This Had Oscar Buzz - 289 – Don’t Look Now (with David Sims) (70s Spectacular – 1973)

Episode Date: May 13, 2024

In 1973, the Academy embraced horror in a big way by slapping cultural phenomenon The Exorcist with 10 nominations – but then The Sting would triumph over its success on Oscar night. Critic David Sims returns to the show to talk about a different iconic and formative horror title, Nicolas Rouge’s Don’t Look Now. With prestige stars Donald Sutherland and … Continue reading "289 – Don’t Look Now (with David Sims) (70s Spectacular – 1973)"

Oh, oh, wrong house. No, the right house. I didn't get that! We want to talk to Marilyn Hack, Maryland Hacks and French. I'm from Canada water. Dick Pooh. She wants you to know. I've seen her.

And she wants you to know that she's happy. Christine. John, do you hear what I say? It was Christine. My daughter is dead, Laura. She does not come peeping with messengers back from behind the grave. Yes, Christine is dead. Yes.

She is dead. Yes. Dead, dead, dead. Dead, dead. Oh, me. Hello, and welcome to the This Had Oscar Buzz podcast, the only podcast memorializing Castro's boobs. Every week on This Had Oscar Buzz we'll be talking about a different movie that once upon a time had Lofty Academy Award aspirations, but for some reason or another, it all went wrong. The Oscar hopes died, and we're here to perform the autopsy.

and in the month of May, we'll be celebrating the Oscar era that was the 1970s. I'm your host, Chris Fyle, and I'm here, as always, with my clairvoyant sister, Joe Reed. Oh, I should have a freak out here, right? I should just be... What does she yell at him? Just riding on a boat. We're like Lady Gaga on the boat, arriving at the Stars Born from here, except we are both two Clairvoyne's sisters. Two very different visions of Venice.

and one who's really excited about it. Yes, yes. I'm also realizing because we record these so, we're recording this month so out of order, I just spoiled maybe the biggest gag of Up the Sandbox for you. I was going to say, I don't get that joke at all, but I will soon. Oh, and you will. Yeah.

Let's get straight into it. We are very excited to have a returning guest back from, what was it, double digits episode on Alzander. that episode was, I feel like it was in our first few months. I think it's in the teens. Yeah, you were like our third guest. Yeah, you're at, episode 25. Episode 25.

Listeners, David Sims is back. Round of applause for David Sims. Welcome back, David. At long last. Hey, guys. 2018, were we ever so young? So good. Honestly, good movie.

Didn't we all watch, like, different cuts of that movie? I think we did all watch different versions. Yes. Yeah, yeah. It's very easy to do, and I've never really been able to discern the difference. I know there are some, but... Or like, which is the preferred one, too. Like, I think that was a lot of our discussion was just like, I don't think anybody really knows what the...

Ultimate Revisited, final. These are all cuts of Alexander that are out there. It's fantastic. Well, tremendously excited to have you back on. When we decided we were going to do the 70s, and David, I reached out to... you and I had given you some options. And this one, don't look now, we settled on, mostly because you were so enthused and you just love it so much, which is like, what better reason to have somebody on? It's a huge movie for me, for young me. I don't, I can try and get at why, but,

yeah, you threw the front page at me. I'm not, if I'm spoiling anything. No, I think we're going to tell everybody what our 70s are, so you're good. Yeah. Um, would, I was intrigued by, but I have never seen, I have seen other versions at the front page, and I saw it on the Broadway stage and I was like, oh, maybe, yeah, maybe we'd be interested to see another, but I only know that movie as the movie that they go see in Dolomite is my name, and they're like, this is so boring. This is so boring. Yeah, we got to do something better.

Yeah, exactly. Quite correct, Dolomite. And I was like, and obviously, I know it's a Billy Wilder movie, and my guess is it's not so boring, but I don't think it's like. his best regarded. So I was like, yeah, front page, is that interesting maybe? And then Don't Look Now, I was like, well, that's, that's a foundational David movie. Yeah, I'm glad you picked that one. Which is so funny to think about, like, Teen David being excited by a movie about, like, a married couple trying to move on from the loss of a daughter. Like, I'm like, I don't know,

but I think, yeah, well, we can talk. It's funny that you say that because, like, Don't Look Now was a movie that I didn't see until the last 10 years or so. It was a, It was definitely after I had, like, moved to New York. But it was on my list forever. I remember seeing a clip of it in that Bravo 100 scariest movie countdown that they would do every year. And I was so intrigued. But the movie that I saw when I was a kid that sort of dovetails with what you're explaining is, I saw Dead Calm when I was like 11 years old.

And, like, that was another one where it's just like, oh, it's a couple, you know, trying to get past the grief of a. of a dead child, they go on an excursion somewhere, and they encounter sexual menace in the form of Billy Zane. And Billy Zane's abs. And I was like a kid who was just sort of like there for kind of like the scares, but I was not prepared for the subtext and the sexuality at play in Dead Calm. So even much more so, and don't look now, considering the notoriousness of the sex scene.

The sex scene in this movie is like the most gentle night. thing in this movie. It's like the sex scene almost exists just so they can have something nice. But, I mean, functionally, it's not surprising that it's so controversial, though, of course, the, the legend, which is definitely fake that it's unsimulated, you know, it feels like it's sex as it normally happens, you know, they kind of stumble into it. There's a lot of limbs sort of moving. And like, much like the structure of the right. rest of the movie, it's, you know, displaced in time. You know, the sex acts is seen at, like, intercut with them rebounding from the sex scene and putting clothes back on. Yeah.

Which makes it, I think, not only really hot, but also incredibly romantic. Like, it's also one of the most romantic sex scenes that there is. That's why it shocked people, I think. It's just very, very. intimate and real at a time when I think that was unusual. This is not American movie. It's a British movie, I guess, but in an English language movie movie stars. And, you know, and it's like how when frickin, what was it, Blue Valentine got an NC 17? Because there's like Conalingis or whatever. It's like, anything that's like kind of real and grounded, like freaks the MPA out way more. It reminds you that the movies, a lot of like, mainstream.

movies, at least, had sort of written their own vocabulary for what sex looks like in a movie. And anything that kind of like stepped out of that. And we're just like, oh, oh, this is not what we have decided that sex is a lot of like people with sheets wrapped around them. And, you know, this is an interesting year for like sex in movies and also sex at the Oscars. This is the same, we're talking about the same year that Last Tango in Paris is nominated for director. actor. And I rewatch Last Tango in Paris, which I just feel like people used to be really repressed. I don't think Last Tango in Paris is all that interesting, especially sexually. And I would even argue that the sex scene in Don't Look Now, you see way more than you see at any point in Last Tango in Paris. It's much more, you know, explicit is not the right word, but it is much more revealing. They are much more naked. And I think it's, to me, a much more interesting on a character-level sex scene than anything Last Tango has to offer. Oh, and also, what's her name?

Oh, God. I just had it there. Maria Schneider? Not Maria Schneider. Linda Lovelace attended this Oscars. Oh. That's interesting. Do you think she and Marcel Marceau had a nice conversation? I was watching the red carpet arrivals for the 73 Oscars.

Well, she was not invited to be a presenter, but she did show up in all white lace and a horse-drawn carriage, apparently. I mean, if you're going to go to the Oscars, go to the Oscars. I guess that was, Deep Throat is, what, 72? She was at the height of her fame? Yeah, that would be the year she would go to the Oscars. I love watching the Arrivals, though. We watched when we did our 1970 episode, and I watched the Red Carpet Arrivals. because these ceremonies are on a lot of these are on YouTube in like bits and pieces.

You don't really get the whole thing. But you get like a lot of it if you watch it in bits and pieces. And the 1970, they went through the red carpet arrivals in the span of I will say like three and a half minutes. And it was just like boom, boom, boom, boom. And this one is a little bit more leisurely where they take time to like tell you who these people are and like what the significance of it is. I didn't realize that Bert Baccarac and Angie Dickinson were married. That's new information for me. And, and yeah, Marcel Marceau, perhaps, they said something like,

like perhaps the most famous mime in the world. And I'm like, I would love to meet a more famous mime than Marcel Marceau because I've not heard of them. Well, the best sound presentation is, it's Marcel Marceau and Candice Bergen, I believe, in this ceremony, where she's listing the sound nominees and he's performing what the movie sounds like it's very cute. It would

annoy people today. I think I would appreciate that level of creativity. One thing I definitely think people would not have appreciated is the 10-minute Liza Manelli opening number. Not that we wouldn't appreciate Liza, but like testing the patience of the Oscar audience with a 10-minute

opening number that's like part song and dance, part like sketch comedy where she's like reenacting her losing for the sterile cuckoo. and then winning for cabaret. It's just, it's a lot. It's a lot of preamble.

And then the Academy president talks for two minutes. And then Burt Reynolds just like gives a comedy monologue. It's a while before they get to the Oscars. They really knew they had a captive audience back then. And they, I think they made the most use of it. This is an interesting Oscars. I've never seen The Paper Chase. I want to watch.

I haven't either. That was one that was made into a television show, I believe, too, but the same actor. I think John Hausman wasn't both. Yeah, wasn't both. Who was, like, teaching at Juilliard and had never acted on screen before. And then you watched that performance, and it's like, well, yeah, this is just, like, the most going to win an Oscar character, let alone performance you've ever seen. Well, and he was, like, known for, like, he was Orson Wells' sort of. Orson Wells' legend.

Yeah, yeah, yeah, yeah. So, like, he was, that felt like probably a no-brainer to give him the Oscar for that. Yeah, he beat a lot of young guys, not Jack Guilford, but Jason Miller, Randy Quaid, those are young guys. And then, well, Vincent Gardinia for. Vincent Gardinia was born with that face on his face, I imagine. So, like, he always, he was born 57, yeah. Yeah. What did I just see him in?

Something. Sorry, go ahead. I don't know. He's the best. best. I think he's the manager. He might be in the front page. He is in the front page. Oh, yeah. Oh, yeah. That, he belongs in the front page. That's, yep, that makes a lot. Oh, he's the sheriff. Sure, he's the sheriff. Which I, we, Joe, you and I probably both saw a very kind of slender and sort of tired feeling John Goodman in that role. I remember it feeling, yes. Yeah, that was an interesting cast of, um, slattery cast, obviously. Yeah, it was super stacked. Everybody was like Dylan Baker's. in it. Slattery was in it.

Nathan Lane, of course. Yeah, it was. There was, there was like a few more someone else's I feel like. Hold on. And I was like, I was very pumped for, you know, Goodman because I love Goodman. Of course. And he was not, he was not bad, but he was kind of like not giving class. Like, you're like, oh, Goodman's playing the sheriff. Like, I know what that's going to be like. And he was not giving you like big booming Goodman. Have you seen clips of the Connors at all, David? The, the Roseanne revival?

Oh, yeah, yeah, yeah. I've seen the Connors. I've watched a Connors. I feel like every time I see a clip from the Connors, I get that same similar kind of a vibe from Goodman, where it's just like, well, I'm here. Yeah. Yeah. Yeah, he's a little lower energy these days. Holland Taylor was in that production.

Yes, Sherry Mnay Scott. Jefferson Mays, who played the very foppish sort of writer, the fancy pants. Robert Morse. Jefferson, Mays playing a fop. I know, I know. I'm shocking to all of you. Dan Floric from Law & Order. Yeah, I love Dan Florek.

Oh, Magaro was the fugitive. Right, he was hiding out. That's right. Yeah. Oh, so Magarro in one of those little desks that... Yes, in a roll top. In a roll top. In a roll top. Right.

