[NE] Nomination Elim Game ('79- OSCARGUY)

FilmFan720
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Post by FilmFan720 »

OscarGuy wrote:well, FilmFan, I don't see why you couldn't do that. After all, we're going to have three changes per turn, so if you want to make one change to replace Casey Affleck with Paul Dano and a second change to replace Johnny Depp with Casey Affleck, then that's your decision, but it would take up two selections, not just one.
Oh yes, I know it is two changes. I guess this is one advantage to having the three change rule.
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Post by Big Magilla »

I don't know why people aren't commenting either, but I must say that most of the choices have been good ones even if they have been made by people who only voting for them out of reputation.

1934 was a remarkable year. The industry was still trying to find ways to get around the Production Code and managed to do so in very sly ways that they wouldn't be able to for decades to come.

As for my choics, I voted for Robert Donat in The Count of Monte Cristo because this is a great performance I remembered vividly from my childhood that I hadn't seen again until very recently. It still holds up. Donat ages more realistically on screen than any other actor I've ever seen. If you've seen him in Goodbye, Mr. Chips you know what I mean. Monte Cristo was an earlier, equally effective aging coup in which he goes from stalwart if naive to shellshocked prisoner of many years to rich and weary but gleeful in his terrible vengeance upon those that did him wrong.

I voted for Myrna Loy in The Thin Man because this is a delicious performance that takes full advantage of her wry, comic delivery. It's my favorite female performance of 1934, even more so than Colbert, Davis, Beavers or Washington. It still shocks me that she wasn't nominated for an Oscar for this or for any other performance in her long career.

I voted to preserve The Barretts of Wimpole Street for best picture because it's an early example of opening up a beloved stage play while retaining what was done so well on stage. All the performances are terrific, especially those of Norma Shearer (who I usually don't like), Charles Laughton ("they can censor my words but not the gleam in my eye"), Maureen O'Sullivan and Una O'Connor.

If I had an opportunity to add another performance to best actor it would be Fredric March in Death Takes a Holiday, the best of three strong performances that year (the others being in The Barretts of Wimpole Street and The Affairs of Cellini) and if we had supporting categories, I would have restored Frank Morgan who should have been nominated in support, not lead, for his Duke of Florence in March's Cellini.

Most of all, though, it was a wonderful year for music in the movies. with all those songs that are still sung today. I beleive there is still room to include one or two of them.
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Post by OscarGuy »

well, FilmFan, I don't see why you couldn't do that. After all, we're going to have three changes per turn, so if you want to make one change to replace Casey Affleck with Paul Dano and a second change to replace Johnny Depp with Casey Affleck, then that's your decision, but it would take up two selections, not just one.
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Post by flipp525 »

FilmFan720 wrote:Now, what are we going to do with Supporting vs. Lead? Should we keep people in the same category they were nominated/eligible in, or can we move people around (for example, when we do '07, can I move Casey Affleck to lead, replacing Johnny Depp, and then put Paul Dano is supporting?)

This seems like just the sort of game for that kind of history course-correction, FilmFan. And, now that I think about it, what was stopping me from putting either Louise Beavers or Fredi Washington in the Best Actress category this go-around since they both very clearly deserved some recognition for this year?

Ew, but Paul Dano? Annoying character and screechy, creaky, mechanical performance. I can think of 5-6 better male supporting performances given last year, even ones in that same film (the actor playing little H.W. Plainview was definitely doing more and doing it more convincingly). I felt like Dano was going through puberty before our very eyes -- over the course of twenty years.




Edited By flipp525 on 1207326615
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Post by FilmFan720 »

I see where you are coming from Penelope, but if we are trying to rewrite the Oscars, it only seems fair to keep their rules in mind while we do. The only way to tell someone they chose wrong is to choose right from the same list they had.

Now, what are we going to do with Supporting vs. Lead? Should we keep people in the same category they were nominated/eligible in, or can we move people around (for example, when we do '07, can I move Casey Affleck to lead, replacing Johnny Depp, and then put Paul Dano is supporting?)
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Post by Penelope »

One thing, I do wish we could just go by the release year in IMDb, rather than have to do detective work on foreign films or delayed titles. It would make things so much easier. Just my two cents.
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Post by OscarGuy »

And to tantalize everyone, I've determined the next random year and I'll give you a hint. It's part of Oscar's 6th decade and could be any year from 1988 to 1997.
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Post by OscarGuy »

For my turn, I'm adding It Happened One Night to Film Editing and then passing my other two selections.

dws is next.
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Post by OscarGuy »

It's called RANDOM. I would have started with a later year, but I sword to make this random so that it wouldn't seem like I was playing favorites.

And, though I don't know if I got it posted because of the posting errors I was getting, I'm going to limit the randomness to one per Oscar decade until each Oscar decade has one year represented, then go on to the second film in each Oscar decade and so forth.

And it's not like the turns haven't been lagging.

Yes, rudeboy. As long as the category has fewer than 5, you can keep your selections.

And I don't know why people aren't making comments. I know I'm not saying anything because I don't have a major opinion on some of these choices and I'm largely making my imprint by preserving It Happened One Night, one of the great comedy classics, IMO. But, I do encourage everyone to make comments (about their selections) when they make selections if they feel like it.




Edited By OscarGuy on 1207316978
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Post by rudeboy »

It was a daring move starting with such en early year. I've seen a total of five movies from 1934. I'm sure we'll rattle through them more quickly when we tackle later years.
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Post by flipp525 »

This game seems to go on forever and there's little to no commentary on the choices. I mean, how long are we going to stay in 1934?
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Post by rudeboy »

OscarGuy wrote:Only categories with fewer than 5 nominations (except Visual Effects, Makeup and Sound Effects for which the limit is 3) can have nominees added without replacement.
Ah, sorry... so if I replace The White Parade with Tarzan and His Mate in Sound Recording, I can have my other two adds because there are less than five nominees currently... right?
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Post by OscarGuy »

Only categories with fewer than 5 nominations (except Visual Effects, Makeup and Sound Effects for which the limit is 3) can have nominees added without replacement.
Wesley Lovell
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Post by rudeboy »

Apologies if I'm not doing this right...

Add Twentieth Century in Adaptation
Add The Thin Man in Film Editing
Add Tarzan and His Mate in Sound Recording
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Post by Big Magilla »

Since we are adhering as close as possible to Oscar eligigibilty rules, we should go by L.A. release dates where known, date of first U.S. release, which is generally New York, if it can;t be determined.

We know, for example, that Rashomon was 1951 in New York, but 1952 in L.A. so for our purposes, it's 1952. On the other hand no one has ever been able to come up with an L.A. release date for Anthony Asquith's film of The Importance of Being Earnest so evidence to the contrary we should go with teh knwon New York date, which is 1952.

Interestingly, the Academy expanded its eligibility rules in the last few years so that a film must play one week in both L.A. and New York to be eligible. It would have been so much easier if that were the rule all along, forcing producers to open their films in both cities at the same time.




Edited By Big Magilla on 1207287478
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