Best Picture of 1962

The trend of incredible (and lengthy) films continues. I found all five contenders in 1962's competition to be thoroughly engaging. Yet another hallmark year for this project.

The nominees for Best Picture of 1962 are:

• Lawrence of Arabia
• The Longest Day
• The Music Man
• Mutiny on the Bounty
• To Kill A Mockingbird

My first move in this verdict is to split these fine films into two groups. In the bottom section is The Music Man, a spectacularly entertaining film, perhaps only disadvantaged by its lack of substance in comparison with the other four nominees, which all deal with very powerful material. Joining the musical, I have placed To Kill A Mockingbird. I know, I know. Most people love it. And I did, too. Just not as much as its competitors.

The three films on the upper branch, coincidentally or not, happen to be the three longest nominees - each running at least three hours - and are also all based on true stories. First, we have Mutiny on the Bounty, an intense battle of minds complemented by beautifully photographed scenery, shot on location in Tahiti. Then, The Longest Day, a compelling D-Day re-enactment complemented by beautifully photographed scenery, shot on location in Normandy.

That leaves us with the highly lauded Lawrence of Arabia, which was not a particularly difficult decision. However, I doubt my own ability to ignore the pressures of almost 50 years of critical acclaim. Aside from winning the Academy's Best Picture award and appearing on many critics' lists of the all-time greatest, the British film also inexplicably made it into the top 10 of the AFI's list of the greatest American films. It's hard not to be influenced by such widespread praise. In any case, whether I came to this decision independently or not, I am now declaring Lawrence of Arabia my pick for 1962's Best Picture of the year.

Best Picture of 1962
Academy's choice: Lawrence of Arabia	Matt's choice: Lawrence of Arabia

Your choice:

You may exercise your right to vote by using the poll above. Matt vs. the Academy now moves back to the 1980s with a very eclectic selection of nominees.

And the nominees for Best Picture of 1986 are:

• Children of a Lesser God
• Hannah and Her Sisters
• The Mission
• Platoon
• A Room With a View

Stay tuned...

1962 - Mutiny on the Bounty

I'm writing this in the few remaining hours of Daylight Savings in New York City. Tomorrow, the darkness creeps in an hour earlier. Subsequently, each day will see the sunset arrive sooner than the day before... Well, okay, that makes it sound far more foreboding than is necessary. Still, I'll be hotfooting it soon to the other side of the equator, where not only is the day getting longer, but warmer too. Kat and I have a visit home to Sydney planned for Christmas and New Year's. But more on that later...

Yesterday, I viewed the last in the shortlist for 1962's Best Picture crown...

Mutiny on the Bounty

Director:

Lewis Milestone

Screenplay:

Charles Lederer

(based on the novel by Charles Nordhoff and James Norman Hall)

Starring:

Marlon Brando, Trevor Howard, Richard Harris, Hugh Griffith, Richard Haydn, Tarita, Percy Herbert

Academy Awards:

7 nominations

0 wins

Based on a novel which was itself based on a true story, Mutiny on the Bounty is apparently not entirely accurate in its portrayal of the famous maritime feud. Nonetheless, the film is a remarkably successful application of the adage, "Never let the facts get in the way of a good story."

In 1787, the British Royal Navy sends the H.M.S. Bounty and its captain, William Bligh (Howard), on an expedition to collect breadfruit from Tahiti. The captain's cruel and inconsiderate treatment of the crew hits a nerve with the ship's first mate Fletcher Christian (Brando), but he holds his tongue for the moment. After spending five months in Tahiti waiting for the new breadfruit crop to yield (and making the most of the island lifestyle, if you know what I mean), the crew take on board dozens more plants than they originally intended to make up for lost time. Unfortunately, there is not enough water on board to keep all the plants alive, so Bligh reduces the crew's rations. Problem solved. This, along with a few more heartless acts, slowly pushes Christian over the edge and, with the aid of some of the unhappier members of the crew, he orchestrates a mutiny. (I know. I've just given away a major plot twist. In my defense, though, it is in the title. Clearly, the producers of the Mel Gibson version knew better.)