In and out of the roll top. Now you got me. You got me. Yeah, exactly. Exactly. I saw Jefferson Mays in the Tony winning play Oslo at Lincoln Center, you know, which he got a Tony nomination for. And that was one of those plays where you're going in and people are like, oh, this is, you know,

this is a big hit play and it's going to win the Tony. And it's, it's about the negotiation of the Oslo Accords. Right. It's this long, you know, like exigious on diplomacy. And they're all just fucking yelling at each other, the whole goddamn play. Is that what just being like, this is so Barton and like me and my friend who I went with we were just kind of like laughing like and I have never felt so out of sync with like serious theater broadway yeah oslo with lots of hype and i was just like i know it's important you don't need to yell this at me anymore please stop yelling at me i saw jefferson maize and i think the one that he won the tony for which was a gentleman's guide to love and murder i think that's what yes which is a very jefferson

Which is very antic. In that one, at least it's a comedy. It's a lot of antics, but it's a comedy. And I think I enjoyed, he's very good. He plays, like, a lot of roles. That's his sort of shtick in that. Is that he, like, he changes costumes all the time, and he's, like, five different people.

But Bryce Pinkham was in that, and he was sort of the one that I loved in that. But anyway, how did we get to this? Front page, Vincent Gardinia, 1973 Oscars. Vincent Gardena, who basically, not hijacks. It's not his fault. The cameraman in the best actress. like grid, you know, when they're leading up to announcing that Glinda Jackson has won her second Oscar.

Vincent Cartina, there is more of his face in Joanne Woodward's Square than, you know. You had me watched that clip last night, Chris. And first of all, Glenda Jackson for the second time wins and isn't there. For a terrible movie. Neither is Barbara Schro. Oh, I turned off a touch of class. I did not finish that movie. I did not care for that thing at all.

is terrible. I would say one of the worst best picture nominees I've seen. It's really obnoxious. Yes. Have you seen it, David? It's not a very good movie. I have, yeah. Glenda Jackson is an icon. Oh, she's not bad in it. Obviously, she's the best, right? But it's very strange that she has two Oscars. You look at the nominees and you totally

understand how she won, though. Like, I don't really even know who her competition was. Like, Birston... Most people thought Birston was going to win for The Exorcist, which is funny because it's not really a Birston Showcase. It's not. And hadn't she just won an Oscar? No, she'd win the next year. Glenda Jackson has just won the Oscar.

Alice is the next year. I mean, I would probably give it to Burson of these five. I would too, yeah. But I haven't seen, I have not seen Cinderella Liberty. Cinderella Liberty, from what I understand, is Marshall. She was a heart of gold movie, right? Hooker with a heart of gold. Yeah, yeah, yeah, yeah.

Which we were talking about the 1970 Oscars. uh when we recorded the other night and that what that had another uh hooker with the heart of gold role in that somewhere nominated somewhere and i'm like oh the 70s were really about that trope in a not that it's ever really like fully gone away i really need to see summer wishes winter dreams a title that is truly about nothing but it sounds like you know very crisp file bait like it is uh i mean and joanne woodward is i mean a powerhouse i mean of her. Alan Burstyn is so good in The Exorcist.

Ellen Burstyn... She's amazing. She, I mean, like, I mean, I love the Exorcist. But the point of the clip, though, watching the clip, the three of them who are actually there, because Streisand's not there either. Strysand, I'm sorry. Apparently, she was hiding out backstage. Oh, so Barbara was there, but not in her seat.

This is what Inside Oscar says. I forget what she said in the book. In the book, I thought that she said she didn't go because she was too nervous to perform the song. Oh, interesting. But so Burstyn's there, Marcia Mason's there, and Joanne Woodward is there. And every single one of them makes a face when they announce that it's Glad of Jackson. Like, they do not bother with the like pretending we're happy. Like Ellen Burstyn kind of like doesn't quite roll her eyes, but like literally makes a face. Marcia Mason sort of turns to whoever's next to them and gives them sort of this like portentious glance. And Joanne Woodward just starts like yapping. It's very funny. Ellen Burstin says, what a surprise. Is that what a surprise? Is that what? she says. Yes, she does. I mean, she's so good. Her first Oscar win is so wildly deserved. Yes. And the second is so not. It's sort of like Sally Field, I guess, a similar kind of thing where you're like, why, why did she win the second one? The first one was plenty. Like, she's amazing in that, yeah, anyway. As I was saying in that earlier episode, though, like, I think she's fantastic in women in love. It's surprising to me that that's the performance that wins the Oscar because Alan Bates, I think is such a powerhouse.

in that movie and I know it's like different categories but like I don't know really taken with her at that time though and you look at that lineup and it's kind of a level playing field you know yeah I think she's kind of the obvious winner there like Jane Alexander is fine in the Great White Hope that there'd be a weird win yes agree uh Ali McGraw would be an insane win awful awful she's pretty bad in she's really bad but I as I was saying that the success of that movie is very pretty pretty prizes me that she didn't win because like that was such a blockbuster and they were so all over themselves to award that movie but i think it's because critically as many people were

comparing her to like elizabeth taylor there were people also uh critically ripping her to shreds to yeah much like young elizabeth taylor i think also that was really the era when they did not give young people Oscars right without a gun at their head right they later transition to like okay if you're an ingenue you can win best actress but like back then it was like hold your horses lady like yeah and like she was married to Robert Evans at the time which would have been way not you would think it would be

you know a tip in her favor but it wouldn't have been it would have been too gossipy at that time yeah yeah I mean I'm saying Glinda Jackson was young but she was I think more like you know she was in her late 30s or whatever she sure yeah anyway

Linda Jackson's a legend look she was the MP for that the neighborhood next to me in London? Oh, nice. And she was kind of a famous MP. I watched the clip last night. She did not give a fuck. I watched the clip last night of her after Thatcher died in Parliament, sort of giving the speech

about how we shouldn't be honoring Thatcherism and, you know, and she sort of just goes on amid, of course, sort of shouting and murmurs and whatever. And then the other MP gets up afterwards and tries to like, you know, this is not what we're here for.

only here to say, essentially we're only here to say nice things about the person who died and John Burkhow, who now I only know because of the traitors, because he was just on the traitors, right. Crazy. Like, essentially is just like, let me make it clear. I have

heard your attempt to shout down the other member. He doesn't mention Glendez Jackson's by name, but he's like, he's essentially just like, everybody gets a chance to say something, like sit your ass down. I was like, hey, yeah. That's his job, right. Yeah. Just the The thing was she represented a very rich neighborhood.

She was a labor MP with a tiny majority for most of her run. And yet she spent the whole time basically just like going off and being like, Tony Blair sucks too. I hate everybody. And everyone was like, oh, she has two Oscars. Go off. That's fantastic. Good for her.

Linda Jackson did not accept her first Oscar because she couldn't afford to attend. And the studio did not buy her a plane ticket. She did not attend her second Oscar win either. And this is the quote she gave after. I was working, but I doubt that I would have been there, even if I hadn't been. Watching it on television here in my hotel suite, I kept telling myself I ought to turn it off. I felt disgusted with myself as though I was watching a public hanging. No one should have a chance to see so much desire, so much need for a prize, and so much pain when it was not given.

I wonder if she was talking about Ellen Burstyn. Ellen Burstyn does not exactly have a poker face at any point in her career. No, no, no, no. You can see why this is why Ellen Burstyn probably didn't go the next year when she did win, even though she had it in her contract in the Broadway place she was in that she could go to the Osk. Oh, wow. Oh, she didn't. She's not, she doesn't accept that one either, huh? No, no, she didn't go because she didn't think she would win.

There's a lot of, like, up until probably like midway through the 80s, I feel like is when people started mostly going. Right. And, but there was a lot of hand-wringing in that 70s. is, you know, the, the George C. Scott stuff and the Dustin Hoffman stuff, all this stuff, like, is it, is it undignified to, you know, be competing for prizes for acting and yada, yada, yada. And it's nice that we've mostly gotten past that with, you know, notable exceptions. You're freaking George C. Scott getting in everyone's head, yeah. Well, in Bert Reynolds's opening speech in this ceremony, too, he's, you know, makes vague gesture towards the people who say. shit about the Oscars, and he essentially makes a joke saying all those

people are hosting parties and watching right now, so... Yeah. I do think Ellen should have won in this Oscar year, the 73 Oscars. Agree. Yeah. 100%. Of those five, at least. And

because the year she wins, she's wonderful in Alice doesn't live here anymore. It's a perfectly deserved win. Yeah. But she is beating Faye Dunaway, and she's beating Jenna Rollins and a woman under the influence which is kind of like I know the Cassavetti's movies

were too hard to sell for wins but like that is just like an insane like powerhouse performance like I'll also say I just recently watched Claudine Diane Carroll fucking real yeah so good that's a really good category

that's a really and Valerie Perrine is really good in Lenny like that's not a winner but like she's like that's a great yeah it's a great lineup you look at how weak the 73 category is and then how strong the 74 one is. Yeah, it's really something. Yeah, yeah, yeah, yeah. And I guess to pull it back to, and we can come back to the Oscars later, to pull it back to Don't Look Now, when I rewatched it for this and after doing all the research for this Oscar year and such, it does really feel like this movie is at the convergence of all of the sex stuff like Last Tango and Paris and The Exorcist, you know, because we're talking about a horror movie and you could maybe blame some of the... uh you know lack of wins for the exorcist on the fact that it's a horror movie and an immensely popular one at that like they're not going to give as good as ellen burson is as much as ellen burson does in the exorcist to elevate the movie as a whole they're not going to give it to her

because it's still the mom in a horror movie right um whereas don't this would have been well outside their wheelhouse yeah yeah the other thing the exorcist it's like she's the bulk of the movie but then the last half hour, she's not in it, really. You know, the last half hour, you're in the room with Van Seidown, Miller, and Blair. Yeah.

And I guess people are kind of walking out. Obviously, that is the, you know, the crowning, you know, insane, like, it's the reason people are coming out of that movie so, right? So, maybe she wasn't getting enough credit. I don't know. No, I think that's plausible.

I think you look at what ended up winning in 73. Well, we'll talk about it. Like, the sting, you know, being a very sort of very Hollywood throwback you know

the Scott Joplin nostalgia of it all you know that kind of a thing Redford and Newman are back together again Redford's only acting nomination and Paul not nominated yeah yeah

it's so weird that that's Redford's only acting nomination they were so rude to cutie pies in Hollywood back then it's kind of like how they treated Leah and then they kind of came around on Leo once he was more grizzled.

Redford and Harrison Ford, each only having one acting nomination is always so wild to me. That's... The Ford thing is crazy. I don't... It is, especially because Ford has been... A supporting actor, working girl nomination just for taking off his shirt. He's in so many Best Picture nominees in his career, and he's only ever gotten the one acting nomination. Look up how many Best Picture nominees he's in.

It's really like, it's, it's even more than people realize. I mean, beyond that, it's like, you know, he made these, like, because I feel like a lot of his career, he didn't really make the Oscar play, right? He's more making the mainstream movies and that's fine. But then he's making, like, mosquito coast and frantic and, like, I mean, regarding Henry is bad, but I guess that's the, those are more Oscar play. And the Oscars are just, like, holding their nose, I feel like. And then something like the fugitive comes along and they're like, yeah, well, four. you just did what you always do. It's like, get over yourself.

He's so fucking bright in the future. It's amazing. He's amazing. To nominate Tommy Lee Jones, who's great, but like, it's such a cat and mouse game, I don't know how you nominate the cat and not the mouse. Like, it's, they're so good together. Yeah. They are.

