won the Best Special Effects Oscar that year. I also felt the majority of the cast played their parts well, however minor they were, and really made me care about the plight of the allies. This however doesn't apply to John Wayne who, as Benjamin Vandervoot, never really convinced and just seemed to playing himself. Overall I found The Longest Day to be a gripping account of a much talked about moment in military history although one that goes on a bit. It also suffers from lack of story and far too many characters, but ultimately it's the film's visual style that's its saving grace.

Matt's Big Oscar Challenge Day 170-171: Simply Sidney

For those of you who have been following the Oscar challenge you will now that when I can I group a number of films together by actor or genre. This is true of this latest trio of films all starring Sidney Poitier who historically was the first African-American actor to become a big star and in terms of this was also the first black male to win an Oscar outside of the honorary categories. We first met him at the tail end of the 1950s in The Defiant Ones for which he was nominated for a Best Actor Oscar and his golden touch continues with all the three films in this list winning at least one award. As you can imagine with a black actor in the 1960s a lot of these films deal with racial prejudice with Poitier often playing against how people of his colour were often portrayed here playing doctors and detectives. But we'll start off with a film in which he neither plays a professional nor is race the main issue.

The film I am referring to is Lilies of the Field the film that won Poitier his Best Actor Oscar and sees him play Homer Smith a drifter and jack-of-all trades who has no fixed abode. When his car runs out of water one day he stops to fill it up at a convent run by Eastern European nuns with the mother superior of the outfit hiring Homer to do some work around their property for the day. However after a while he discovers the mother superior won't let him leave until he has built them a chapel and he soon learns from others the exploitative nature of these nuns. At the same time he sympathises with their struggle to leave their native Germany, they had to climb over the Berlin Wall, and as he had always wanted to be an architect he sets about trying to build the chapel. As word spreads people from the community, mainly Hispanics, come to lend support and materials however Homer refuses their help wanting this to be a single-handed project. He eventually gets the help and the chapel is finished however Mother Maria is too proud to let him stay and so he slips away while the other sisters are singing one of the Baptist hymns he taught them. Lilies of the Field is such a simple film but at the same time is lovingly produced and well put together by director Ralph Nelson. The main theme of the film here is outsiders coming together in this case an African-American drifter, a group of East German nuns and poor Hispanic families as they work to construct something that the community can be proud of. Poitier's performance is larger-than-life with his laughter being infectious and his general aura radiating from the screen he is tasked with leading the film for the most-part and does an excellent job. The desolate locations are well-filmed by Ernest Haller and there is also an excellent supporting performance from Lilia Skala as Mother Maria which earned her an Oscar nod also. This was just a lovely simple tale about family and taking the gifts that are offered to us when they are given.

Four years later, at the 1968 ceremony, Sidney starred in two of the five films nominated for Best Picture including the movie that went onto to win Best Picture that year - In the Heat of the Night. In this film the plot is centred around Poitier's Virgil Tibbs' race as he hauled to the police station in Sparta, Mississippi as he believed to have killed a man he had never met. The racist police Chief Bill Gillespie, played by Rod Steiger who won a Best Actor Oscar for this film, is embarrassed to learn that Tibbs is actually a homicide detective and devices ways to keep him around in order to have his help on the murder case. As Tibbs' targets the wealthiest man in Sparta he soon his confronted by a mob who threaten his life and he is advised by Gillespie to leave the town however a defiant Tibbs refuses until he's solved the murder. Tibbs is able to link the crime to the pregnancy of a local teenager who police officer Sam Wood had taken a liking to and after a conversation with the local backstreet abortionist he is able to track down his man. However will it be too late for Tibbs who has angered even more of Sparta's residents during his snooping. In the Heat of the Night is an excellent film showing racial prejudice at its most extreme with the scenes in which Tibbs his hunted down by a mob being very shocking indeed however the film is also keen to point out that Tibbs is also prejudice against many of the Sparta police department seeing them as stupid. Though Poitier does lend almost a moral backbone to the film it is Rod Steiger who is the star here as Gillespie learns some tolerance and some respect towards Virgil towards the end of the film. There were some points when I watched In The Heat of the Night where I wondered if it should've won the Best Picture award but this film had a good central mystery as well as having a good message about not judging anyone on where they live or the colour of their skin.

The colour of skin also has a massive impact in Poitier's last film here the outstanding Guess Who's Coming to Dinner. Here Poitier plays widower doctor John Prentice who while on holiday in Hawaii meets Christina Drayton and falls in love planning to marry her but first wanting to get the consent of her parents who he thinks will worry that a black man is with their white daughter. Christina's parents, played by the brilliant Katharine Hepburn and Spencer Tracey the latter in his final film role, have always preached her tolerance but her father Matt is concerned now that he may have a black man as a son-in-law. Things get more complicated when John's parents decide to fly in for dinner despite the fact he has yet to tell them that he wishes to marry a white girl. The film is essentially based around people's opinions of a mixed-race couple for example if love is more important than the colour of someone's skin. I just found it hard to fault Guess Who's Coming to Dinner apart from the fact that I think Poitier should've shown up in the acting categories alongside Hepburn and Tracy both of whom shine throughout this wonderful film. Possibly it's not as cinematic as it could been but the performances and script are flawless throughout so by the time Tracy delivers his final monologue you'll be entrnaced. For me this was the better of the two Poitier films released this year due to its themes, acting, music and script. Though out of the three films this is the one in which Poitier has the least to do yet his presence is still felt which is the mark of a great actor as is the fact that everyone of the roles in these three films he plays very differently.