There is never a dull moment in Mutiny on the Bounty, which is no mean feat for a three-hour movie. But it's not just because of the thrilling action scenes. A big part of the film's power comes from the intense psychological battle between the two main characters. Both men are loyal to their country but their ideas on how best to affirm their patriotism are polar opposites, as are their leadership techniques. Their disdain for each other is apparent due to several bitter yet contained exchanges. Indeed, the script is clever enough to keep their conflict simmering on low heat until the right moment, resulting in some utterly engaging drama. The witty and refined dialogue doesn't hurt either. For example, when asked about his feelings regarding the mutiny, Christian remarks that he does not regret his actions "except for a slight desire to be dead which I'm sure will pass."

The seductive nature of the love story between Christian and his Tahitian girlfriend, Maimiti (played by Tarita), seems slightly gratuitous, akin to the absurdity of Captain Kirk's alien conquests. Maimiti's father, who happens to be the tribal Chief (and is peculiarly portrayed as a giggling buffoon), delivers an ultimatum barring the Britons from taking any breadfruit unless Christian sleeps with his daughter. Still, the real Fletcher Christian ended up marrying Maimiti, plus Brando married Tarita, so stranger things have happened, I guess.

Marlon Brando is obscenely watchable as the head mutineer. Affecting a flawless British accent, his natural mannerisms and constant thought processes are nothing short of captivating. He is matched by Trevor Howard's strong turn as the stubbornly tyrannical William Bligh, expertly delivering his many biting lines. Also compelling is future Hogwarts principal Richard Harris as Seaman John Mills. And as glad as I am to see legendary Aussie actor Chips Rafferty in the cast, his broad Australian accent is more than a little inappropriate for the time period. British settlement of the land down under did not occur until 1788.

The other Australian connection to the film is the fact that William Bligh eventually became the 4th Governor of my home state of New South Wales. His horrid luck with insubordination continued, however, when he was deposed in a military coup known as the Rum Rebellion. Clearly not meant to be a leader.

1962 - The Music Man

Don't forget to vote for which year Matt vs. the Academy should tackle next. You can do so by selecting one of the options in the poll on the right. For my American readers, consider it a warm-up for the voting muscles you will be exercising on Tuesday... unless, like me, you are not a U.S. citizen and are therefore ineligible to vote ... in which case, just vote in my poll anyway.

Today, in lieu of any Halloween festivities, I watched another contender in 1962's Best Picture race...

The Music Man

Director:

Morton DaCosta

Screenplay:

Marion Hargrove

(based on the Broadway musical by Meredith Willson)

Starring:

Robert Preston, Shirley Jones, Buddy Hackett, Paul Ford, Hermione Gingold, Pert Kelton, Ron Howard

Academy Awards:

6 nominations

1 win, for Best Score (Adaptation)

Popular on Broadway, Meredith Willson's The Music Man centres on a travelling salesman who calls himself Professor Harold Hill (Preston). Arriving in River City, Iowa, Hill attempts to con the townsfolk into buying instruments and uniforms for a boys marching band that he promises to lead. Only thing is: he has absolutely no musical ability whatsoever (although, he does appear to be able to sing and dance). With the help of an old pal (Hackett), Hill evades the scrutiny of the Mayor (Ford), but for the plan to really work, he has to keep the town's only musician, piano instructor Marian Paroo (Jones), from exposing him. He decides seducing her will be his best bet.

'Extravagant' is the first word that comes to mind when watching The Music Man. Brightly-coloured sets and costumes, super widescreen cinematography, familiar toe-tapping tunes (Seventy-Six Trombones and Ya Got Trouble, for example), larger-than-life characters. It's one extravagant musical number after another. The result is that River City and its inhabitants appear to have a polished veneer. Yet this feeling of make-believe - common to Broadway musical adaptations - is incredibly amiable, thanks to a delightfully humorous tone.

Meredith Willson's music is imaginative and fun with many tracks distinguished by their brisk rhythm and almost mechanical melody. Lyrically, the songs are clever and interesting, sometimes downright strange. I mean, who names a song "Shipoopi"? (I have to shamefully admit that I was not even aware of that song until I heard Peter Griffin's rendition of it.)

Clearly, it was an enormous task converting this stage success to film, and director Morton DaCosta uses some innovative camera techniques for certain sequences, including several extended takes. However, there are other times when it seems that he doesn't make the most of his medium. Despite the energetic choreography, certain shots feel unusually static because of the simplified camera placement. It's almost as if the actors are performing like they would on stage, all huddled together facing the audience.