Now I want to look at that. I mean, that's a really good lineup. Fuck. That's what, you know what? Neeson, Hanks. Yeah. Anthony Hopkins and the remains of the day is so good. Daniel Day Lewis in the name of the father

So good And then it's Laurence Fishburn It's another Larry Fishburn It is hard to You know You understand it Daniel Day Lewis is good But for a movie that has

Very little Like Footprint in the Like movie landscape Like nobody talks about it In the name of the father If we knew what was ahead of Daniel DeLuis

We would have all been fine Just sort of like shunting that one Maybe to six place Emma Thompson is the kind of best... Emma Thompson, Pete Bossel put her, like, kind of the best performances in it. But, I mean, Day Lewis is totally fine.

He's good. He's a good actor, obviously. That's a good movie. I remember very much liking that. That they nominate him for In the Name of the Father and not the Boxer is so weird. Well, at some point, I think they're like Jim Sheridan. They're just like they're the lower tier Daniel Day Lewis movie. Jim Sheridan ran out of roles at the Crab Stable, I feel like, yeah. Um, all right. Um, yeah.

Before we move back into Don't Look Now, David, would you like to throw down the gauntlet for your favorite Oscar win of the 1970s, the decade we're talking about. Oh, my God. All of the 1970s. Good Lord. Yes, yes. Well, it's a fair question, because there's a lot of nombs I love. Sure. Like, I love that, like, cries and whispers was a best picture nominee, right?

You know, like, there's stuff in the 70s where you're like, God damn. Cryson Whispers is the most sound. like it's three hours but is only 90 minutes movie in the history of movie making. It's so true. Like when I was a kid I'm like, that's a movie about people putting glass in their eyes for three hours. Yeah. Yeah.

Like you do, that is true. You do think that's the vibe. Yeah. And then there are some wins like, like, like that are so insane to me like God bless Richard Dreyfus, who's a good actor who I like, obviously, you know, but like you watch the goodbye girl and you're like, he's just hectoring this poor woman

he's as good he's as good in what about Bob as he is in the goodbye girl and that's not even shade because I love him in what about Bob but like it was a massive hit it was a huge hit yeah that's the thing about some of the wins in the 70s is like well why this and it's because we're looking at it

through today's lens where it's like is the goodbye girl even streamable somewhere and it's why it's viewable on YouTube because I definitely watched on in YouTube because this season of the last of us, there's an episode, this past season of the last of us, there's an episode where the town has, the one town has been able to wire electricity and so they have movie night every week. And they're like walking through it. And I'm like, what are they showing on the screen there? And it's the fucking goodbye girl that they're all watching.

So I watched the goodbye girl. And they nominated that kid. And I'm sure that kid is a fine, upstanding human being. Kids fine. Yeah. But like, that's, it's, it's, it's, it's, it's, It's, it's an annoying kid performance. You know what I mean? It's like, it's just like, oh, God. I don't know. It's not as bad as all the nominations for Love Story, but it's not good. Love Story was the freaking avatar of its day.

You gotta just, you know, tip your hat to it. I mean, like, my favorite win is, like, Liza and Cabaret, but I feel like that's so boring. That's, I mean, you're in good company for that opinion, though, David, so. Oh, yeah? Who else? Who else picked Liza? And, like, my other. favorite win is probably like De Niro and Godfather

too, which is maybe just slightly less surprising, right? Like sure. Like, uh, I don't know if he was a total Lockford, but he probably was. He's another one who wasn't there for his, for his win. Yeah, he wasn't there. No, for the first one. I think he was there for Raging Ball. Right. Yeah. Uh, kind of my low key favorite is, is

Sally Field for Norma Ray. Great performance. I adore that movie so much. Yeah, I got it. I, I have still not seen that movie. I've got to watch it before we do our 79 episode, has always been on my list to watch. Yeah, that's a great thing. Yeah, I mean, like, I could pick some, I don't know, I could pick some. Especially because it becomes very easy for people to sort of like poo-poo the Sally Field thing and whatever. I think it's a classic poo-pooed pick and people are associating other things with it.

And then you watch the movie and you're like, oh, this is dynamite. I mean, they're really funny. That movie to Cannes. She won Best Actress in Cannes. And then she didn't lose a single, like, acting prize the entire season. That's how good. Yeah. Right.

Yes, absolutely. Wait, there was one other thing I wanted to look up right before, and then we can move on. I'm sorry. No, take your time. Oh, yeah. Harlan County, USA won best documentary in 176. That is one of the best movies ever made. Yeah.

And documentary winners back then were better, I think. think like when you look at the dock list you're like okay one of the 70s was shambles that the category is now it was one of the wins in the 70s was hearts and minds which I remember watching amazing movie a great movie yeah yeah but like you know harland county USA is like up there for like if you just want to watch like 10 movies in your life like that might be a good one yeah yeah yeah that's a very cool win yeah that's a great pick is there a cool foreign language winner in the 70s wait I'm putting one last look no no that's that's that's worth that's true there's plenty that's worth that's

diving into winners um well day for night yeah you know what this particular year in 1973 yes it does and now is that that's one of those weird things where was it was nominated in two separate years yeah like it got the foreign nom and then a couple yeah that which is crazy i have no idea how that doesn't happen for cries and whispers yeah that's weird but that's that i mean i'd love to know the the politics of that one so i'm going to show a woman in 1970. So this is the, yeah, this is the 1970 Oscars. The Italian film Elio Petrie's investigation of a citizen above suspicion wins. That movie rocks. Not enough people have seen it. I've never even heard of it. Okay.

Hilarious, bizarre kind of black comedy about a guy who's basically investigating corruption in Italy. He's in Italian police, but he is the corrupt one. And so he's basically just investigating himself and pretending to. It's so cool. Highly recommend. I love that that won. Like, not an easy movie. 70s foreign language film has some bangers, though. Like, discrete charm of the bourgeoisie's that decade, Day for Night, Amher Chord. Armacord, yeah.

Some big hitters. And then a movie that I've never heard of called Get Out Your Handkerchiefs, which stars Gerard de Perdue. So really, you could be in for anything with that. I only know it because it sounds like it's about jacking it. Yes. Well, and Gerardepardue really kind of adds to that ambience. So, yes.

All right. Joseph, before we get into it, would you like to hype up the Patreon a little bit? Before we get into it is a fine turn of phrase when we're half an hour. Before we ride on a little boat to the labyrinth that is Venice. To our certain doom. Yeah. So, listeners, if you have not already signed up for this at Oscar Buzz Tribunal and Brilliance, it is our Patreon subscription, which offers you.

you two more episodes every month, one of which we will be covering a movie that we're calling an exception, which is a movie that fits the usual. This had Oscar buzz parameters, but it got a nomination or two, so we can't really consider it for the main feed. For our 1970s super special this month, we are going to be talking about the Who's Tommy, which was nominated for Best Actress for Anne Margaret. What are any other? Chris? Off the top of my head, I believe it is just Anne Margaret.

Unless there was a score. I'll look that up again. We're very excited. That is coming on Saturday, the 18th. You are not going to want to miss that. We also, if you sign up, have episodes on Vanilla Sky, Molly's Game, Charlie Wilson's War, the Lovely Bones.

Every month on the, usually on the 15th of every month, we're doing a little bit of a different schedule for this May. You'll get an episode, which we're calling an excursion, where we take a little off-format day vacation, and we talk about things like the Entertainment Weekly Fall Movie Preview issue from a certain year, an old award show, an old Hollywood Reporter Roundtable, some sort of piece of Oscar-related ephemera that fits into our little obsessions. For May miniseries, we are completing our decade with a comic. episode, our first ever commentary episode, which will be fun, on the film Eyes of Laura Mars, which, if you haven't seen it before, give it a look, and then, and then enjoy our very chill movie.

It's a deeply chill and normal movie, the normalist. Deeply chill and heterosexual film. I will say, if you're in the mood for a Barbara Streisand love theme that goes hard, absolutely sign in for Prisoner, the love theme from Eyes of Wals. Laura Marr's by Barbara Streisand. Looping back, how could I forget Tommy also had a score adaptation nomination? I was going to say, they had so many music categories back then. I'm sure it had to have.

Tommy's going to be a blast. I'm really excited for that. So go over to patreon.com slash this head Oscar buzz and sign up for this head Oscar buzz, turbulent brilliance. It's only $5 a month. It's most of the cost of a cheesy gordita crunch now in inflation. And above a blast. And a Baja Blast, right.

We'll get back to you on whether Chris can get me to try a Baja Blast. We'll see. We'll see how it goes. Maybe if we hit a certain subscriber threshold, we will record your first Sips of a Baja Blast. My first Baja Blast. Okay. Anyway, we are here in the year 1973. We are talking about the motion picture Don't Look Now, directed by Nicholas Rogue,

written by Alan Scott and Chris Bryant based on the Daphne de Moria short story starring Julie Christie, Donald Sutherland, Hillary Mason, Claylia Montania, Massimo Serato, and Sharon Williams briefly at the beginning of the movie, tragically. The movie premiered in the UK, November 18th, 1973, and then opened in a New York City exclusive release December 9th, 1973. So, David, you have already made mention of having seen this movie in your youth. What were the, what had you clamoring to see Don't Look Now? I was a devoted subscriber to Empire Magazine, which still exists, of course, but in the 90s and early 2000s when I was reading it was really like a, you know, a very fun, glossy movie focused publication in Britain that leaned a little boy, but was.

definitely an early cinema education for me and they would put out these special issues that you could buy that were like sci-fi or horror or whatever you know like that would be like kind of like 50 great movies in this genre and I got their horror one

and don't look now is in it you know there were obvious ones in there that you would expect and not that don't look now is not obvious but I was like what is this movie like yeah you know this this sounds a little weirder and I had probably seen the witches Oh, sure, yeah.

That's probably the extent of my, my Nicholas Rugg. I did see Walkabout as a teen. I saw a lot of his other movies because I saw this movie, though. Anyway, that is what spurred me to check it out. Like, I was genuinely, and I was not like some horny teen. I was a horny teen, but I was not even aware, I think, of the sex scene. I was just like this movie sounds kind of cool. And I think it was just one of those grown-up-ass movies that when you watch them when you're a teenager, you like them even more.

more because you're like, yep, this is, this is, I am, I'm a really grown up feelings. I am an adult now. Yeah,

yeah, yeah, totally. I think I can understand this. Therefore, this means I am an adult. As a kid, I could understand it because I'm,

even though I was adult, I could still be like, well, I understand the loss of a child is such like the most profound thing imaginable. Sure. So I could grasp that this is a movie that is loudly about grief and still be like, but this is. not a movie about, say, you know, Satan or a man with a knife killing people. Like, it's about

more dense, complicated inner feelings. And it's also, you know, so visually, like, you know, daring and, like, plays with time and has such an atmosphere to it. And so I was very taken with it. It remains my number one film of 1973, which is, like, maybe the greatest year for horror ever, kind of a hot take, I guess. Once we get into past the plot description and whatnot, I want to get your spreadsheet info on. Yeah, oh, sure, yeah, I can fire it up. Yeah, yeah, yeah.

But a huge movie for me from teenhood. Nice. All right. It's funny that you mentioned learning first of this movie in Empire. I know I learned this first from Entertainment Weekly. It was either a list of most shocking movies or, like, twist endings. And so the first thing that I ever saw of this movie is that image of the little person who ends up killing Donald Sutherland and is maybe this serial killer that's on the loose throughout Venice. The Bravo special does the same thing where they, it's, it's scariest movie moments.