Matt's Big Oscar Challenge Day 137-138: Mostly Marlon Part 2

And without further ado here is the second part of the Marlon Brando season.



After three years of striking out in the Best Actor category Brando finally came up trumps at the 1955 ceremony with the film that also won the Best Picture award that year - On the Waterfront. For this picture Brando reteamed with both Streetcar writer Elia Kazan and co-star Karl Malden to make a story based on real experiences that long shoremen had dealing with their mob-run environment. As the film starts Brando's Terry Malloy is instrumental in the death of long shoreman Joey Doyle who's death is interlinked with him testifying against gangster Johnny Friendly who runs the docks and trades illegally. Malloy's brother Charley works as Friendly's accountant and gets Terry to do some of the easier jobs through his guilt of making Terry throwing fights when he was a prize fighter. Events get complicated when Terry falls for Doyle's sister Evie who, along with Malden's priest Father Barry, tries to convince Terry to testify against Friendly. Worried that Terry is being swayed Friendly sends Charley out to set Terry straight where Terry delivers the still famous 'I Coulda Been a Contender' speech. Eventually Terry testifies and Friendly turns the rest of the dockworkers against him and has him beaten up but Friendly is then discredited with all the longshoremen turning their backs on him. There's so much to praise about On The Waterfront and thankfully for once a great film gets recognised by the Academy winning Best Picture, Actor, Director, Screenplay and Supporting Actress for Eva Marie Saint as Evie. Saint is great in the film so much so I think this was almost a Lead performance which would've seen the film scoop the much-touted 'Big Five'. If Streetcar was Brando's breakout then this was definitely his star-making turn playing a conflicting character wanting to do what's right but not wanting to test his loyalty against his brother and the men who have been giving him the job. There are also so many great filmic moments from the already mentioned speech, to the ending where a beaten Malloy makes his way to work despite being light on his feet and having blurred sight but my favourite scene is probably Terry telling Evie about his involvement in Joey's death which we don't hear as a big steamship comes past making their conversation inaudible. Of the supporting performances Karl Malden is probably my favourite as the priest, but Lee J Cobb also makes a convincing gangster and Rod Steiger as Charley also is strong in a couple of scenes all were nominated as Supporting Actors but to Edmond O'Brien in The Barefoot Contessa both a role and film that aren't best remembered. I also feel that the score is brilliant it stuck in my head afterwards and added to the atmospheric tone. The Oscar winning set direction and cinematography were both brilliantly handled with the shoot taking place over 36 days in Hoboken, New Jersey making all the shore scenes seem very real and the workers' silence over how badly their work is run and even some of Friendly's goons are played by real-life prize fighters. Just a brilliant film and a worthy Best Picture winner and definitely the film that made Marlon Brando.

The final Best Picture nominee that Brando starred in during the 1950s, and again he got a Best Actor nomination, was Sayonara which I feel was a bit of a departure from the roles he played in contemporary American dramas in this particular blog post. The film sees Brando play Air Force Major Ace Gruver who moves from Korea to Japan where one of his troop - Joe Kelly is about to marry a Japanese woman. A lot of people in the Air Force and the military in general aren't happy with Kelly's choice to marry a Japanese woman but despite his reluctance Gruver agrees to be Kelly's best man. Also in Japan, Gruver's superior General Webster has bought along his daughter Eileen, played by Patricia Owens, who for a long time Ace has been in a relationship with. However during the time in Japan neither feel the relationship is pretty solid with Eileen's feelings being a lot stronger than Ace's. As time goes on Gruver starts to accept Kelly's relationship with his wife Katsumi and himself becomes entranced by a Japanese dancer Hana-ogi. Things come to a head when Kelly is to be shipped back to America and his wife isn't allowed to come with him despite the fact she is pregnant. Ace is also to be sent back after his relationship with Hana-ogi is revealed but the day that Kelly is to be taken away he runs back to Katsumi and they both commit suicide deciding to be together in the next life. Ace then discovers that General Webster has made a law possible for men like Kelly to bring their Japanese wives back to America so he announces to the media that he is marrying Hana-ogi and people best get used to it. The biggest surprise in this film is probably seeing Brando in a kimono despite that this film is a little long-winded in its message of equality and that these soldiers are in love with these women rather than just wanting to be with the first woman they touch as Webster so eloquently puts it in once scene. Brando's Southern drawl adds an extra dimension to this character who is portrayed as being a natural leader but at the same time very simple in his views and he is one round by the differences that Japan and Japanese women have to offer. However the two standout performances come from Oscar winners Red Buttons and Miyoshi Umeki as Joe and Katsumi both giving spectacular performances as the doomed couple Buttons in particular is a revelation as he was much better known as a comedian than a dramatic actor but this film more than showed that he could do both. I have to say I felt the film needed to be about 20 minutes less and I didn't need to see as many of the Japanese sequences as I did and I felt James Garner was wasted in a worthless role as the military man showing Ace a different side of Japan. Overall though a film with a strong message and another great performance from Brando again displaying his range.

As I watched this quartet of films I really felt that Brando was improving as an actor as the decade went on from rough and ready in Streetcar he honed his skills for On the Waterfront before playing an almost naive character in Sayonara. Like with Elizabeth Taylor I'm looking forward to seeing more of Brando as we trek on through the decades but I guess its Sayonara for now