Nonetheless, the cast all embody their characters perfectly. Robert Preston is smooth and charming as the swindler who grows a conscience. The Partridge Family's matriarch Shirley Jones is sweet as Hill's love interest. The supporting cast, including Buddy Hackett, Paul Ford, Hermione Gingold and Pert Kelton are all delectably comic. And little Ronny Howard (as he was known prior to his Richie Cunningham days) is adorably impressive, complete with outrageous lisp.

1962 - To Kill A Mockingbird

I always enjoy seeing classic movies on the big screen. The cinema experience will always trump the home theatre experience, I guess, until the day that the cinema experience is the home theatre experience (i.e. when I own a house big enough for a private screening room). Among others, I've been lucky enough to see 70mm prints of Lawrence of Arabia and Ben-Hur, and I got my sci-fi geek on for the reissues of the first three Star Wars films in the late 1990s. But last weekend was a particularly personal thrill for me as I attended a special 25th anniversary screening of Back to the Future. I had never seen it on the big screen before (I was only nine years old during its initial release) but, through video and DVD, it became one of my all-time favourite films, one which, I'm glad to say, still holds up today, despite its mathematically erroneous pronunciation of 1.21 gigawatts. Seeing it in a room full of like-minded fans created an electrifying atmosphere - there were cheers when George knocked out Biff - and since I had already seen Parts II and III in the cinema, this recent screening finally makes the trilogy complete for me.

Yesterday, I took a look at another classic from 1962's Best Picture race...

To Kill A Mockingbird

Director:

Robert Mulligan

Screenplay:

Horton Foote

(based on the novel by Harper Lee)

Starring:

Gregory Peck, Mary Badham, Philip Alford, John Megna, Frank Overton, Brock Peters, Collin Wilcox, James Anderson, Robert Duvall

Academy Awards:

8 nominations

3 wins, including Best Actor (Peck) and Best Adapted Screenplay

Harper Lee's Pulitzer Prize-winning novel made its way into most high school English classrooms, including the one I attended at Gymea Technology High School, making it a familiar story to most. For some reason, though, my main memory of the book is of the rabid dog. That and the wacky names of all the characters: Atticus, Scout, Jem, Dill. Even the Sheriff's name is Heck.

In a small Southern town during the 1930s, lawyer Atticus Finch (Peck) raises his two children, Scout (Badham) and Jem (Alford). The kids befriend their neighbour's visiting nephew, a young boy named Dill (Megna), and the three make their own fun on the streets, mostly by making up stories about the mysterious Boo Radley (Duvall), their reclusive neighbour that none of them have seen. Meanwhile, Atticus is assigned to defend Tom Robinson (Peters), a young black man accused of assaulting a white girl named Mayella (Wilcox). The girl's father, Mr. Ewell (Anderson) is not particularly happy about Tom receiving any kind of defense and he has a gang of likewise angry townsfolk on his side. Atticus attempts to keep the situation in the town under control as he mounts his case for Tom's innocence.

Atticus Finch may well be the most morally upstanding character in fiction. He is considerate, compassionate and incorruptible. Calm under tense situations, he stands up to bullies with a mild and rational temperament. A loving father, he teaches his children to adhere to the same moral code. And since it is typically a character's flaws that make him a fascinating study, Atticus comes across as entirely uninteresting as a lead character because he appears to be flawless. Don't get me wrong. We still love him and want him to succeed, but the truly interesting elements of To Kill A Mockingbird lie elsewhere.

To be honest, though, Atticus probably isn't the lead character anyway. The novel is written in the first person by Scout (and the film is narrated by the adult version of her, voiced by an uncredited Kim Stanley), so it would seem plausible to call her the lead. The story can certainly be considered her coming of age tale. Indeed, both Finch children learn a great deal over the course of the picture, the first half of which concentrates on their adventures.

Then, there is the grand courtroom scene. Even if Atticus himself is prosaically simple, the battle that he inevitably faces in court (and outside the court, for that matter) is dramatic and affecting. It is no secret that I love legal dramas, particularly those gotcha moments when a lawyer wins a point against his opposition. Atticus certainly has no shortage of those moments. However, the events in the courtroom seemed somehow unbelievable. Granted, I don't have a great knowledge of U.S. criminal law in the 1930s - and perhaps it is due to my familiarity with modern legal dramas both on the big and the small screen - but there were several moments during both lawyers' cross-examinations that I expected to hear the other yell, "Objection!" Some of the claims being presented seemed legally spurious. Nonetheless, the direction and the cast help to retain a tense atmosphere.