So they talk about like whatever every entry has like a specific moment. And that one, of course, is the ending. Because it's, it's an atypical horror movie and that like there are elements throughout, but it doesn't. really sort of pull the trigger into full horror until the very end. But when it does, it sure does. Spooky vibes throughout, certainly. Oh, yeah, yeah, yeah, yeah, yeah. Well, and as we'll probably get into, the movie throws a lot of red herrings at you in terms of what it ultimately isn't about, but the first time you watch it, you're sort of like, oh, I wonder, you know, all these shots of like the priest waking up in the night and whatnot.

And it's just like, oh, okay. you're trying to sort of throw religious oogity boogity at me and that's appreciated. Should we get into the 60 second plot description so we can get into the movie? Let's do it. Let's do it.

David, are you ready to give a 60 second plot description of don't look now? I can do my best. Do I have to hit 60 seconds? Because the plot of this movie is very basic. If you want to go under, you can go under. Chris and I have a flagrant disregard for the timing. for this segment at all time, so do not feel... What movie did I recently give, like, 30 seconds?

I don't remember, but you really, you were succinct. I'll say that. Yeah, whatever, however you feel is appropriate, David. All right, then, David, your 60-second plot description of Don't Look Now starts now. A English couple, or I should say English, I'm actually not sure if Donald Soutland is English in this. He's Canadian in real life. He seems to be playing a Canadian. Anyway, their daughter dies in a tragic accident at their country home, and so they do what you would do.

Anyone would do this in this situation. Move to Venice to restore an ancient church and quickly encounter two elderly psychic sisters, only one of them is psychic, who say that they can see his daughter, see the kid running around with them, and they both deal with this grief in very different ways. Donald Sutherland retreating into his 13th century restoration work Julie Christie trying to pursue like a path into the supernatural

meanwhile Venice is being terrorized by a serial killer and Donald Sutherland keeps having weird visions of the future or the past or like his ghostly daughter or something and then there's a gigantic twist ending that makes total sense I can't reveal the ending right? No no no need to yes I mean I kind of already did They also have sex in there. Yes, they sure do.

One of my favorite things about this is that Donald Sutherland keeps thinking the wrong, coming to the wrong supernatural conclusions, right? He keeps thinking by the end of the movie, he's somewhat convinced himself that he is seeing his daughter. He's convinced himself that, you know, his wife is in two places at the same time, all of this stuff. And he never quite comes to the realization of what it actually seems to be, which is that he keeps seeing premonitions of the future, which we see from the very beginning where he sort of gets up from his, you know, photo developing whatever that he's doing and runs out to the backyard to see his daughters just drowned in the pond. No pond is worth it. This is what I also sort of thought. I was just like, I don't know if growing up with a pond in the backyard is worth it. It's worth the fun to have.

Maybe not. I don't know. I don't trust any natural body of water. Sure. I just would not live in an English country mansion. They are haunted and weird. They're all haunted. Yes.

You know, the nest, obviously, a recent great example of don't buy an English country mansion. Like, you know, it should be just an. a turtle lesson. Yeah, the nest where you don't even know what's going to haunt you besides just like capitalist, avarice, and yeah, you're, yeah, you're bloated dead horse that is going to unearth itself. The nest is kind of the ant I don't look

now. Not only do they move away from their pond that their daughter drowned in. They also basically just send the other one to boarding school. Don't need to connect with the other child when we lost one. Yeah, they cut out the scene of, like, He's parachuting out of a plane. The other child is a real Bobby Draper.

Yeah. Poor Bobby Draper. Yes. But David, as he pointed out, like, this is what we logically do when we're grieving. We go to Venice, you know, daughter drowns. They go and move to a city surrounded by water. Yes. Well, the way.

The way that Nicholas Rogue films Venice in this movie is so incredibly, effectively unglomerous. It's like, it's amazing to watch this. And it's like you think of any other movie that films Venice. And it's this sort of just like the romance of old Europe. And, you know, the canals are gorgeous and the gondolas are, you know, sort of pristine. And, you know. Including movies that are trying to do homage to don't look now. It's always, you know, the sun is shining and everything is beautiful.

And in this one, Venice is nothing but back alley. and just like streets that have like 12 different turns to them that you just like you're never far away from like a dead end alley it's kind of amazing Venice is an amazing city it's incredibly beautiful it is amazing he makes it so gray I've been to Venice it's a colorful place you know like it's not like a generally oppressive but it is weird Venice is kind of weird and creepy like especially at night the fact that it's a very tourist heavy

city. So it kind of gets quiet. Yeah. Like, you know, and then the other fact of Venice, which I guess is maybe easier now that people have phones. I mean, I just remember being there where they're like, go to this address and like Venice has no system of addresses that makes any sense. Right. Like the streets don't line up. Like, you know, like. Right. And so I never knew where anything was in Venice. You were just kind of wander around. So it is dreamlike in the street. There's no urban planning in a city where your streets are made up by where the water has decided to go. So, yeah, everything seems just sort of, you know, curve out of its own momentum. But that makes it all the better when he's doing things like trying to chase someone in a red raincoat through the city or whether the scene where he thinks he sees his wife and the two sisters on the other gondola sort of disappear down a waterway and never to be sort of seen again is.

is just incredibly interesting from a, like, you know, location shooting perspective. I mean, add to that, too, he's restoring this church, so you have the, and it's, it's in Italy, you have the opportunity to have a religious component to this movie, and it's just absolutely not there, it's not active in the grief of this family or this marriage, basically. But it is on the periphery of everything. time they cut to him uncovering a statue and it's of this sort of like gross like demon or whatever where they cut to a very like close up shot of like a Christ painting that's halfway chipped away so you only sort of see like part of the face and there's that one shot that like pushes in on

this um it's in the priest's office and there's like religious vestments sort of behind a glass case and everything in this movie sort of focuses on the color red from the very beginning because of the girl's sort of rain slicker so anytime there's red in a movie you're sort of like your eyes go right to it but a lot of that stuff ends up being

the religious stuff ends up being a fake out on at least a plot level but you know religion's always good for background mood visuals but it doesn't feel spiritual in that way you know it doesn't it doesn't feel like an after, if anything about this is about an afterlife, it doesn't feel like an afterlife

associated explicitly to a religion, I think. Well, and the movie makes a not, like, I don't think you have to leap very much to see the movie making this odd case for the idea of like, oh, the daughter's death maybe was always there to be a warning to her father to not get killed by this, you know, little person killer. The fate monster? Right, right, essentially. That, like, the only, that the reason why, you know, all of these premonitions are happening

to him is to keep him away from that one alley at that one time. On top of the, just the general idea that his child's death spurs on his own fixation with his mortality, even if he doesn't realize that's where his mind is at. Yeah. What do we think of Sutherland in this movie? Rules. It's my favorite performance

of his, and I feel like he's, obviously, he's got a lot of great performances, and I love Big Donald. Like, Donald going big is great. Yes. But I do feel like this is the kind of thing he didn't do as

much as the years went on, right? This is more in the clout five, the clute, you know. Yeah. What else? MASH, obviously. He's stripped of a lot of the artifice that we associate. Like, when you say Big Donald, he doesn't really have moments that allow for that, but he's still such a compelling natural screen presence. Yeah.

Which, you know, he's asked to be silent for a lot of this movie. You know, he's just chasing ghosts around corridors and winding streets, you know. Yeah. There's a bunch of 70s, Sutherland, that I haven't seen that I should see. Like, Day of the Locust I've never seen. I've never seen that either. Yeah, that's one I've been meaning to check off. Yeah. Clute I just saw recently. Clute is fantastic. Hell yeah. Clude is incredible. He's a funny movie star. I mean, it's not like he was a huge movie star, I guess. But he had a lot of lead roles, like, for a long time. Yeah. He's compelling because he's this, like, tall. He's sort of imposing in an interesting way. His hair is interesting. He doesn't look the same as other guys. Yes. And you can totally get what people.

He's just got this really interesting, malleable face that you can do a lot with. So he definitely makes sense in the sort of character actors becoming stars era of the 70s. I got introduced to him in the early 90s. via a really interesting sort of quartet of movies, which was JFK backdraft, Buffy the Vampire Slayer and Six Degrees of Separation, which is his, like, early 90s. And one million a percent should, because he's never had a nomination. Right. One million percent should have been nominated for JFK.

That JFK scene, I will watch, like, as its own little short film. And it's all exposition. 100%. But it's, it's so good. It's so compelling. it's it's this very kind of matter of fact delivery but it's it's so you know the he sells the sort of like shadowy man in the fedora and you know call me i could give you a false name but just call me x like that whole kind of thing oh it's so good um every once in a while you know how like

well maybe this is just me but every once in a while i'll like hear about some sort of thing from history and i'll connect it to we didn't start the fire like because it's a lyric and we didn't start the fire. I'm like, oh, okay, like thalidomide poisoning. That's a line in, you know, and we didn't start the fire. And JFK is the, his scene in JFK is the same way where I'll be like, all of a sudden, I'll be watching this documentary and they'll mention something about like the Shah and Iran or whatever. And I'm like, oh, right, like Donald Sutherland is talking about in, you know, in JFK. Um, not the most ideal way to learn about global history. And yet, here where I was. Um, his, his, his, his,

Biggest snub is ordinary people, right? Like, that's a weird snub. Yes. And they put in Jack Lemon in tribute, which, you know, they just, I guess Jack Lemon was just irresistible, but then when he's, like, dying of cancer in that movie or whatever. You know, I understand. But, like, come on.

Like, that's the one where I feel like if I'm... The entire fucking cast is nominated, but him. Yeah, what the hell, guys? Yeah. Come on. I got a Globnom. I got, you know, I got plenty of attention here. What is tribute? I've never heard of tribute, actually.

It's like Jack Lemmon's this old actor who's dying. Like, I mean, God knows the Oscars must have been like throwing their panties at this. I was going to say. Well, Jack Lemmon is nominated for that, right? Yeah, well, that's what, yeah. I think he nudged in there. I think he was the somewhat surprising. He nudged Sutherland out. Yeah.

The other, if not ordinary people, the other one that he was conceivably close for was actually without limits in the 90s. Right. Right. Which was supposed to kind of be his makeup, right. Yeah. Yeah. Yeah. Well, and also, I remember he, I don't know how close he actually came, but going back to the 93 best actor lineup, which we've already established was a banger one. But I love that Stocker Channing was nominated for 60 degrees of separation, and she's the best performance in that. But Sutherland is right there with her. You know what I mean? The way he, his, you know, we could have been killed, you know, and all the stuff about the kind. and all this is just such a perfectly, you know, sort of ridiculous person. I love him in that movie. They had a primed right there for them to nominate him in Pride and Prejudice where he's so good and would have had that look at this older actor that you've never nominated before. He's so good in that. Yeah.

He had a few of those, I feel like. And yeah, they just never bit. And, uh, you know. Left we forget, he is a honorary Oscar. the villain in Outbreak. Yeah. Cartoonishly sneering at everybody else who would defy his authority. So good in that.

Who is he in Ad Astra? Does he have an honorary Oscar? He does. Yeah, he does, right? Yeah, he does. Okay, good. All right, all right, well. That's better than nothing.

But as Diane Warren has taught us, nobody respects an honorary Oscar. They're going to keep going for the competitive one anyway. And hey, as Diane Warren taught us, that doesn't mean that the road stops there. They can still nominate him for something. Yes, that's true. Donald Sutherland write a song in a documentary. Yeah. Julie Christie had won her Oscar by this point, yes?

Yes. She'd won her Oscar in the mid-60s for Darling. Right. But she was coming off of another nomination for McCabe and Mrs. Miller. Mm-hmm. Right. So she's married to Beatty at this time? with Beatty. I don't know if they ever got married. She's dating Beatty because

Beatty tried to get the sex scene cut out of the movie. Warren. Warren, thought you were... Typical Warren. Very chill. Yeah. Yeah, deeply chill. Deeply chill guy, Warren Beatty. Um, and then, of course... What's interesting about Christy is, like, you can obviously make the case for McCabe and Mrs. Miller being, you know, outside of the norm and a non, you know, traditional narrative at the time. But, like, Julie Christie, for the most part, ahead of this, is doing, you know, period drama. She's a huge star. She's already an Oscar winner.

But when it's things like Far from the Madding Groud and Dr. Chivago. Dr. Chivago, yeah, yeah, yeah. She hadn't really made a movie that you would really consider modern since her Oscar win. So it's interesting seeing her in this movie. Yeah. Because it's kind of like the beginning of a, you know, different phase for her. Is she the lead female in? in Shampoo. Another movie I should see, but have not seen yet.

It's an ensemble. Yeah. As close as a lead female as that's movie. Yeah, it's Warren Baby's movie. Yeah. Yeah. She's good in it. So she was probably with him for a while, because she keeps starring in movies with him throughout the 70s. She made his movies after, after they broke up.

Yeah. Yeah. Oh, fascinating. All right. Um, I think she's really, really good in this. I think she sells. I think there's ways of which this character becomes a really kind of one-note, grief-stricken mom. And she sells the different sort of colors of that pretty well, especially once she sort of becomes convinced that her daughter is with her, sort of spiritually.

She becomes convinced by these women. It's a good performance. I really like it. I really like her. She's such an interesting movie star. to watch, you know, because I feel like we don't, and this, a lot of this is because she's not in many movies that are modern or recent, so we don't get to see a lot of her now, but, I don't know, she stays kind of surprising, even in these, like, period movies. She has one of the most sort of random best actress nominations ever, which is Afterglow, which is a movie that, At the time nobody had seen, nobody really rushed to see it after she got nominated.

Nobody seems to ever talk about it now. Nobody's like, hey, you know what was a really good movie back in the day? Was Afterglow. Like, it just is gone. It's so strange. I don't think it's a movie that people remember, but I do remember her Oscar clip going over, like, fucking gang. Oh, yeah? Because it's basically just about how she's like an old actress who still got it.

Yeah. And I think she had not done basically any movie. Like, she had been in the, right, she's in the Branagh Hamlet. Right. And she's in Dragonheart, lest we forget. Oh, less we, hell yeah. Hell yeah, Dragonheart. Hadn't done, like, a proper leading role in, like, 10 plus years.

So I think it was just kind of this energy of like, fucking Julie Christie, ultimate babe, ultimate queen. Yeah. Like, we're giving her a nom. Dragon Heart, a full-on, big-budget CGI-I-assisted fantasy epic that paid probably a lot of money to have Sean Connery as the voice of the dragon, and yet was exclusively for the use of sports montages and anything that needed a boost of inspirational score, they used the Dragon Heart theme. Like that was in so many, like, slow-mo March Madness, the montages and whatnot. That was a big one.

That and Shawshank, I feel like, we're the two. Shawshank. I feel like Dragon Heart. Visual effects nominee. Legends of the Fall. You can never do it. Yep. Very good.

All right. It's not really a performance movie, even though I think Christy and Sutherland are great in it, and they're kind of exactly what they need to be. Yeah, Ronald Sutherland. I step in his way through this movie just with all the directorial choices. It's really... Sunderland underrated fashion babe in this movie, too.

The graphicness... Like, everybody talks about the red coat in this movie. We need to talk more about the blue coat in this movie because Donald Sutherland in that Cobalt coat with the scarf... It's quite a look. Listen, it's chilly with all those details there. Yeah, yeah, yeah.

And he doesn't want to get, you know, over... you know, blown off the screen by this red-coated dwarf serial killer, like, you know, so he's going to make his effort. That scene where he falls off the scaffolding is genuinely so terrifying, even though I had seen the movie before and know that he survives till the end, of just like, it's, it's a very sort of like nuts and bolts of like, there's no easy way to get him saved. So they really do a lot of just like, we're just going to poke him with a pole for a while until he swings close enough that we can grab him. Well, we all know that there's nothing scarier in the world than scaffolding. I absolutely agree with that. Even him getting to the scaffolding where he's just like, and he just does it so casually, but he's just like, well, like up, up, and I'm going to like take a little...

This is my job. Onto my little rickety little, you know, whatever. Oh, God. All to replace the little... It's not... It's not... What's the word with the... with the, you're arranging little pieces of ceramic.

Mosaic. Mosaics? Yes. Sure. I kept trying to say it's not macromay. It's the other M word. It's mosaic. Yes.

Okay. Anyway, to fix the mosaic of the Christ. It's macaroni art. He's doing macaroni art. It's the same principle as macaroni art. It's just with like nicer materials, honestly. So. And what we were taught in Catholic school was that like Jesus appreciates.

It's whatever you make, whether it's macaroni or whether it's high art. So there's that. What other Nicholas Rogue movies, if I've only seen Don't Look Now on the Witches, which is the case. What are the ones? I watched a bunch of Nicholas Rogue trailers to prepare for this. Performance looks fucking insane. What's the other one that I watched? Oh, bad timing looks somewhat fascinating and maybe is trying to sell me on

Art Garfunkel and Harvey Keitel having a little kiss in that movie but I'm not sure. I'm not sure how it goes. Definitely one of those movies that at the time people were like he's out of control. This film is sick. Like, you know, like, which is kind of his vibe in general. But it's just people in like

shirts and ties just like talking very close to each other. Having grown up sex problem. Yeah. Walkabout to me is his other kind of, you know, must see. masterpiece that's a great movie it's the two girls who get lost in the outback

it's a girl and a boy like a little boy and a little girl and they they're crashing and they crash in the outback and they meet an Aboriginal their father is dead and it's got this weird kind of like sexual undertone to it and

you know it's based on a very good book that's quite different but it is it is there's just not a lot of movies like it it's a very cool yeah movie it's the you know obviously the witches rocks the man who fell to earth rocks yeah I did not love the man who fell to earth there's something about cool though it's cool to look at but to kind of sit and think about or you know wonder what the hell is going on it's less satisfying there's something about don't look now that there's you know in all of this fluidity of time the way that it don't look now is structured you have some of that in the man who fell to earth, but it's a two and a half hour movie. Don't look now as very lean. Even though it's just like, you know, it's kind of operating two inches above the ground, you know, it does have a certain forward momentum to it, and it feels like

it's over before you know it. Whereas man who fell to earth, it takes its time. As a Bowie artifact, though, you should see it. That's the thing. Like, that's such a, that's such a pull towards it. There's also this movie that he made called Insignificance that caught my eye, which is based on a play and which stars it's essentially four historical people who are very obviously these people, but are not named as such. Gary Busey plays Joe DiMaggio, Teresa Russell plays Marilyn Monroe, Tony Curtis plays Joe McCarthy, and Michael Emile

plays Einstein. And they're just sort of in an apartment together, like shooting the shit. And it looks very much based on a play. But in a way where I'm like, I may have to like check this out. It was definitely based on a play. Yeah, yeah. I have never seen it. It does look kind of cool.

With an uncredited score assist from Hans Zimmer I'm seeing, which like, I'm into, I'm into that. I would love to see somebody try and like pull something off like that. What did, who did that fake Michael Jackson movie? Harmony Carine, right? Harmony Corrine. That's what I was going to say. This sounds like Mr. Lonely. Mr. Lonely, which I also never saw.

Yeah. What a weird thing that was. But yeah, Nicholas Rogue is one of those. I think it's just like, it's a testament to how sort of legendary you can make your, you know, impact on the business, is making one sort of, like, incredibly idiosyncratic and sort of dazzling movie early in your career, like, don't look now. And that, like, still gets sort of talked about the way we talk about it today. Still gets visually reference. It's hugely influential.

I mean, this, I would think, yeah, I hate to talk about, like, Joe, you know that the idea of elevated horror is annoying to me. We've had this discussion around it is annoying. But, like, don't. look now is absolutely incredibly formative for those type of movies, because this is a movie that is very scary. It's constantly, you know, referred to

as one of the greatest horror movies and one of the scariest horror movies, uh, and one of the most shocking. But it's also, it's a movie about, uh, obviously grief, but also, you know, uh, you know, looking in the wrong direction

for answers. you know, because he's, through the vessel of his grief, he's looking for meaning in the wrong things and the mundane things. And what is the end to it? He gets killed by potentially a serial killer. Yeah. You know what I thought of in terms of, like, influence? This movie comes out before Halloween, yes?

By like several years? Yes. By like five years. Yeah. Because there's a sting in the score to this movie. that sort of happens whenever, like, something particularly, like, odd happens where it's just this little, like, beoying, kind of a thing. And, like, it reminded me very much of the thing in the Halloween score where right before it goes into, like, but-um, but-um, but it's, yeah, but it's that kind of, like, sort of high-pitched, like, fuck, like, something's going to happen, which I really loved. Great, great score, Pino Donagio, who did a lot of De Palma movies.

Oh, is that true? Yeah. Later in life. Yes, yes, with similar kind of, yeah, high-strung kind of vibes. So. Did he do body double? Did he do body double? It's a good question.

Let's find out. I fucking love body-old. Dress to Kill. Great movie. Yes, he did. Blow out. Yeah. Body double is the one I, no.

Dress to Kill is the one I saw that I did not love. Body-double is the one. You know, Dress to Kill has some problem. I tend to not, try to not be a killed with these kinds of things. But, like, it really is kind of search your soul, Brian De Palma, like, just, I don't know. I don't know. You got to see body double. You got to see body double.

Some people will tell you body double also has problems, but body double is a good goddamn time. Body double rocks. Dress to Kill is absolutely insane, and he should have gone to jail, but it's still kind of rocks. Yes, both of those things. Yes, true. in terms of the controversy of the sex scene we didn't mention it how did this sort of is this sort of like just an urban legend that sort of went around that this that it was an unsimulated sex scene or what was the deal

and it's been perpetuated too yes it was kind of part of the hype in a way okay the thing is so explicit that like and you watch it and you're like how did anyone think this was unsimulated but it's because they feel it feels very natural I feel like that's the only way you can really justify it Yeah

It's supposedly why he intercut it But who knows Peter Bart at Variety Yes he had Said that he was on set While the scene was happening Which right there

Which seems dubious in and of itself, right? Like yeah And he was saying that he witnessed penetration, which Oscar-winning actress in the 70s, I'm pretty sure you didn't. If that happened, he didn't witness it. I'm just imagining him with like a jeweler's loop,

like, you know, like, going really close, being like, what am I witnessing? He's in the scaffolding. Yeah. He's witnessing the scene from the scaffolding. That's true. Yeah, he's in the little scaffolding. Okay.

But Rogue also talked about how the structure of some of the the movie and the structure of the sex scene, you know, where it keeps going back and forth in time between them actually fucking and then post-coedus was through the process of dealing with censorship and how they had to basically form the scene. And then he found this structure through that process. Yeah. So, uh, this movie got nominated for a shitload of BAFTAs. No Oscars, but a shitload of BAFTAs. Back when release dates were kind of willy-nilly, because you look at some of these nominations for the BAFTA. So Julie Christie's

nominated for Best Actress, alongside Glenda Jackson, but also alongside Diana Ross in Lady Sings the Blues, which was 1972 in the United States, I believe. Yes. Yeah. Right. And then they all lose to Stefan Audron, if I'm saying that. correctly for just before nightfall and the discreet charm of the bourgeoisie. BFTAs were very much into nominating people for double performances in this, so.