Gregory Peck won his only Oscar for this iconic role and despite my misgivings about the character's dramatic appeal, Peck's portrayal is strong and grounded. Both Brock Peters as the accused man and Collin Wilcox as the accusing woman deliver powerful performances making the most of their brief moments on the witness stand. And yes, that's a young Robert Duvall making his film debut as the mute Boo Radley.

1962 - Lawrence of Arabia

Here's a little anecdote to illustrate precisely how neurotic I am...

I recently endured my first cold of the season. The sore throat and the runny nose passed relatively quickly, leaving me in the niggling cough stage. A few nights ago, while sitting in an acting class, I felt a potentially disruptive coughing fit simmering just under the surface, so in an attempt to minimise the disruption, I instead released a short, sharp and perhaps oddly high-pitched hack. To my surprise, the girl sitting next to me kindly whispered, "Bless you," seemingly unaware that my audible expulsion was not, in fact, a sneeze. Not wanting to be unappreciative or rude, I let her error pass. However - and here comes the neurotic part - rather than risk another awkward blessing of a cough, I made a conscious effort henceforth to make my splutters sound more cough-like by invoking at least two or three distinct barks in rapid succession. Yep, I actually adapted my own coughs in order to avoid an embarrassing situation. Coincidentally, the monologue I had prepared for class that night was written by Woody Allen.

Yesterday, I undertook the epic task of watching an epic film nominated for Best Picture in 1962...

Lawrence of Arabia

Director:

David Lean

Screenplay:

Robert Bolt and Michael Wilson

Starring:

Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif, José Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy, Donald Wolfit

Academy Awards:

10 nominations

7 wins, including Best Picture and Best Director

We are introduced to T.E. Lawrence (O'Toole) on his motorcycle speeding down a quiet country road. Suddenly, he swerves to avoid hitting a couple of meandering bicyclists, fatally crashing into the adjacent greenery. Yep, he's dead within the first five minutes of the film. But don't let that fool you. There's at least three and a half hours to go.

Flashback to about twenty years earlier and young Lt. Lawrence is stationed in Cairo during World War I. The other British Army officers don't take him too seriously, but his knowledge of the desert-dwelling Bedouin people is enough for his superiors (Wolfit and Rains) to send him to meet with Prince Faisal (Guinness). While crossing the desert, Lawrence's guide is killed by a feuding tribe member, Sherif Ali (Sharif), unhappy with the guide's use of his well. Lawrence survives on his own, eventually reaching Faisal. Defying his orders, he recommends a battle plan to the Prince in his fight against the Turks, which involves more desert crossing and working alongside Ali and yet another feuding tribe member (Quinn), who is also protective of wells. Through a few more battles and a few more desert crossings, Lawrence gradually develops a fondness for these nomadic people who, in turn, begin to reciprocate his respect.

To be perfectly honest, it is hard to explain what I like about Lawrence of Arabia. Sure, it is a fascinating study of a complex man. Sure, the script is eloquent and expressive. Sure, Peter O'Toole is engaging in the title role. But I'm not entirely sure I noticed any of those things while I was watching the film. For the fact is this picture is so incredibly epic that all those other elements seem to almost fade away. The epic landscapes. The epic battles. The epic duration. It's hard not to be genuinely impressed by the epic feat it must have been to get this film made.

The locations alone are spectacular to behold - a vast expanse of desert as far as the eye can see. Freddie Young's Oscar-winning cinematography is beautiful yet simple. Although, when it comes to stunning exterior shots, I've often wondered how much credit should go to the cinematographer and how much to the location itself. I mean, if nature presents you with breathtaking views, all you need to do is point the camera and shoot, right? But, obviously, I am rather offensively simplifying the cinematographer's art. Either way, the visuals are moving and effective. And considering the number of times that the characters cross the desert during the course of the picture, there is plenty of screen time devoted to its majesty.

Despite this grand scale, there is still room for intimacy, which is predominantly provided by Peter O'Toole's expert performance. Nuanced and passionate, he is certainly the audience's personal connection amidst all that epicness. Plus, anyone who can withstand the amount of grit that surely embedded itself in his face during filming deserves to be commended. Anthony Quinn was the other standout for me, portraying a proudly unrefined tribe leader.