The BFTAs were crazy back then. What was, okay, so from the, obviously you were not around in the 1970s, but like were, even in your time in England, is there a sort of ramping up of the BAFTAs in prestige

and interest from then until now, obviously? I even feel it just from even the last 10 years or so, I feel like we're paying more attention to the Baftas here than we were. Well, there was, I cannot remember the exact year, but when I lived in England, the Baftas, in the

90s, the Baftas still were the like four nominations each, right, rather than five. Yeah. Which is kind of like, you know. It's a little exclusive, right? A little like, well, you know, you have to really impress of. They only went to five, right, in the year

2000 and around then is when they started it used to be that um they awarded the um film and television in the same ceremony which would lead to just i mean obviously most american actors just wouldn't show up right but the ones who did would sit through this and they were in april so they were like after oscar season but the actors who did show up would watch them also be like and now a tribute to only fools and horses and you would just be like what do these people think is going on You know, and then clearly there was, it's sort of around the, you know, early 2000s, I think, just some sort of awareness of like, we need to class the join up a little bit. Let's split the TV off into its own awards ceremony.

Let's have Stephen Fry basically be the permanent host for years because Americans sort of know who he is. And like that made the BAFTA is what they were, which was basically like a precursor, which I wish they weren't. I agree with you. to being odd. And I do think now that they're juries because of diversity stuff, they've gone back to being odd, but they're odd in a kind of different...

They're odd for a while. They will produce cool noms, but also kind of embarrassing ones. And like, it's sort of hard to judge the BAFTAs these days. Yes. Yeah. And it's, it does make it harder to sort of line them up one to one as an Oscar precursor, which I like that, I like that we're at least... Because there were a while there where it was like, well, if they've won the BAFTA,

like, that's the last sort of piece in the puzzle and whatever. And I think because of the juried nominations, at least, you can't quite do that. You couldn't quite judge Best Actress from the Bastas this year, although the downside of that is because they didn't nominate the Gladstone, which is like, nobody liked that. Yeah. No. For Don't Look Now, Anthony B. Richmond's cinematography did beat the Oscar winner, Sven Nyquist, for cries and whispers.

Very red. This category is very red, very... I was about to say... It's a cool category, though. Don't look now, cries and whispers. Jesus Christ Superstar. Sleuth and Travels with my aunt. Travels with my aunt I haven't seen...

Nor have I seen Sleuth, but, like, sleuth sounds interesting and cool. Sleuth rocks. I think it's weirdly hard to watch right now. Travels with my aunt sounds like a movie that you are, like, forced to watch in detention or something. Like, what the hell is that? title it's maggie smith right i think yeah it is it is maggie smith it's probably pretty fun oh it's

she's best actress nominated either the year after this or before and i honestly forget i think it's before this has got to be towards the end of the line for kukor right i would imagine it is and yet he has like five more movies and he died like making a movie or whatever and he was in his 80s so he was definitely like in his 70s david now that you and your co-host griffin newman have teased the fact that You would be willing to do an Andrew Lloyd-Weber miniseries on your Patreon. I am going to need to have that happen. And Jesus Christ Superstar would obviously be the first of those. Yes, it would.

1973 film, of course. Just throwing it out there. Pretty fun movie. Maybe the best of the four. I would say definitely the best of the four. It's certainly better than Avita and cats. And Phantom. Oh, Phantom.

Yeah. Yeah, Jesus Christ, Superstar, is the best one. It really isn't. Though Evita, for a PG-rated movie, does have visible dicks in it. Well, Evita is not bad. It is crazy long. Half of a good movie. It's very long.

Yeah, yeah, yeah. Antonio Maderas is great. Madonna makes no sense. It's entirely kind of antithetical to the portrayal of Ava Peron in the musical. And that's not just her performance. It's also the movie. It's weird. It's weird.

She wanted it so bad, though. They should make a movie, maybe once after everybody involved with this is maybe retired or dead or whatever, about the, how everybody clamored for that role so hard. And the, you know what I mean? Because it's like, it's one of the- Madonna is basically threatening, or Merrill is threatening physical violence on Madonna. Merrill, Madonna. Who else was up in the, I imagine Patty was at least like, you know,

whispering and ears around it, and Glenn Close, of course. Yeah. Yeah. Amazing. Amazing story. And then it became just sort of like, you know, I don't know. I did win Best Original Song, I guess, for a very boring song. So, what are you going to do?

But Andrew Lloyd Webber take it up and say, I'm so glad the English patient didn't have an original song. He was kind of a funny song. He did. He did. I'll never forget. Who would have done an original song for the English page? To be honest, Andrew Lloyd-Weber, the same song could go into the English patient. Yeah, the same fucking song.

I can't imagine, like, because Diane Warren was doing Celine stuff back then. I can't imagine Celine doing a love ballad from the English patient, but you never know. All right, what else do we want to talk about before we move into our games? Just that, I mean, we should wrap up, but yeah, just that this movie is like, So what is going on? There's this weird red person. Right. Yeah.

Maybe like revisit the plot a little bit because we did kind of- Who's killing people? And then the movie leaves you with, well, I'll tell you who's killing people, a diminutive, strange-looking person with a cleaver. For no reason. Roll the credits. Yes. Everybody, everybody, the exits are in the back of the theater. No, you don't just sit here.

No, it's time to go. Yeah. There'll be no more information for you. Please don't stick around. We will give you nothing after the credits. Yes. Here's my only complaint. I love the ending.

It's completely surreal because it's just like this, like, awful kind of cosmic joke. It's nightmare. It's really freaky. Yes. The first time you see it, it is very unsettling, even if you're sort of prepared for it. Yeah. Why can't the Venice police catch a diminutive old lady with a cleaver in a red coat? In a very bright red raincoat who's like essentially advertising your presence?

You think the Venetian authorities have a good map of their city? They don't. They don't know where they're. going either. She's not exactly the Napoleon of crime, not to quote another Andrew Lloyd-Weber musical, but, you know, it's yeah. It is a cosmic joke, though. It is the whole thing of like, you know, you're

running around, you're looking in dark corners where you shouldn't be, and what are you going to find? The least expected thing of all, which is your killer in the most odd form possible. And who will remain at large at the end of the movie. And to give such a, that is a bloody death. I'm somewhat obsessed. with the way that a lot of like old movies

rendered blood, some of which rendered it as sort of like this you know, sort of like slightly watered down paint, you know, this very kind of thick and almost maroon colored blood that starts dripping down through the, um, he kicks out a church window.

Elementary school Crayola paint. Yeah, yes. Very bad. Very that. Um, while... Also just like the violence of it, it's, it looks like it's a Sweeney-Tod razor, but it is a meat cleaver that she just like wax him in the neck with. It's not like

clean violence like you're used to see in a slasher movie. It's like blunt. Well, and also this person who was neither good's named nor ever speaks a word. So, you know, wouldn't be part of that SAG nomination, I imagine, had it existed, turns around and we need. We know that Donald Sutherland thinks this is his daughter, because we've seen the whole movie. The killer really doesn't, but she still gives this sort of like, uh-uh-uh, like, you're wrong, and then gets to meet Cleaving. So it is just sort of like the universe is sort of having a little bit of a laugh at Donald Sutherland at this moment for, I guess, the hubris of momentarily thinking that he could find his dead daughter again. out with fate it's weird it is right it's like you know at the end of the day like there's no explanation it is supernatural it isn't we don't know what she's doing it is one of those movies of the search for meaning it's one of those movies that the movie title was trying to tell you all along just like listen don't don't you look now don't look ever don't go looking don't do that yeah yeah alas poor don't Donald Sutherland

All right. What else do we? We got through all our miscellania, right? I'm going to go through my notes one last time. Make sure I didn't forget anything. Kind of talked about the Oscars. Does anybody have any other notes about any of the Best Picture nominees? We didn't even mention American Graffiti, I don't think. This is fine. I have nothing unique to say about the sting. It's a much better year for Best Picture than it was for 1970, which we talked about the other day. Yes. American graffiti I saw for the first time only this past summer. And I really liked it. I particularly walked away being like Cindy Williams

was fantastic in this movie like I was so kind of not expected for that to be my take but she's fantastic she should have gotten the supporting actress

nomination sorry Candy Clark but you know Candy Clark who funded her own campaign by borrowing from Inside Oscar

$2,000 from her roommate Jeff Bridges Wow well go off I mean Candy Clark's good Cindy Williams

is also amazing. Yeah. It's an interesting best picture lineup because I feel like the Sting, the Exorcist, and American Graffiti

were all just like colossal box office success. Yeah. It's like those are three generationally big movies and God bless the Sting, but the Sting is the one that didn't really like

last in the, like, you know, like American Graffiti and the Exorcist still kind of like massively influential. The Sting is not I mean, we still like movies about stings, but I feel like it, you know...

In retrospect, and this may not have been it at the time, but it feels like, you know, they're giving a makeup situation to Butch Cassidy, not, you know... A little bit. Yeah. A little bit of that. And it's like, it's a more pleasant movie. Like, I mean, American graffiti is pleasant, but I feel like that movie is probably just generally too young for voters for it to be actually the winner. Exorcist is at the end of the day a movie where, like... Yeah.

You know, your daughter sucks cox in hell or whatever. You know, like, you know, like, it's just too much for them. Cries and Whispers getting the nom is amazing. But, yeah. That, again, the nom is its reward. I have no idea what a touch of class is doing here. A touch of class is terrible. It's kind of shocking that if you're going to do,

that, you know, if something would have shown up this year that gets a best picture nomination, but not a director nomination, that it's not the way we were. Right. Considering that was a huge. we were last tango obviously gets like the director nom so I suppose that was in the mix Serpico is a pretty big move like that must have been in the mix like that got a bunch of noms I'm trying to think of like what else so I went and looked up on the numbers for the top grossing movies of 1973 according to their charts which is kind of cartoonishly like

the top three movies are so far outgrossing everything else that I wonder if maybe we're roping in other things but according to the numbers exactly what you said David the top three grossing movies of that year were the Exorcist The Sting in American Graffiti and then like Exorcist made like a billion dollars for adjusted for a pleasure right? It was like a crazy

Almost 200 million in in 1973 per the numbers which is like obscene insane. Insane. After those three it drops off by like 60 million dollars and then it goes to Papillon the way we were

Magnum Force, which is Dirty Harry Clint Eastwood movie. It's the second dirty hair. It's the second dirty Harry. Live and Let Die, which is obviously James Bond. I believe this is the animated Robin Hood, because it says Walt Disney. Paper Moon and then Serpico are your top

10. Oh, Paper Moon must have been close to, right? That's another, like, great cloud pieceer. Yeah, yeah. All right, so David, you have famously your spreadsheet where you have recorded your winners for every Oscar year of movies you have seen. Do you have like a minimum threshold of movies you have to have seen from a year before you start? 10. Yeah.

Just for my own personal like edification. So. I've seen many more films than 10 from 1973, not to brag. Sure. No, I'm just wondering, the farther back you go, I imagine. Yeah, like 10. Yeah, yeah, yeah, yeah. So 1973, what are your tops in the major categories?

So Don't Look Now, An Exorcist are certainly up there, as is The Wicker Man. There are three incredible horror movies this year, the British Wicker Man, which is really good. I love Altman's Long Goodbye, a movie, if there ever was one. I love American graffiti. I love Mean Streets, of course, which the Oscars, I think, ignored. Not a surprise that the Oscars didn't go for it, but in retrospect, it's so. obviously so good. There's a quote. It could fit into a lot of categories, yeah. Yeah. There's a quoted inside Oscar from, let me find where this is. Oh, someone in the New York trades was quoted in

variety semi-anonymously as saying, it's a New York picture and they hate us out there. Oh, right. Makes sense. That was a big, big deal back like for a while there with the Oscars in terms of like the L.A. versus New York kind of a thing. Is it a movie to New York? You'll still hear that mentioned these days about if a movie might be a little too, like, more of a New York critics kind of a thing, which is kind of funny because, you know, I don't know. There's no difference to me anymore.

But, you know, anyway, continue. Paper Moon is amazing. Yes. Then you also, I mean, you have some great genre movies. You have, like, De Palma's Sisters, which I highly recommend with Margaret Kidder in a dual role. You've got Bruce Lee's Enter the Dragon, obviously. Yeah, huge thing for that show. Iconic. Yeah. You've got like, you know, really fun, shaggy 70s movies like Shattsburgh's movie Scarecrow with Pacino and Hackman, which is really fun. Nice. You know, Last Tango has never done it for me. The Sting has never really done it for me.

Yeah. I do like the last detail, the Hal Ashby movie, which is like a big performance movie that, you know, is, but, you know, it's an Ashby movie, so it's like, it's got a good, like, sense of tone. I've never seen that one. I'm always struck whenever I see any clips of it that, like, oh, they really did just base the G.I. Joe character shipwreck exactly off of Jack Nicholson in the lasty's hell, like down to the little happy. It's a spiritual sequel, Last Flag Flying. Oh, God. It just drains the energy out of, out of everything, that movie. We might have been in the same press screening for that one, David, because I feel like I remember maybe seeing you afterwards and just sort of shrugging. Possibly. I'm almost,

yeah, I can't remember. I thought I saw it at the New York Film Festival. Oh, maybe then it wasn't. It's such a boring movie. Yeah. Yeah, yeah. No, it might have been me. I can't remember. Yeah. Um, but yeah. So, I mean, I have Don't Look Now winning best picture that year. And I do have Julie Christie winning best actress, which is interesting. A fun five. Who's your five for actress? With Ellen Burst and Margot Kidder for sisters. Tatum O'Neill for Paper Moon, who's obviously a lead. Yeah, she, Paramount actually can't paint her as a lead too. Yeah.

Right. That's crazy. I mean, obviously a great winner. And Kay Lends in Breezy, which is a sort of forgotten Clinisewood movie from this year. It's the one with William Holden as like an old fucker who meets this like young lady who's kind of free-spirited. It's the movie that licorice pizza is about. Oh, no kidding. Like, like, British Pete's referencing that movie.

Like, Alana Heim is auditioning for the Kalens role, but Kalens is awesome in that movie. But this is kind of my favorite Christy performance. Like, I adore her in McCabe, obviously. Yeah. Like, she's such a badass in that movie. But I love her in a lot of movies, actually. This paired with McCabe, though,

I think really kind of distills what's so interesting about her screen presence, though, in ways that, like, even her Oscar win doesn't really get at, I think? Absolutely. I mean, her Oscar win is fine. Darling is a pretty fun movie, and she's, like, luminous in it,

but it's a little more her winning for being a gorgeous movie star. Sure, sure, sure, sure. And then in the 70s, it's like, she's just as gorgeous, but she pursued largely, like, kind of subdued stuff, which she's good at, like,

I mean, yeah. Who do you have for actor? I have Elliot Gould winning for The Long Goodbye. Yeah, hell yeah. Which is possibly pretentious of me. My nominees are Nicholson for the last detail, Sutherland for this, Al Pacino for Serpico and Harvey Kitell for Mean Streets, which is like very obvious nominees, but they are all good.

They're all really good. Yeah, yeah, yeah. You know, I can't really futz with myself there. But, I mean, Gould is, Cooled in the Long Goodbye is like one of the low-key coolest performances. that anyone ever gave. Pacino and Serpico better than the Max Fisher performance of him in Rushmore? The thing with Pacino is it's like

the godfather's a year before. Yeah, and Godfather Tuesday year after. And after he could have won. Godfather Tuesday's the year after. Dog Day afternoon is the year after that. Like there's plenty of great Pacino to pick from. Yeah. Nicholson, obviously, in Cuckoo's Ness is a couple years from now,

five easy pieces a couple years before. Like, it was, you know, it was a boss year for these guys. Sure, sure, sure, sure. They were, they were all doing fine. Yeah. Can we talk about Jack Lemons win for Save the Tiger? Have you both seen Save the Tiger? I haven't seen Save the Tiger.

I've never seen Save the Tiger. I rewatched it today. It's perfectly fine. Is it his second win? It's his second win. He was the first, he was the first male actor to have won supporting and lead after this. And Helen Hayes was the first woman to do it a few years prior. And I guess it is, yeah.

It's weird that he didn't win for some, like it hot, the apartment, or Days of Wine and Roses. Like, he gave these three giant performances. Yeah, and he had a decade between them and this. So it's like it really does distill this thing, like, we need to give Jack Lemon another Oscar. His Oscar win for Mr. Roberts was almost 20 years prior to this. And it's for a movie that really just has no footprint whatsoever. It gets two other nominations. it's the movie is fine it is nominated for all of those those three nominations because it's a movie

with Jack Lemon who is the greatest American actor who ever lived and it's the Rocky director right it's John yeah yes before he makes Rocky and you know Lemon has never been bad so lemon is very good it makes total sense as an Oscar winner even against, you know, things like Brando and Last Tango in Paris. And, you know, I think in having these discussions about the 70s Oscars, a period of time that people think is, like, the best time for movies, the best time for Oscars. And, like, you know, in recent years when people are, you know, talking about these movies that don't really have an impact, but maybe are for a major performer. And they're like, and they say things like, why do we do this now? Lemon and Save the Tiger is a real indicator of

well actually we've always done it and we've done it at times when the Oscars are supposed to be at their peak but you look at this lineup for Best Actor and you cover up the movies that they were for and it's like Jack Lemon, Marlon Brando, Jack Nicholson, Al Pacino and Robert Redford which is like you know this is just what we had in a random Oscar year in the 1970s which is kind of amazing What about your supportings, David? God, this is a crazy Oscars, though.

It is a crazy. Let me get it up. This is the year the Hamlish wins three separate Oscars. Three separate Oscars in the same evening. Oh, right. We didn't mention one of my favorite Oscar moments, which, David, if you haven't watched the clip, I highly encourage the words being presented by Henry Mancini and Cher. And they're reading the nominees.

And when it comes time to read. And Hamlish has just won one of his. three awards. Like, he's still in the wings of the stage, having won just previous to this. And they're just like, and shares reading the nominees, and she says, and Marvin Hamshmish for the way we were. And Henry Mancini gives her look, and he's like, what did you say? And she goes, Hamelshmish. And he sort of whispers in her rear. And she goes, Hamlish. And she just gives this sort of tossed off like, sorry about that, Marvin. And, and then of course, he wins right there. It's tremendously funny.

take your lumps hamish free Oscars All right My supporting actor nominees are Christopher Lee and the Wickerman His best performance ever Max Monsido and The Exorcist

I love Jason Miller In that movie too I think he's great Yeah Bon Sido is kind of Whatever You can also make the case For Jason Miller

Being a lead of that movie He's kind of elite Yeah yeah Yeah that's a good call actually Yeah Yeah fat Cato and live And let die the Bond movie He is one of the greatest

Bond villains ever seen that one. Love that poll. That's great. De Niro and Mean Streets, which is like electrifying stuff and Quaid in the last detail, which is really good, but I'm mostly am nominating there for his political feelings. Yes, of course.

We don't care about him as an actor. Only as a cross-country traveler and yeah, statement giver. Yeah. Supporting actress, I have Linda Blair, who I know that nomination became controversial because people didn't know she wasn't

doing the voice. The voice, right. But I still think it's kind of a wonderful performance. Turn the sound off and see if she scares you any less. Like, it's a great performance. Candy Clark and Cindy Williams for American Graffiti. Jennifer Salt and sisters, she's amazing. And Madeline Khan in Paper Moon, who rocks.

I mean, Madeline Khan, a queen among queens. And, of course, she did get the Oscar nomination, but she could have won if Tatum O'Neill had just been put in the right category. And Tatum O'Neill could have won an Oscar. Lead for all. Tatum O'Neill and Paper Moon is better than any of the nominees in lead, right?

Like, I might agree. Yeah, I might even put her over the burst in her. She's so good. I haven't seen the Woodward movie, and I'm sure I would love the Woodward movie, but yeah. Yeah. Yeah.

The biggest Oscar story that we haven't even mentioned so far is we are talking about the year of the streaker. Right. Of course. The streaker. The streaker. Niven, right? Yeah, and of course, John Sennon.

just did a tribute to it because it's the 50-year anniversary of the streaker in this past ceremony. What's almost more fun than the streaker who totally throws David Niven for a loop, David Niven is introducing Elizabeth Taylor to present best picture. And even more entertaining than the streaker is Elizabeth Taylor, like, fully beside herself? She's so flustered. Because this naked man, yeah. The five nominated for best. picture of the year are

American graffiti a universal Lucasfilm limited limited, what happened me? Coppola Company Production Universal Francis Ford Coppola producer

I'm nervous that really upset me I think I'm jealous it sort of reminds you that like the whole thing with Gladiator at the Golden Globes where she was sort of daffy and maybe opening the envelope too early and all of that.

And Dick Clark had to come out and round her up. And she was always kind of a little ill at ease with these sort of moments, right? Where she's, you know, mispronouncing names. And this is the first time she's ever seen any of these words written down before. And she's just sort of in her own little world. I love her. She definitely loved the sting because she opens that envelope and says something to the effect of, Oh, I'm so happy.

Yeah. Oh, sure. I love that. The streaker, however, initially, because earlier in the ceremony, James Kahn, presenting with Raquel Welch, fucks up the presentation, and she immediately jumps in as like, you should go streaking, because apparently he can't speak, so he should get naked. It was such a big deal back then, I guess, streaking. It was a real trend, and when this happened, people thought that it was a stunt, like it had been planned by the producers. But no, he faked press credentials to get into the building. That guy was like a real eccentric, right?

Like he owned like a queer bookshop in the Bay Area, ran for president. He eventually was murdered in his bookshop, yeah. He was murdered in his bookshop? Is that how it ends? Oh, that's awful. Oh, what a terrible story. Robert Opel. Man, that's too bad.

Good for you, man. Niven was laughing his ass off. David Niven is so, because you can imagine other people. People who were like, man, you threw me off and would get annoyed by it or whatever. And Niven's just laughing his ass off. It's great. Good for you. Yeah.

Liven loves it. He wipes him out. Oh, the shortcomings joke? Yeah. Yeah, yeah, yeah. Yeah. It's great. And you're just like, God damn David Niven.

Yeah. Like, let's get you back. Seriously. I want to read this quote before we fully wrap up shop from Soar winner, William Peter Blatty. after winning his adapted screenplay Oscar so upset that the Sting beat the Exorcist. He tells the press backstage after the show

The Academy should fold its tent and go back to baking apple strudel or whatever they can do well. The Exorcist is head and shoulders the finest film made this year or in several years. And he goes on to blame George Cookeur, because he said cooker made uh cooker spoke to key members of the academy and persuaded them to eliminate the special effects award which our films certainly would have won wow what a sore what a sore winner like bladdy bladdy is a grump he's kind of a king i do yeah oh yeah yeah

he was like a grump throughout his whole life to freed him like those two were like bitter friends I honestly think the other reason the Exorcist didn't win, right, is that Freakin had won best picture two years ago. Right. Yeah. So he wasn't even real, like, say he'd gotten snubbed, like, say like a French connection had missed out to whatever. Sure. Like, like, fiddler on the roof or something more mainstream. Maybe there would have been more pressure of like, God, this guy is making really important

movies. Like, maybe we got to, you know, but he had his Oscar. Yeah. The sting is a cowardly choice. Of course it is. Of course it is. Do, do, do, do, do, do, do. Right. The sting sort of feels like the artist in a way, right? It's just like, you know, don't make them like they used to anymore. Everyone had a nice time. Yeah.

Everyone looks nice. Yeah. I mean, in the year of the biggest movie stories being The Exorcist and Last Tango on Paris, yeah, it doesn't look like the cool choice. Right, right, right. I was sort of entertained by reading up on it that, like, the entertainer, as reinterpreted by Marvin Hamlish, the Scott Joplin sort of rag,

became like charted as a hit on the music charts. It's just like, people really did just sort of like have, there was a monoculture back then, and everybody sort of dipped in the same pond. It was kind of great. I mean, it's kind of great, but also

like, Jesus Christ, kids being like, let's listen to the entertainer. I know, I know. I know. God. No wonder a disco happened. Go watch the wall teams. Let's drop L.S. Listen to the entertainer and go see the exorcist. Honestly, I would do all of those things. What a weird night that would be.

I don't think doing LSD is something you should pair with the exorcist. Dropping acid, but with the entertainer to like take the edge off a little bit. Like maybe that works. I don't know. I've never dropped it. Watching the exorcist at two times speed listening to the entertainer on LSD. All right. We should move on.

on to the IMDB game. Would you like to explain the IMDB game, per the listener? Yeah, why not? Every week we do, at the end of every episode, we do the IMDB game, where we challenge each other with the name of an actor or actress and try and guess the top four titles that IMDB says they are most known for. If any of those titles are television, voice only performances, or non-acting credits, we mentioned that up front.

After two wrong guesses, we get the remaining titles release here's as a clue. And if that is not enough, it just becomes a free for all of him. That's the IMDB game. Yes. David, as our guess, you get the option of how this game's going to go. If you want to guess at the beginning, if you want to guess at the end, who you want to guess from, who you want to give to. So would you like to start by guessing or end by guessing? I'll start by guessing.

All right. Who is going to throw out a name to you? And conversely, who do you have a name for? So wait, should I pick an actor name or Joe or Chris? Oh, yeah, just like, who do you want to give? Who do you want to quiz you with your... Joe, quiz me. Come on, hit me.

All right. How did I end up with this person? I went through the Nicholas Rogue filmography. And in what movie did I find this person? Now I'm trying to figure it out. You know what? I'm just going to say the name because I can't remember and I'll look back later. It is Michael Gambon.

If you can remember which Nicholas Rogue movie, Michael Gambon was in. But anyway... He's definitely in at least one of them. Yeah. Let's see. Two deaths. Two deaths. There we go.

Two deaths. Right. His 1995 movie with Sonia Bragg. Which I'm sure is not one of his four films. Yeah, it is not. But they are all filmed that is no television or voice roles, so nothing like Fantastic Mr. Fox or anything like that. So which are his known for?

Are they all Harry Potter movies? They are not all Harry Potter movies. I'll say that. Okay, all right. I'm going to guess Ascaban. Not Ascaban. All right. What about Half Blood Prince?

It is Half Blood Prince. I will say... Which is the one he's most prominent in. And Half Blood Prince shows up for, I think it shows up more often than other ones, which I'm kind of happy about, because I think it's one of the two best ones of the Harry Potter. It's the best Harry Potter movie. I love it. Which is some people think I'm crazy for something.

No, you're absolutely, whenever you say that, I'm like, no, he's right. It's the best movie and it's the best book. Hashtag Snape Kill Stumble Door. He does? Fully does. Fuck out of here. All right. All right.

I'm going to. Oh, I'm sorry. Yes. No, continue. I always forget. I was, okay. I'm going to guess Gosford Park. I do feel like that was a big lead role in an Oscar winner.

It was that. And it also, as Chris can attest, Gosford Park shows up for everybody in that cast. Yeah, yeah, yeah, yeah. Okay. So you've got two with only one wrong guess. One only run, wrong guess. I will guess, what the fuck else?

I mean, Michael Gammon, literally one of my favorite actors in all times. Is that true? I saw him many times in the London stage, as well as obviously in a bunch of amazing shit, including Perfect Strangers, which is like one of my favorite TV miniseries of all time. Not to be confused with the American Cycle. I was going to say, how good is Mark Lynn Baker in that one? But I'm trying to game out what would have made this. I don't know. I'm going to guess another Harry Potter.

Deathly Hallows Part 2. It is not Deathly Hallows Part 2. Your two missing answers are from the years 1989 and 2010. Okay, all right, so 2010 must be the king's speech. It is the king's speech. I had totally forgotten that he's in the king. 100% with my full body and brain forgot that he was in the king.

He plays King George V. He plays, yeah, mean daddy, George the Fifth. He also played Edward the 7th at one point. He's played a lot of mean Daddy King. All right, all right. George Vifth, of course, who y'all. out of his son so much that he got stutter. They gave him a stutter, yeah. Yeah.

89, though, must be the cook, the wife, the thief, and his lover, which I'm sort of amazed made the four. I am too. How fucking cool is that that this is on his mouth for? The cook, the thief, his wife, and her lover. He's got to be first filled, right? He, I imagine so. I don't know.

If not, I guess he could be Mirren, but I think it's him. An absolutely unhinged film that rules. and I guess has kind of a long cult, you know, following. So maybe that's why it's in there, yeah. Let's see. Yes, he is, I believe, first build. No, it's the other guy. Did the cook get first billing?

I guess. He is the thief. Richard. He is second in the titles. Yes. Talk about when we get annoyed that the names on a poster don't match up with all of the actors. I know. All of the actors build in the movie should really match up with.

the title of the film. Yes. All right. Very good, David. Well done. Now, it's your turn to quiz Chris with the actor that you've chosen. Have you guys done the great Julie Christie? If we have, it was long ago enough that I can't remember us doing it.

I think, Chris. What about you? And if I pulled her up, I genuinely don't remember what is in her known for. Yeah, this is a good one. Give it a shot of us. So, I do think she's going to be someone that her Oscar win is not there, but I think of her nominations, the ones that I'm going to leap for, away from her? Correct.

Good. The most recent nomination, right, I assume. Yes. Yeah. Shampoo. Shampoo is not in there. I would also have guessed shampoo. Heaven can wait. Not in there either.

Too straight. Oh, God, damn it. I can give you some years now, right? Okay. Yeah. All right, so the years are 65, 65, 66, and 73. 65 is darling. Nope.

65 is Javago then. Yes. Okay. Which makes 66 Fahrenheit 451? Yes, that's the one that surprised me, but I guess, hey, everyone read that book. Sure. Yeah. In high school, right?

Yeah. Must be contributing. What was my other year? 73. Oh, okay. So don't look now. It's don't look now. There you go.

It's the movie we're discussing. Very good. Yeah, I would have put, I would have figured shampoo for that at the very least. And McCabe, I probably would have thought too. I never would have guessed, Forreinhite 451, the movie I don't think we even mentioned. Plus, Troy, guys. Troy, that's such disrespect. Finding Neverland.

I might have guessed Troy. I might have guessed Troy for sure. Troy, I will say. For movies that are sort of punchlines, Troy is a much better movie than Finding Neverland. I'm throwing that down. Justice for Wolfgames. Yes, I would agree with that.

Joe, I have something a little more evil for you. I looked into Best Picture nominee, a touch of class. Who is opposite Oscar winner, Glenda Jackson? none other than Mr. George Siegel. You asshole. Hey, we love him. No, it's good.

No television. No television. Okay. Is one of them a touch of class? No. Okay. Is one of them look who's talking? One of them is look who's talking.

The very first thing I ever saw George Siegel in. Look who's talking. Okay. All right. Now, what other sex farces from the seven? is he nominated for. What's the one with him in Streisand? Is that...

He's got a cute name. Yes, we were just talking about it. In our 1970 episode. It's The Owl and the Pussy Cat. Owl and the Pussy Cat. Yeah, okay. Gave you the year, basically, because I knew you'd get there. Yeah. Okay. So two more.

If he's in Luke who's talking to, he's barely in it. So I'm going to not guess that. Okay. He's not in Bob and Terrell and Ted and Alice. That's Robert Culp. Correct. I think. Okay. I don't think Siegel ever did a Mazursky.

It's interesting. Okay. Should be? Yeah. I mean, especially like 80s, Masersky, it would make absolute sense if George Siegel is in those. Oh, oh, who's afraid of Virginia Woolf?

Correct, his Oscar nomination. So you only have one left and you have one wrong guest, so I can't give you the year. Yeah. He did do a Mizursky. It was called Bloom in Love and I've never heard of it. I haven't seen that one. That's like one of the ones.

It's the prequel to Fleischman is in trouble. First, Bloom is in Love and then Fleming is in Trouble. Speaking of Sutherland, I have to see, Is it Alex in Wonderland or something? That's the Mizzursky with Sutherland. Oh, interesting. Yeah, that's the one he makes after Bob and Carolyn to know. I have to imagine this is one where he's like opposite like Diane Keaton or like Marsha Mason or Candice Bergen or someone like that.

Am I in the right ballpark or no? No. No? Jesus. Okay. I'm just going to throw away a guess and say Kramer versus Kramer, just to give you No, we'll accept that as an incorrect guess.

Your year is 2009. He's not really, I mean, he's opposite many co-stars, but he's more so opposite cataclysm. Is 2009 knocked up? No. Is he in knocked up, or am I crazy? That's conceivable, but I think you're thinking of Harold Ramos. conceivable.

Yes, I am thinking of Harold Ramos. Conceivable is a nice pun for Knocked Up. Okay. Oh, no-9. Oh, 9. Oh, 9. He's not in a way we go. No, you are absolutely in the wrong ballpark.

You maybe don't remember that he's in this, because I don't remember that he's in this. It's fully a different genre. So not a comedy. Not a comedy. It's a, like, is it a serious drama or is it like a genre thing? It is a genre. It's a genre play. I can't imagine him in a horror movie.

I would... Not a horror movie. Sci-fi? More of like action. Okay. Disaster. Oh, nine. Is it like 2012?

It's 2012. Who the fuck is George Siegel in 2012? I had no idea. What's going on? If George Siegel's the president in 2012, no wonder all that shit happens. Play someone named Tony Delgado. Sure. He has...

conceivably also played a Tony Delgado in many other films. Oh, my God. That's the craziest thing ever. Okay, well done. All right. Let's bring this. Let's get out of here. David, thank you so much for joining us.

This was so much fun. Thank you. I'm sorry for make you guys stay up late, but I had a great time. No, we don't mind at all. No, we do not mind. And, you know, talking about a movie that was so very formative for you, too. so that was very fun. Yes.

Yes, very happy. I got to talk about this movie. If you want more This Had Oscar Buzz, you can check out the Tumblr at This had oscarpuzz.com. You should also follow us on Twitter at Had underscore Oscar Buzz. On Instagram at This Had Oscar Buzz

and on Patreon at patreon.com slash this had Oscar buzz. David, tell the listeners where they can find more of you. I host Blank Jack with Griffin and David, the podcast that is everywhere you get podcasts. I am a staff writer at the Atlantic, writing movie reviews and such. So check me out

in those places. And Joseph, where can people find you? I am on social medias in general, letterbox and Twitter and whatnot, at Joe Reed, read spelled REID. I also encourage you to check out the Cinematrix at

Vulture. Every weekday. We have a new puzzle. Come and enjoy the fun that we're all having there. I'm having a great time. writing those grids and yeah, it's a good time had by all. And I am on Twitter and Letterbox

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